Jean Cocteau's strong identification with the Orpheus of Greek legend bore fruit in his Orphic trilogy of which this is the second and most substantial. It is based upon his play of 1926 which has been given a new dimension through the medium of film. Indeed it is the filmic tricks that linger longest in the memory, most notably the reverse photography and magical mirror moments whilst the leather-jacketed motorcyclists and inspired use of the bombed out military barracks of St. Cyr to represent the Underworld add to the film's mystique.
Cocteau has successfully mixed the modern with the mythological so that Jean Marais in the title role is caught between the real and the imaginary. It must be said that under his mentor's direction his character is not particularly likeable and is obviously annoyed at the younger generation of poets snapping at his heels which could easily reflect Cocteau's own feelings at this time. He also epitomises the self-centred, self-absorbed artiste who neglects his wife Eurydice in favour of deciphering cryptic radio messages. She is played by the lovely Marie Déa who does her best in a pretty thankless role. She is loved by the excellent Francois Périer as Heurtebise whose character assumes greater importance as the film progresses. Further complications ensue when the poet falls in love with the princess who happens to represent Death. It is the performance in this role by Maria Casares that has attracted the most comment, mostly positive. Critic Roger Ebert considered her too slight and insignificant to be effective. Slight in build she may have been but her charisma is undeniable and Cocteau has made the most of her magnetic eyes. Being dressed to resemble a Dominatrix does not exactly diminish her appeal!
A slight weakness in the film is the under-developed sub-plot featuring the mythical Bacchantes, here known as the 'League of Women'. This at least gives an early role to chanteuse Juliette Greco, pre-nose job.
Poorly received on its release this unique film has acquired cult status with the passage of time. Whether it fully deserves its elevated reputation is a matter of opinion but it is a piece that defies definition and has succeeded in being 'arty' without being pretentious.
Cocteau has successfully mixed the modern with the mythological so that Jean Marais in the title role is caught between the real and the imaginary. It must be said that under his mentor's direction his character is not particularly likeable and is obviously annoyed at the younger generation of poets snapping at his heels which could easily reflect Cocteau's own feelings at this time. He also epitomises the self-centred, self-absorbed artiste who neglects his wife Eurydice in favour of deciphering cryptic radio messages. She is played by the lovely Marie Déa who does her best in a pretty thankless role. She is loved by the excellent Francois Périer as Heurtebise whose character assumes greater importance as the film progresses. Further complications ensue when the poet falls in love with the princess who happens to represent Death. It is the performance in this role by Maria Casares that has attracted the most comment, mostly positive. Critic Roger Ebert considered her too slight and insignificant to be effective. Slight in build she may have been but her charisma is undeniable and Cocteau has made the most of her magnetic eyes. Being dressed to resemble a Dominatrix does not exactly diminish her appeal!
A slight weakness in the film is the under-developed sub-plot featuring the mythical Bacchantes, here known as the 'League of Women'. This at least gives an early role to chanteuse Juliette Greco, pre-nose job.
Poorly received on its release this unique film has acquired cult status with the passage of time. Whether it fully deserves its elevated reputation is a matter of opinion but it is a piece that defies definition and has succeeded in being 'arty' without being pretentious.