Jean Cocteau’s Best Films: Surrealist Masterpieces That Shaped Cinema
Discover the best films by Jean Cocteau, a pioneer of surrealist cinema whose poetic vision forever changed the language of film.
Jean Cocteau is one of the great names of surrealism . He excelled in several art forms, bringing a unique sensitivity that places him among the most influential artists in the world. His work has been expressed with excellence on stage, on the silver screen and in literature. In addition to being a talented poet, he also worked as a painter and designer. Cocteau had a special way of expressing his inner self, and as he himself said, he felt immense pleasure in making films, as they could convey ideas that were not always clear in written form.
He is credited with eleven films, all of which have elements that strongly connect to surrealism, a movement that originated in Paris and encompassed several artistic forms. Surrealism arrived in cinema in the 1920s, emphasizing dreamlike images and realities that, at first glance, may seem strange because they are not objective. Because of this complexity, the movement was never very popular with the general public. If you have difficulty dealing with a type of cinema that escapes reality and explores the subconscious, you may not be impressed at first glance. However, a good review and an unpretentious look can help you appreciate the beauty of some of his most iconic works.
Le sang d’un poète, 1932:
With a totally experimental character, Blood of a Poet is divided into four acts. Full of symbolism, it tells the story of a poet who passes through a mirror and enters other worlds, observing through doors what his eyes capture. It is a representation of the world from the perspective of a poet, with its variations, experiences and cultural clashes. It is not necessary to detail each part of the film, since its construction goes beyond a logical sequence.
Some of the allegories present in Blood of a Poet also appear in other Cocteau films, such as the poet’s passage through doors. He adopts an experimental character in several scenes, which made him immortal. In addition, the improvisations are remarkable, especially considering the limited resources of the time. This film is considered the first of a trilogy that includes Orpheus (1950) and The Testament of Orpheus (1960), which I will discuss later. It is interesting to mention that the costumes were designed by Coco Chanel.
La belle et la bête, 1946:
Based on the short story by Jeanne-Marie Leprince de Beaumont, Beauty and the Beast presents the famous story known to the general public through more recent adaptations. Here, Josette Day plays the kind-hearted Belle, a young girl who lives with her father and sisters on a farm. Facing financial difficulties, she takes on the responsibility of the house, since her sisters refuse to help.
After a trip, her father arrives at a large castle belonging to the beast (Jean Marais) and, when stealing a rose for Belle, ends up being threatened by the creature. To save her father, Belle decides to take his place and move to the monster’s castle. Over time, she realizes that there is a big heart beneath that dark appearance.
This fantasy film follows a linear narrative and features elements that Cocteau uses in other works, such as the scene in which Belle slides on a cart, giving the impression that she is floating. This effect will be repeated in Orpheus.
The elements of the scene, such as the candelabras held by majestic arms and the walls that accompany Belle on her journey, as well as the transitions between worlds and the allegories of mirrors, maintain the originality of Cocteau’s work.
Orphée, 1950
In the opening moments of the film, the narrator (Jean Cocteau) tells us that this is a unique version of the myth of Orpheus, the man who deeply loves Eurydice and who risks the risk of searching for her in the realm of the dead. However, the poet here suffers from not being able to write anymore. During his wanderings, he witnesses the death of a young poet and is invited by a beautiful princess (María Casares) to accompany him.
On the way, he discovers that she is, in fact, Death. Back in his world, Orpheus cannot forget the princess and increasingly neglects his wife, Eurydice . She, in turn, spends more time with Heurtebise (François Périer), Death’s driver. Jealous of Eurydice, Death decides to take her, forcing Orpheus, with the help of Heurtebise, to go to the other world, not only in search of his wife, but of Death itself.
Mirrors bring us closer to death. In one of the dialogues, we are warned that if we look directly at someone, we will see death approaching. The film carries symbolism of sacrifices in the name of love and allegories about the poet’s immortality, making it one of the best works, not only by Cocteau, but also in French cinema.
It is interesting to note the strength of the main cast, formed by María Casares, Jean Marais, François Périer and Maria Déa. Even with subtle performances, we can love and hate their characters in equal measure, demonstrating that, in the 1950s, Cocteau’s direction was more refined than ever.
Fun fact : according to IMDb, the extras in the opening scenes, in a Paris café, were real bohemians who frequented the place. After filming, which lasted two days, they stayed there.
Le Testament d’Orphée, ou ne me demandez pourquoi!, 1960
In his latest film, Jean Cocteau takes on the role of himself . He travels through different worlds, seeking questions and answers to various issues, while encountering the incomprehension of others, being judged, condemned and becoming immortal, like any poet.
In this film, several characters who have appeared in his previous works return, as do familiar friends such as Jean Marais, María Casares, Yul Brynner and Pablo Picasso. The Testament of Orpheus is a masterpiece that must be watched and rewatched with attention, always expecting new surprises. There are many ways to interpret Cocteau’s testament, but you can’t stop watching it, whether you love it or hate it.
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