Did anyone notice the biblical overtones? It begins with Genesis: the rose in the Beasts garden is the fruit of the Garden of Eden, leading to man's expulsion (that plunges the family into crisis). Belle represents virginal purity and virtue. At the end, the Beast becomes Christ-like, he dies for the sins of man (jealousy, greed) and after death and reincarnation he ascends into the heavens. And even when the Beasts is alight it reminded me of a common motif in hagiography.
The more I rewatch this film, the more I think it is perfect. Films don't need to be realistic to pack an emotional punch, they need to be authentic. And this film is is authentic.
Aesthetically it is beautiful; the lusciousness of the costumes, the surreal details in the castle. There are so many magnificent scenes; when Avenant is pierced by Diana’s arrow and has the look of ecstasy like a baroque sculpture! To depict simultaneously the beast regaining life, to capture the moment of life and death exchanging hands, it is poetry made into film. When the Beast ascends into the sky with Belle, and her long white dress and the cloud intermingle, that too is poetry made into film.
The characters are so rounded, especially the Beast and Belle, which is remarkable because these are two stock characters in a fable and in theory should lack psychological maturity. Belle is the classic “virgin” but Josette Day has imbued the character with strength and an independent mind. The Beast another, but Jean Marais succeeds to bring the psychological, his desires, his disappointments, his vulnerabilities, his pride, (which are universal experiences and emotions) through that mask.
And in a quite direct and concise language, it is packed with such strength. "L'amour peut faire qu'un homme devienne bête. L'amour peut faire aussi qu'un homme laid devienne beau."
Did anyone notice the biblical overtones? It begins with Genesis: the rose in the Beasts garden is the fruit of the Garden of Eden, leading to man's expulsion (that plunges the family into crisis). Belle represents virginal purity and virtue. At the end, the Beast becomes Christ-like, he dies for the sins of man (jealousy, greed) and after death and reincarnation he ascends into the heavens. And even when the Beasts is alight it reminded me of a common motif in hagiography.
ReplyDeleteThe more I rewatch this film, the more I think it is perfect. Films don't need to be realistic to pack an emotional punch, they need to be authentic. And this film is is authentic.
ReplyDeleteAesthetically it is beautiful; the lusciousness of the costumes, the surreal details in the castle. There are so many magnificent scenes; when Avenant is pierced by Diana’s arrow and has the look of ecstasy like a baroque sculpture! To depict simultaneously the beast regaining life, to capture the moment of life and death exchanging hands, it is poetry made into film. When the Beast ascends into the sky with Belle, and her long white dress and the cloud intermingle, that too is poetry made into film.
The characters are so rounded, especially the Beast and Belle, which is remarkable because these are two stock characters in a fable and in theory should lack psychological maturity. Belle is the classic “virgin” but Josette Day has imbued the character with strength and an independent mind. The Beast another, but Jean Marais succeeds to bring the psychological, his desires, his disappointments, his vulnerabilities, his pride, (which are universal experiences and emotions) through that mask.
And in a quite direct and concise language, it is packed with such strength. "L'amour peut faire qu'un homme devienne bête. L'amour peut faire aussi qu'un homme laid devienne beau."
*****
:S
ReplyDelete