La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
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La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête
La belle et la bête

La belle et la bête

by Jean Cocteau
€160.00

Large format edition

Tirage

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United States of America
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€160.00

Large format edition

Tirage

free shipping Free shipping 

United States of America
Add to cart

Beauty and the Beast: a Deluxe edition paying tribute to Jean Cocteau’s film, illustrated with manuscripts, drawings and photographs, many of which have never been published before

The movie Beauty and the Beast is turning 80 this autumn and remains as timeless as ever.

When Josette Day, unforgettable as Belle, arrives at the Beast’s castle, arms emerge from the walls to hold the candlesticks, and the doors suddenly open by themselves… The Beast, played by a magnificently made-up Jean Marais, offers a striking contrast between his imposing appearance and the gentleness that radiates from him… Belle weeps tears of diamonds. A mirror is a window onto the world, and a glove transports the protagonists elsewhere. That is what Cocteau’s Beauty and the Beast is all about: ‘A fairy tale in which fairies do not appear.’

This book, written by Dominique Marny, is a vibrant tribute to the work of her great-uncle Jean Cocteau.

Cinema: ‘The only medium capable of bringing my dream to life.’

Ever since he was a child and read the writings of Madame Leprince de Beaumont, Jean Cocteau had dreamt of ‘painting and bringing to the stage’ Belle and the Beast’s love story, as startling as it is pure. A story that transports the reader beyond appearances and overcomes spells. After World War II, this dream became a necessity: it was a matter of breathing a little magic and beauty into a world that had suffered greatly. Jean Cocteau immersed himself in Madame Leprince de Beaumont’s book again, convinced that his desire could become reality. This provided the opportunity to return to the film studios; and then to sketch out and tailor an iconic role for the man he shared his life with, whom he affectionately nicknamed ‘Jeannot’ – that is, Jean Marais. A tailor-made creation, both artistically and romantically, which shines through in every shot of the film.

‘A family celebration, a Christmas tree of shadows and lights.’

The shoot was a series of twists and turns and would even deserve a film of its own. Determined to ‘rescue this tale from oblivion’, ‘by surprise’ if necessary, Jean Cocteau never gave up, facing a thousand technical, logistical and human difficulties. The sound of an aeroplane in the sky ruining a take; a riding accident; illness… Whilst fate did not seem to be out to get him, it certainly put the director’s tenacity and ingenuity to the test. The poet would, moreover, emphasise the crucial role played by his team during these difficult moments: the presence of Georges Auric, Christian Bérard, Henri Alekan and the actors at his side – this combination of talent and generosity partly explains the film’s success.

A book conceived as an exhibition

It is this epic journey – from Jean Cocteau’s first reading of Madame Leprince de Beaumont’s fairy tale, through the birth of the idea to the film’s theatrical release, including the writing of the screenplay, pre-production and the actual filming – that Dominique Marny recounts in this beautiful anniversary Deluxe edition. Quotations, striking handwritten extracts (such as the screenplay, or the diary kept by Jean Cocteau between 1944 and 1946), the film’s most iconic shots, explanations of special effects, drawings revealing what went on behind the scenes, set models and costumes… a dreamlike journey awaits the reader on every page.

‘The official premiere took place in Paris on 29 October 1946, at the Colisée and Madeleine cinemas, whose façades were covered by Jean-Denis Malclès’ posters. The film was a resounding success with audiences of all ages. We dream, we weep, we find ourselves believing in the impossible. Whilst Josette Day and Jean Marais are yet unaware that they are about to become legends, they can rejoice in the joy their presence brings. The film won the Louis Delluc Prize, considered one of the most prestigious awards in cinema. Over time, the flood of letters received by Cocteau bore witness to an enthusiasm that would never wane. Film critic Pierre Lagarde was entirely right when he predicted: Beauty and the Beast is not merely a remarkable, a dazzling success. It is a work that will become a classic.’ 

A limited Deluxe edition, hand numbered

Dominique Marny has published numerous novels and non-fiction works. She has dedicated eight books to her great-uncle Jean Cocteau, including Jean Cocteau, archéologue de sa nuit and Jean Cocteau, le roman d’un funambule. In 2023, she published Jean Cocteau – Chambres avec vues (Éditions des Saints Pères).

For several years now, she has been exploring the theme of romantic love through art and literature, a subject that has inspired several books (including Je t’aime). She has curated around ten exhibitions in both private and public museums. Since 2018, she has been President of the Jean Cocteau Committee.

Nicolas Patrzynski has been active in the fields of culture and the arts for many years, as an artistic director, graphic designer and exhibition curator. He is the designer of the visual identity featured in this book. A frequent collaborator with Dominique Marny, he also served as co-artistic director of Jean Cocteau – Chambres avec vues.

Excerpt from the chapter: ‘An Aesthetic of the Marvellous’

‘Beauty and the Beast is not merely a film that reimagines a fairy tale, but a meditation on appearances and love. Cocteau did not merely retell a story with ancient origins. He made it his own, transforming it into visual poetry: a work in which the myths and symbols that had accompanied him throughout his life come together. Through words and images, thanks to his unmistakable style, he manages to make us believe that a young girl gives up a normal life to be with a beast. To ensure the scenes emerge from a dream, he does not hesitate to use slow motion and special effects. Cocteau has mastered this ability to plunge into unreality. Ever since he began writing, drawing, directing and filming, he has moved effortlessly through spaces with undefined boundaries. Alongside the carefully chosen sets and props, he incorporates five talismans belonging to the Beast, which cement its power.’

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