A filmmaker must count with his films spent in this drama of incredible forgotten meta-fantasia

Jean Cocteau I only made a handful of films throughout his career, because cinema was only one of the many art forms in which he excelled. Poet, playwright, novelist and painter, Cocteau has often used cinema as a means of exploring the artist’s relationship with their work, especially in what has become known as his Orphic trilogy. This has reached its summit in its latest film, Orpheus’ willA metaxual fantasy in which Cocteau himself travels through time to count with the work of his life. Released in 1960, only three years before his death at the age of 74, the film operated as a final CODA in a way for one of the most consecutive avant-garde artists of the 20th century.

“ Testament of Orpheus ” uses classic myths to explore life and art

Orpheus’ will is less a film and more a cinematographic essay, Cocteau playing as a poet of the 18th century traveling in time and space. Throughout his trip, he meets many figures from his past which have had a significant effect on him, both professionally and personally: Jean MaraisLongtime lover and muse of Cocteau; María Casaresdirector Orpheuswho questions him about the work of his life; And Édouard DermitheCégerte Orpheus And acts as a guide on Cocteau’s trip. There are also appearances of various other artists, including the actor Yul Brownspainter Pablo Picassosinger-songwriter Charles AznavourAnd The 400 strokes star Jean-Pierre Léaud. While Cocteau moves through sound stages, art studios and ancient ruins, he considers the relationship between an artist and the work they create, and the effect it has on society as a whole.

It was the third and last entry into the Orphic Trilogy of Cocteau, which included the 1930s The blood of a poet and 1952 Orpheus. Everyone is vaguely inspired by the Greek myth of Orpheus, a musician who goes to hell to recover his deceased wife, Eurydice, to lose her forever when he did not obey the command of the gods not to look at her. Rather than strictly telling the myth, Cocteau uses it as a launch ramp to explore the central theme of his work: the ways of which the creation of an artist is simultaneously in reality and fantasy. Cocteau uses reflective cinema techniques – direct address, special effects, visual cunning – to draw attention to the artifice of the film, reminding the public that they watch a film. At the same time, he uses these techniques to ensure that the fantastic seems real, as he did in his 1946 adaptation of Beauty and the beast.

“ Testament of Orpheus ” is a testimony of creation

The central concern of the Orphic Trilogy is the relationship of an artist with their work, which takes his own life once she was born. His first film, the surrealist experimentation The blood of a poetliterally presents it, as a statue (Elizabeth Lee Miller) Convince a poet (Enrique Riveros) to jump through a mirror in another world. Orpheus is the simplest adaptation, according to a contemporary Parisian poet (marsh) which follows a princess (Casares) in the underworld in search of his wife (Marie Weapon). Orpheus’ will is the most reflecting of the three, starting with scenes from Orpheus This cocteau observes himself. The characters come to life to interact with their creator, questioning him about his motivations, forcing him to examine what led him to create in the first place. It is the natural conclusion of a career in cinema that began with a journey through art and myth.

As with all his films, Cocteau evokes magic thanks to the film technique. He often turns the action in reverse, then plays the film upside down to create fantastic images: a burnt whim of dermithe is sought, then torn and thrown into the sea to invoke the actor of the water; Cocteau tears a flower in pieces, only to put it back together. At other times, Cocteau goes through a double of himself. To others, it literally disappears from the screen. These effects may not have the sophistication of the modern CGI, but they have the power to dazzle us through their artifice. They draw attention to the relationship between fantasy and reality that exists throughout art, which, of course, carries the fingerprints of their creator.

Orpheus’ will is available to broadcast on max in the United States

Orpheus will

Release date

February 18, 1960

Execution time

80 minutes

Director

Jean Cocteau

Writers

Jean Cocteau

Producers

Jean Thuillier

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  Edouard Dermithe

  Corporate party

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  Henri Crémieux

  The teacher

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  François Péer

  Offend