One element that I found interesting from Cocteau’s “La Belle et La Bête” was the ending of the story when the Beast transforms into the prince, revealing a more sophisticated and chiseled version of Avenant, Belle’s original suitor. What I also found interesting was when Avenant was shot by the statue Diana, he himself turned into the Beast. One reason for this subtle change could have been to showcase the fact that although Belle loved Avenant (as well as the Beast), she could not live with him, therefore transforming the Beast into a Prince Charming hybrid of the Beast’s character with Avenant’s good looks.
Wednesday, March 11, 2009
Cocteau seems to have gotten "Beautiful" and "Creepy" confused
The element that interested me most when comparing Cocteau's film and Madame de Beaumont's version of Beauty and the Beast is how the castle is portrayed. Beaumont's description of the castle, although sparse, seems like a precursor to the Disney version of the castle. When Beauty's father arrives the first time, there is no one to be seen, but the castle seems very inviting, with a "warm fire and a table laden with food, with just a single place setting." I almost expected to read about enchanted teapot servants next. In contrast, when the father arrives at the castle in the film, the castle seems to have been inspired by a horror film. Creepy floating arms hold candelabras that magically light. There is a hand in the middle of the table that scares dinner guests before pouring drinks. The statues in the wall are obviously alive. Terrifying. Very different images from the ones Beaumont presents.
This creepy/beautiful theme also carries over to when Beauty sees the castle for the first time. In Beaumont's version, "She could not help but admire the castle's beauty, and...was dazzled by the radiant beauty of that (her) room. She was especially impressed by a huge bookcase, a harpsichord, and various music books." The castle is beautiful and entertaining to Beauty. Cocteau again portrays a castle with body parts sticking out of the walls holding candles. The changes to Beauty's room are also substantial. In the film, there are vines growing everywhere, which to me adds to the "wild v. civilized" influences in the film. There is also a lack of the bookshelf and musical instruments, removing the air of culture from both Beauty and Beast.
Cocteau obviously had to pay much more attention to the setting of the castle because he was making a film, something incredibly visual. However, I am boggled as to why he decided to portray a castle that is beautiful in the story as something so much more sinister.
Song of the Blog: "Cemeteries of London" by Coldplay
This creepy/beautiful theme also carries over to when Beauty sees the castle for the first time. In Beaumont's version, "She could not help but admire the castle's beauty, and...was dazzled by the radiant beauty of that (her) room. She was especially impressed by a huge bookcase, a harpsichord, and various music books." The castle is beautiful and entertaining to Beauty. Cocteau again portrays a castle with body parts sticking out of the walls holding candles. The changes to Beauty's room are also substantial. In the film, there are vines growing everywhere, which to me adds to the "wild v. civilized" influences in the film. There is also a lack of the bookshelf and musical instruments, removing the air of culture from both Beauty and Beast.
Cocteau obviously had to pay much more attention to the setting of the castle because he was making a film, something incredibly visual. However, I am boggled as to why he decided to portray a castle that is beautiful in the story as something so much more sinister.
Song of the Blog: "Cemeteries of London" by Coldplay
Tuesday, March 10, 2009
Beauty and the Beast ending
One thing I found particularly interesting between the story and the film were their endings. In Beaumont’s version, the Beast is saved because Belle says she will marry him. Yet in Cocteau’s film, the Beast says that Belle saved him because she gave him a look of love. In the beginning of the film the Beast says that Belle should not look into his eyes. I don’t believe this was evident in the text and the film seemed to include a lot more aspects of looking and was preoccupied with the component of the gaze. Finally in the film, when Belle is able to look the Beast in the eyes with true tenderness and love, he becomes a man again. In the text it is the contract of marriage that releases the Beast from his spell. I enjoyed Cocteau’s version because the whole aspect of the look seemed more romantic and was carried throughout the film. I’m not sure if this is correct or not but it appeared that when Belle gazed upon the beast, smoke came from his body. This seemed most evident in the scene when she stands behind the statue and is staring at the Beast and you can see smoke coming from his paws. I wondered if this foreshadowed the whole idea of the look of love being able to save the Beast.
One thing I found particularly interesting between the story and the film were their endings. In Beaumont’s version, the Beast is saved because Belle says she will marry him. Yet in Cocteau’s film, the Beast says that Belle saved him because she gave him a look of love. In the beginning of the film the Beast says that Belle should not look into his eyes. I don’t believe this was evident in the text and the film seemed to include a lot more aspects of looking and was preoccupied with the component of the gaze. Finally in the film, when Belle is able to look the Beast in the eyes with true tenderness and love, he becomes a man again. In the text it is the contract of marriage that releases the Beast from his spell. I enjoyed Cocteau’s version because the whole aspect of the look seemed more romantic and was carried throughout the film. I’m not sure if this is correct or not but it appeared that when Belle gazed upon the beast, smoke came from his body. This seemed most evident in the scene when she stands behind the statue and is staring at the Beast and you can see smoke coming from his paws. I wondered if this foreshadowed the whole idea of the look of love being able to save the Beast.
Assignment: 10 March 2009
Since many of you still need to watch the Cocteau film, posts will be due at midnight on Wednesday instead of Tuesday.
Pick one scene or element from Cocteau's "La Belle et La Bête" and compare it or contrast it with de Beaumont's version. You might pick something that interests you, that seems odd, or something that you missed in one version or the other, for example.
Pick one scene or element from Cocteau's "La Belle et La Bête" and compare it or contrast it with de Beaumont's version. You might pick something that interests you, that seems odd, or something that you missed in one version or the other, for example.
Wednesday, February 25, 2009
Pepelyouga - the Serbian Cinderella
Now this version of Cinderella was much more like the Brothers Grimm's version of Cinderella than Charles Perrault. It had the same kind of deep set magic, tied in with death, rather than the happy-go-lucky magic of the French version of Cinderella. However there are some major differences between the two stories.
Firstly, one of the major differences is that Pepelyouga's real mother, before she dies, is first turned into a cow. Now I do not know the significance of cows in Serbian culture, but I believe it would be quite interesting to find out. This cow then helps Pepelyouga with her seemingly impossible chores. It is after this little cow interlude, that the story returns to a more Grimm-esque fairy tale. The talking cow (mother) asks to be buried under a certain stone of a house and tells Pepelyouga that if she ever needs help, she is to come to the grave and ask for it. Also she asks Pepelyouga not to eat the meat of the slaughtered cow - this is interesting as it appears the Serbian tale puts emphasis on the evilness of cannibalism. It is okay that both the father, the evil step-mother and the step-sister eat the cow (who is actually the mother) but good sweet innocent virtuous Pepelyouga is forbidden to eat it, lest she turn into an evil person like the rest of her family.
There is also a great emphasis on religion in this version of Cinderella. Instead of going to a ball at the palace, the stepmother and stepsister leave Pepelyouga at home slaving away, whilst they go to church. The doves sitting on top of a chest on top of the mother's grave tell Pepelyouga to go to church dressed in the beautiful dresses, and it is here in the church that she meets her Prince Charming, the Czar's son. It is whilst she is being pious and virtuous that she is discovered by her Prince and of course, he immediately falls in love with her.
The Serbian version of the fairy tale ends in a similar way, however to the Perrault fairy tale. Instead of their being blood and maimed feet and faces, Pepelyouga is simply carried off into the sunset by her handsome Prince. However it is interesting to note though that it specifically says that "Later he won her love and they were happily married." This Cinderella seems to be more level-headed than the other Cinderellas. Instead of just swooning into the arms of the Prince, he has to win her love. This makes them seem more on an equal level. It would be interesting to see when this Serbian version of the tale was written - to see if it was written during a time of feminism etc.
Firstly, one of the major differences is that Pepelyouga's real mother, before she dies, is first turned into a cow. Now I do not know the significance of cows in Serbian culture, but I believe it would be quite interesting to find out. This cow then helps Pepelyouga with her seemingly impossible chores. It is after this little cow interlude, that the story returns to a more Grimm-esque fairy tale. The talking cow (mother) asks to be buried under a certain stone of a house and tells Pepelyouga that if she ever needs help, she is to come to the grave and ask for it. Also she asks Pepelyouga not to eat the meat of the slaughtered cow - this is interesting as it appears the Serbian tale puts emphasis on the evilness of cannibalism. It is okay that both the father, the evil step-mother and the step-sister eat the cow (who is actually the mother) but good sweet innocent virtuous Pepelyouga is forbidden to eat it, lest she turn into an evil person like the rest of her family.
There is also a great emphasis on religion in this version of Cinderella. Instead of going to a ball at the palace, the stepmother and stepsister leave Pepelyouga at home slaving away, whilst they go to church. The doves sitting on top of a chest on top of the mother's grave tell Pepelyouga to go to church dressed in the beautiful dresses, and it is here in the church that she meets her Prince Charming, the Czar's son. It is whilst she is being pious and virtuous that she is discovered by her Prince and of course, he immediately falls in love with her.
The Serbian version of the fairy tale ends in a similar way, however to the Perrault fairy tale. Instead of their being blood and maimed feet and faces, Pepelyouga is simply carried off into the sunset by her handsome Prince. However it is interesting to note though that it specifically says that "Later he won her love and they were happily married." This Cinderella seems to be more level-headed than the other Cinderellas. Instead of just swooning into the arms of the Prince, he has to win her love. This makes them seem more on an equal level. It would be interesting to see when this Serbian version of the tale was written - to see if it was written during a time of feminism etc.
Tuesday, February 24, 2009
Fair, Brown, and Trembling (or) The Irish love a good fight
I read "Fair, Brown, and Trembling," Jeremiah Curtin's Irish tale on Ashliman's Website. The tale is based in Tir Conel, nowadays Donegal, up in the Northern part of the Republic. The first thing that jumps out to me is in this version it is neither the father nor the mother who is the main catalyst for Trembling's (Cindarella) mistreatment; it is the sisters. While the father is a non-factor like the half of tales that portray the (step)mother as the bad guy, the sisters being the main oppressors stand out.
The next major thing that sticks out to me is how Trembling's identity is connected to her looks. Many other tales revolve around her being recognized as the right girl only after she is cleaned up; she must show up wearing all three different outfits to prove her identity, really stressing the appearances aspect of the tale.
Another fun addition is the fight scene. The prince has to fight several other princes over a series of epic battles until no one else is willing to fight him. Epic contests of this nature are very "Irish folktale," but don't really seem to surface elsewhere in Cinderella tales. It makes the prince seem more worthy, but doesn't really give Trembling any more agency in selecting her mate.
Towards the end of the tale, Trembling is swallowed by a magic whale. While this is not the only Cinderella tale where the sister tries to do Cinderella harm after she is happily married, this episode has a lot of detail in this version. Again, the prince must perform an epic feat of strength to save her, asserting his right to be her husband.
I am most puzzled by the henmother. Not surprisingly, Catholicism is an important part of this story. However, whenever the henmother helps Cinderella, she puts on her cloak of darkness and gets the clothes magically. It is not clear, but this sounds like witchcraft rather than magic to me. I don't have any problem accepting it, it just seems very un-Catholic and out of character for the story.
Overall, I like this tale a lot. In addition to being a retelling of the basic Cinderella plot, it incorporates lots of other motifs from completely different fairy tales. It also has a distinctly Irish flair.
Song of the Blog: "Coup D'Etat" by Lord T and Eloise
The next major thing that sticks out to me is how Trembling's identity is connected to her looks. Many other tales revolve around her being recognized as the right girl only after she is cleaned up; she must show up wearing all three different outfits to prove her identity, really stressing the appearances aspect of the tale.
Another fun addition is the fight scene. The prince has to fight several other princes over a series of epic battles until no one else is willing to fight him. Epic contests of this nature are very "Irish folktale," but don't really seem to surface elsewhere in Cinderella tales. It makes the prince seem more worthy, but doesn't really give Trembling any more agency in selecting her mate.
Towards the end of the tale, Trembling is swallowed by a magic whale. While this is not the only Cinderella tale where the sister tries to do Cinderella harm after she is happily married, this episode has a lot of detail in this version. Again, the prince must perform an epic feat of strength to save her, asserting his right to be her husband.
I am most puzzled by the henmother. Not surprisingly, Catholicism is an important part of this story. However, whenever the henmother helps Cinderella, she puts on her cloak of darkness and gets the clothes magically. It is not clear, but this sounds like witchcraft rather than magic to me. I don't have any problem accepting it, it just seems very un-Catholic and out of character for the story.
Overall, I like this tale a lot. In addition to being a retelling of the basic Cinderella plot, it incorporates lots of other motifs from completely different fairy tales. It also has a distinctly Irish flair.
Song of the Blog: "Coup D'Etat" by Lord T and Eloise
Cinderella Post
From the Ashliman website, I read the Norwegian version of Cinderella, Katie Woodencloak. I found this version not as exciting as the Perrault or the Grimms version, despite the fact that there were some magical elements in the story. Although many of the versions are unrealistic, the magic within the stories is enjoyable. I found the magical elements in Katie Woodencloak unappealing, especially the three trolls in the forest that the talking bull has to fight; however, I do realize that trolls are a part of Norwegian culture. I also did not like the fact that the prince was so mean to Katie Woodencloak when she was in her wooden cloak and that despite this, she still went to see the prince in church those three times. The storyline with the dead bull was also left in the open; did he magically turn into the man who gave Katie the copper, silver, and gold kilts? Overall, I was not impressed.
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