From its explosive opening where a brawl occurs at a café for poets that's "the nerve-centre of the world" to traveling through the afterlife to the very end, Orphée's mania never stops. It's an incredibly gripping and bizarre film which immediately evolves into a bad dream. It's grandest aspect is the visual treat that visionary director Jean Cocteau offers. The camera is fluid and active, whipping between characters and sets, exploring high and low angles. Though the highlight is the special effects, especially for its time even if clearly channeling Méliès, with seamless reversed shots, projections, wires and point of view shots involving mirrors. The narrative flows fluently to give a rich and inventive story, with elements of innovative humour, with double meanings and exaggerations, and tragedy redeemed. With its ambiguity between reality, dream or fantasy world, it could even be argued that there is no reality and it begins right in the fantasy, though the expert use of foreshadowing renders that aspect irrelevant in cinema.
Despite it having a very compacted story, there's not enough emotional or thought-provoking ideas there for me to understand why it's considered a masterpiece, especially due to its consistent tension, rather than an ideal fluctuating tone. The characters, besides the surprising supporting character Heurtebise with a subtle performance from François Périer, there is little chemistry between the actors, who for the majority of the time give melodramatic performances solely for the camera. As it's a story trying to be about love, this only comes across as a sidenote to the spectacle. There is, however, the fascinating idea of how an artist can be so enamoured with inspiration that they neglect their real life and purpose of why they're creating their art. It also does not show any of the deaths, the films other main theme, which dramatically decreases their potential power. There is an incidental scene where the Inspector is talking to people in his office in which it has a brief flashback while a man is talking of what he's talking about - a technique Hiroshima Mon Amour later innovated. With the dazzling and inventive direction, Orphée is a great film, but too often doesn't take itself seriously enough.
8/10
Despite it having a very compacted story, there's not enough emotional or thought-provoking ideas there for me to understand why it's considered a masterpiece, especially due to its consistent tension, rather than an ideal fluctuating tone. The characters, besides the surprising supporting character Heurtebise with a subtle performance from François Périer, there is little chemistry between the actors, who for the majority of the time give melodramatic performances solely for the camera. As it's a story trying to be about love, this only comes across as a sidenote to the spectacle. There is, however, the fascinating idea of how an artist can be so enamoured with inspiration that they neglect their real life and purpose of why they're creating their art. It also does not show any of the deaths, the films other main theme, which dramatically decreases their potential power. There is an incidental scene where the Inspector is talking to people in his office in which it has a brief flashback while a man is talking of what he's talking about - a technique Hiroshima Mon Amour later innovated. With the dazzling and inventive direction, Orphée is a great film, but too often doesn't take itself seriously enough.
8/10