Jean Cocteau’s final film is often apt to be dismissed when compared with his earlier mythologically-hued triumphs like Orpheus (1950) or Beauty and the Beast (1946), but that would be a mistake, because for me it feels like one of his most essential, if not personal, works — and not just because he takes the central role. Once again he reconfigures the Orpheus mythology, with Cocteau as a time-travelling poet, and the stars of his previous film (not to mention celebrity friends and admirers like Pablo Picasso and Jean-Pierre Léaud) showing up in cameos. He utilises all his favourite filmic tricks and tropes, with mirrors-as-portals and living statues and struggles against gravity and painted eyes, but most notably the ripped petals on a flowing leaping back into place thanks to reverse photography. Criticisms of it being self-indulgent may not be inaccurate, but they’re beside the point, for what else should this be if not self-indulgent. It’s a freewheeling, loosely-structured paean to poetic indulgence, and should be celebrated as such. It’s certainly a fitting end to Cocteau’s long and varied career.
Criterion Extras: There’s are some texts by Cocteau about the film, as well as a medium-length film La Villa Santo Sospir (1952), made at a prominent location in Testament, the home of one of Cocteau’s patrons, filled with his artworks. Cocteau tries out some of the techniques he would use in the later feature, particularly the reverse loops of flowers regaining their petals, as well as talking at length about his pieces of artwork for the home. It’s fascinating mainly as notes towards the later work, a film in miniature about Cocteau and his artwork.
FILM REVIEW: Criterion Collection
Director/Writer Jean Cocteau; Cinematographer Roland Pontoizeau; Starring Jean Cocteau; Length 80 minutes.
Seen at home (DVD), London, Sunday 13 December 2015.