La Belle Et La Bette (1946): Film Critique
La Belle Et La Bette, translating to Beauty and The Beast, was a 1946 French film release. This classic black and white was Directed and written by Jean Cocteau, with additional help from Rene Clement and Jeanne-Marie Beaumont. Upon release, the film was nominated for the Cannes Film Festival and won the Prix Louis Delluc in 1946, being nominated again in 1948 for the Bambi Awards. This fantasy romance is more than a children’s film; Jean Cocteau believed the original fairy-tale had an important message for the French after World War 2, any unhappy child could grow up to become a beast…
Up until 1944, two years before the films release, Germany and Italy had occupied France. This bleak time could have translated over to the Beast character, symbolising Frances fear of powerful European forces. The country was in shock after WW2, feeling threatened, exposed and vulnerable. For France, the 1940s was dominated by the war. The Service Du Travail Obligatorie saw the forced deportation of French workers to Nazi Germany to work as forced labour. Belle experiences a similar ordeal in the film, exiled to solitary confinement in an unfamiliar environment, the Beasts castle. She is also forced to work for her sisters as a servant whilst her father suffers money troubles. France’s shocking war affairs correlate with experiences in the film. Along with deportation, the Holocaust saw the persecution and annihilation of Jews through France as late as 1944, two years before the films release. Tension and rivalry ravaged society, with the country being divided into two occupation zones; German and Italian invasion. The same year as this films release, the fourth republic (1946 to 1958) was beginning, an era of great economical growth…initially. This hope for development and healing could have initiated the fairy-tale and dream like essence of this film, created in an incredibly dark part of France’s history. These hopeful attitudes could have translated over to Belle, the female protagonist, who is in awe at the unusual characteristics of the Beasts castle, an environment possibly signifying technological advancements. The 1940s saw France being ruled by a totalitarian government, a restrictive rule demanding no opposition. This might have influenced La Belle Et La Bette’s modest and childish personality. France saw steady economic growth after the war, a fonder period of France’s history referred to as the ‘thirty glorious years’, a society built on industrial and technological advances. Worker security and privileges were protected.
The film showcases examples of unique set design, the most prominent example is the fusion of real people with props. Hands can be seen holding candles along corridors, and real faces occupy statues on castle walls, which watch as Belle and the Beasts relationship develop. This could be referring to the pressures of current political affairs, the totalitarian government was making the French people feel restricted, watched and judged, similar to how the castle itself seems to constantly view these two characters in the film. The hands that illuminate the castle help Belle’s father find his way to the Beasts dining room, which could suggest political propaganda, persuading the masses that power is to be followed blindly. One of my favourite scenes from La Belle Et La Bette is when audiences watch as Belle explores the Beasts castle for the first time in slow motion. The quality of this shot Is amazing, timeless, and as good as current cinema. The fluidity captured in this slowed scene is hard to comprehend when you realise it’s a film from the 1940’s. Another interesting environmental feature is the use of water vapor within set and costume design. This can be seen in figure 1. The use of shapeless, atmospheric elements like this help create a dreamlike atmosphere, which is only seen in the beast’s castle, suggesting the difference between this location and others in the film. Another staple scene for this film is Belle’s Father and his first encounter with the beast in the rose garden, as seen in figure 2. As viewers, the woodland environment mixed with skeletons of old buildings succumbing to nature suggests ideas of decay, emphasised by the dead deer also seen in the shot. This style sets a very different tone for the film, contrasting with the childish environment viewers have seen so far. The scene almost reads as dark and disturbing, and is also the first scene audiences see the beast. Further prominent environmental factors within this film include teleportation, as belle slips on the beast’s glove, she is transported back to her home. Belle appears through a wall in a fashion I have never seen before (seen in figure 3), as though the actor was pushed through a flexible gap. This is a unique style of stunt design I have never seen before in cinema. The world within this film feels very two dimensional and flat; nothing is properly established, and only the vital characters to this story are introduced to us, creating a hollow sensation.
The plot of La Belle Et La Bette is romantic, fantasy and naïve to realistic relationships. Further important themes include money, a prominent subject that we see from both extremes, rich and poor. Belle experiences both sides of the spectrum, being whisked away from servant life into confined luxury. This could represent Frances financial confusion after the war, falling into debt yet being promised success in the near future. The plot surprisingly explores twists, which is unusual for fairy-tales, which typically stay bland and expected, the audiences surprise as to how the beast came to be feels out-of-place and too aggressive for the rest of the film.
1940’s France can relate a lot to the character of Belle, who is overwhelmed and trapped. This reflects those living in France and experiencing poverty, loss and a constricting government, as well as those being deported to Nazi Germany. In 1946, the same year as the film’s release, France waved off a large part of its post war debt by signing a treaty with the US. This coincides with Belles sudden luxury lifestyle and her trouble getting used to the change (possibly signifying Frances economic growth after the war). The character of the beast is eccentric and flamboyant, his movements help to prevent stiffness created from the heavy costume and makeup. His moving ears also help with expressions.
The soundtrack, especially the choir, is reminiscent of old Disney animations such as Bambi, which adds to the fairy-tale and dreamy atmosphere of the film and brings a sense of nostalgia. The music is comforting, classical and adds character to the film, as viewers, were able to forget the language barrier. The audio creates childish novelty. Its grand sound also creates dimension, and is used to disguise the cinematic limitations directors would have faced in the 1940’s.
Overall, the film was an interesting watch, something I never would have chosen myself. However, I can appreciate its importance within the history of cinema. I found the dubbing and subtitles distracting, but it also gave the watching experience character, almost as though you’re watching this film on a holiday somewhere pleasant. The costume and set design are surprising detailed for a film this old and produced in such a dark time, I thoroughly enjoyed discovering the contextual depth behind the film, along with watching its pleasant visuals.
Up until 1944, two years before the films release, Germany and Italy had occupied France. This bleak time could have translated over to the Beast character, symbolising Frances fear of powerful European forces. The country was in shock after WW2, feeling threatened, exposed and vulnerable. For France, the 1940s was dominated by the war. The Service Du Travail Obligatorie saw the forced deportation of French workers to Nazi Germany to work as forced labour. Belle experiences a similar ordeal in the film, exiled to solitary confinement in an unfamiliar environment, the Beasts castle. She is also forced to work for her sisters as a servant whilst her father suffers money troubles. France’s shocking war affairs correlate with experiences in the film. Along with deportation, the Holocaust saw the persecution and annihilation of Jews through France as late as 1944, two years before the films release. Tension and rivalry ravaged society, with the country being divided into two occupation zones; German and Italian invasion. The same year as this films release, the fourth republic (1946 to 1958) was beginning, an era of great economical growth…initially. This hope for development and healing could have initiated the fairy-tale and dream like essence of this film, created in an incredibly dark part of France’s history. These hopeful attitudes could have translated over to Belle, the female protagonist, who is in awe at the unusual characteristics of the Beasts castle, an environment possibly signifying technological advancements. The 1940s saw France being ruled by a totalitarian government, a restrictive rule demanding no opposition. This might have influenced La Belle Et La Bette’s modest and childish personality. France saw steady economic growth after the war, a fonder period of France’s history referred to as the ‘thirty glorious years’, a society built on industrial and technological advances. Worker security and privileges were protected.
 |
| La Belle Et La Bette (1946) poster art |
The film showcases examples of unique set design, the most prominent example is the fusion of real people with props. Hands can be seen holding candles along corridors, and real faces occupy statues on castle walls, which watch as Belle and the Beasts relationship develop. This could be referring to the pressures of current political affairs, the totalitarian government was making the French people feel restricted, watched and judged, similar to how the castle itself seems to constantly view these two characters in the film. The hands that illuminate the castle help Belle’s father find his way to the Beasts dining room, which could suggest political propaganda, persuading the masses that power is to be followed blindly. One of my favourite scenes from La Belle Et La Bette is when audiences watch as Belle explores the Beasts castle for the first time in slow motion. The quality of this shot Is amazing, timeless, and as good as current cinema. The fluidity captured in this slowed scene is hard to comprehend when you realise it’s a film from the 1940’s. Another interesting environmental feature is the use of water vapor within set and costume design. This can be seen in figure 1. The use of shapeless, atmospheric elements like this help create a dreamlike atmosphere, which is only seen in the beast’s castle, suggesting the difference between this location and others in the film. Another staple scene for this film is Belle’s Father and his first encounter with the beast in the rose garden, as seen in figure 2. As viewers, the woodland environment mixed with skeletons of old buildings succumbing to nature suggests ideas of decay, emphasised by the dead deer also seen in the shot. This style sets a very different tone for the film, contrasting with the childish environment viewers have seen so far. The scene almost reads as dark and disturbing, and is also the first scene audiences see the beast. Further prominent environmental factors within this film include teleportation, as belle slips on the beast’s glove, she is transported back to her home. Belle appears through a wall in a fashion I have never seen before (seen in figure 3), as though the actor was pushed through a flexible gap. This is a unique style of stunt design I have never seen before in cinema. The world within this film feels very two dimensional and flat; nothing is properly established, and only the vital characters to this story are introduced to us, creating a hollow sensation.
 |
| Figure 1 | Example of water vapor in costume design. |
 |
| Figure 2 | Disturbing, overgrown environment. |
 |
| Figure 3 | Belle is transported back home. |
The plot of La Belle Et La Bette is romantic, fantasy and naïve to realistic relationships. Further important themes include money, a prominent subject that we see from both extremes, rich and poor. Belle experiences both sides of the spectrum, being whisked away from servant life into confined luxury. This could represent Frances financial confusion after the war, falling into debt yet being promised success in the near future. The plot surprisingly explores twists, which is unusual for fairy-tales, which typically stay bland and expected, the audiences surprise as to how the beast came to be feels out-of-place and too aggressive for the rest of the film.
1940’s France can relate a lot to the character of Belle, who is overwhelmed and trapped. This reflects those living in France and experiencing poverty, loss and a constricting government, as well as those being deported to Nazi Germany. In 1946, the same year as the film’s release, France waved off a large part of its post war debt by signing a treaty with the US. This coincides with Belles sudden luxury lifestyle and her trouble getting used to the change (possibly signifying Frances economic growth after the war). The character of the beast is eccentric and flamboyant, his movements help to prevent stiffness created from the heavy costume and makeup. His moving ears also help with expressions.
The soundtrack, especially the choir, is reminiscent of old Disney animations such as Bambi, which adds to the fairy-tale and dreamy atmosphere of the film and brings a sense of nostalgia. The music is comforting, classical and adds character to the film, as viewers, were able to forget the language barrier. The audio creates childish novelty. Its grand sound also creates dimension, and is used to disguise the cinematic limitations directors would have faced in the 1940’s.
Overall, the film was an interesting watch, something I never would have chosen myself. However, I can appreciate its importance within the history of cinema. I found the dubbing and subtitles distracting, but it also gave the watching experience character, almost as though you’re watching this film on a holiday somewhere pleasant. The costume and set design are surprising detailed for a film this old and produced in such a dark time, I thoroughly enjoyed discovering the contextual depth behind the film, along with watching its pleasant visuals.
Bibliography
- Bbc.co.uk. (2019). BBC - History - World Wars: The Fall of France. [online] Available at: http://www.bbc.co.uk/history/worldwars/wwtwo/fall_france_01.shtml [Accessed 30 Oct. 2019].
- Ebert, R. (2019). Beauty and the Beast movie review (1946) | Roger Ebert. [online] Rogerebert.com. Available at: https://www.rogerebert.com/reviews/great-movie-beauty-and-the-beast-1946 [Accessed 30 Oct. 2019].
- En.wikipedia.org. (2019). Economic history of France. [online] Available at: https://en.wikipedia.org/wiki/Economic_history_of_France [Accessed 30 Oct. 2019].
- En.wikipedia.org. (2019). French Fourth Republic. [online] Available at: https://en.wikipedia.org/wiki/French_Fourth_Republic [Accessed 30 Oct. 2019].
- IMDb. (2019). Beauty and the Beast (1946) - IMDb. [online] Available at: https://www.imdb.com/title/tt0038348/ [Accessed 30 Oct. 2019].
- Ingebrigsten, L. (2019). Figure 1 | water vapor example. [image] Available at: https://lars.ingebrigtsen.no/2019/01/12/september-1946-la-belle-et-la-bete/ [Accessed 30 Oct. 2019].
- Wordpress (2019). Poster Art. [image] Available at: http://www.johncoulthart.com/feuilleton/2013/10/07/la-belle-et-la-bete-posters/ [Accessed 30 Oct. 2019].
- Youtube (2019). Figure 2 and 3 source. [image] Available at: https://www.youtube.com/watch?v=vRW2oi8AS0M&t=4009s [Accessed 30 Oct. 2019].
Comments