The late critic Leslie Halliwell wrote of Jean Cocteau’s Orpheus (1949): “It is the closest cinema has gotten to pure poetry.” The same might be said of Cocteau himself. Poet, painter, filmmaker, librettist, historian, stage designer, and playwright, Cocteau refused to be confined to the parameters of a single artistic medium. His circle of friends and collaborators included Pablo Picasso, Kenneth Anger, Serge de Diaghilev, Les Six, Igor Stravinsky, Marcel Proust, and Erik Satie. He was a dominating figure in virtually every “ism”, including Dadaism and Surrealism. Cocteau only made six movies, and insisted that he was merely an amateur who “dabbled” in the medium. Despite his self-proclaimed amateur status, four of those films are frequently hailed as masterpieces of cinema. These four have been collectively given the Criterion treatment.
Blood of a Poet (1930) was Cocteau’s first film. It is often compared to Luis Buñuel‘s Un Chien Andalou (1928) and L’Age d’Or (Blood was, in fact, financed by the same patron as L’ Age d’or). Yet, Blood of a Poet is its own film, having a texture unlike any before or since. It is, possibly, the weakest of the four on the Criterion set. Despite it’s stage bound milieu, it remains bewitching, startling, and memorable even after the passage of 80 years. It features absurdist mythology and is semi-autobiographical, told in four life episodes. The artist, searching for his muse, is martyr to his art. Cocteau narrates, surrealist Lee Miller plays a statue and Les Six member Georges Auric composed the music. Mirrors are passageways into an inner world, a theme Cocteau would perfect in Orpheus (1950). Budgetary limitations led to improvisation, which worked to the film’s advantage. Upon release, the film was attacked from different corners. Andre Breton and his Surrealist circle were aggressively hostile, obviously fearing a coup d’etat ((Cocteau, who never claimed to be a Surrealist, was mostly amused by Breton’s histrionic objections. By this time, Breton was running the movement like an autocracy. Predictably, Cocteau outlived the movement that Breton himself managed to assist in killing.)). Coming on the heels of L’ Age d’or, the Catholic Church read an iconoclastic message into Blood, threatening the producer with excommunication, which resulted in a delayed release. In hindsight, this is surprising since the main thrust of the film, which comes through the multifariously interpreted imagery, mostly conveys the artist in the spiritual realm.
Cocteau was nearly sixty in 1946 when he made his first feature-length film, Beauty and the Beast (based on the children’s story by Madame Leprince de Beaumont). Inspired by Gustave Dore’s engravings and the naturalistic paintings of Johannes Vermeer, Beauty and the Beast is sensual, frighting and enchanting in the way only a childhood fantasy can be. It is more aesthetically assured than Blood of a Poet, greatly assisted by Henri Alekan’s exquisite black and white cinematography, Georges Auric’s enduring score, and Christian Berard’s production design, costume and makeup work. Disembodied hands light the way to the Beast’s elegant castle with candelabras. Animated statues convey amusement and dread. Mirrors, doors and jewelry are constant elements of Cocteau’s world. Cocteau and company play with the gifts of the medium, but it is more than a mere display of cinematic trickery. Everything serves the mythical narrative. Stark and magical compositions are the result of a highly collaborative work with unified purpose. According to Cocteau’s diaries, the collaboration was not as seamless as the film appears. Apparently there was much tension between the director and Alekan. Cocteau, knowing nothing about the camera, preferred flat, artistic compositions. Alekan resisted such an approach and pushed Cocteau to think in more classical cinematic language.
Jean Marais’ Beast acts almost entirely with his eyes (peering from behind lycanthrope-like makeup). He conveys pathos, wretchedness, latent savagery and erotic yearning in a tour-de-force performance. His Beast is threatening, and more compelling than the civilized Continue reading DIRECTOR RETROSPECTIVE: JEAN COCTEAU
) adds a short introduction from the director and new behind-the-scenes footage.
Verdoux is a banker who has lost his job during an economic crisis. At home he has an invalid wife and young son. In his late fifties, Verdoux knows his prospects for employment are slim and he resorts to marrying and murdering wealthy women to provide for his family. The Tramp faced the perils of Capitalism in 
This was the late 1960s. I knew the Maysles’ work because I had seen Salesman and I was heavily into watching and studying documentaries. Gregor went and worked for the Maysles during one Christmas vacation. Gregor came back to school afterwards, and he had somehow got hold of a duplicate of the footage from Gimme Shelter where the guy gets killed: the one guy that the Hells Angel is knifing, a poor black guy who is wearing a lime green suit. Gregor had this footage and he showed it to us. We were all just mesmerized that this had happened and that Gregor had the footage.