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Orpheus (Criterion) (Blu-Ray) (Version française)

Jean Marais , Francois Perier , Jean Cocteau    Unrated   Blu-ray
5.0 out of 5 stars  See all reviews (2 customer reviews)
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This 1950 update of the Orphic myth by Jean Cocteau (Beauty and the Beast) depicts a famous poet (Jean Marais) scorned by the Left Bank youth, and his love for both his wife Eurydice (Marie Déa) and a mysterious princess (Maria Casarès). Seeking inspiration, the poet follows the princess from the world of the living to the land of the dead through Cocteau’s famous mirrored portal. Orpheus represents the legendary Cocteau at the height of his abilities for peerless visual poetry and dreamlike storytelling.

BLU-RAY SPECIAL EDITION FEATURES
• New high-definition digital restoration, with uncompressed monaural soundtrack
• Audio commentary by French film scholar James Williams
• Jean Cocteau: Autobiography of an Unknown, a 1984 feature-length documentary
• Video piece from 2008 featuring assistant director Claude Pinoteau on the special effects in the film
• 40 Minutes with Jean Cocteau, an interview with the director from 1957
• In Search of Jazz, a 1956 interview with Cocteau on the use of jazz in the film
• La villa Santo-Sospir, a 16 mm color Cocteau film from 1951
• Gallery of images by French film portrait photographer Roger Corbeau
• Raw newsreel footage of the Saint-Cyr military academy ruins, a location used in the film
• Theatrical trailer
• PLUS: A booklet featuring an essay by author Mark Polizzotti, selected Cocteau writings on the film, and an essay on La villa Santo-Sospir by Williams


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By bernie TOP 100 REVIEWER
Format:Blu-ray
"Orpheus" was slightly adjusted but this actually adds to the experience. Orphée (Jean Marais) being a poet is fascinated with The Princess - Death (María Casares). So The Princess decides to bump off Orphée's wife Eurydice (Marie Déa) so she can have her way with Orphée. In the process the princess' chauffer Heurtebise (François Périer) falls in love with María. Where will all this lead?

The film "Orpheus" (1950). It starts out telling the story of Orpheus. They show how a timeless story can be applied to any time and place. I will now always think of this film when I think Orpheus. I had to use the subtitles but by the end of the film I felt that they borrowed a lot of colloquial English to make the French langrage. Either that or I could almost follow the film without subtitles. Maybe because I am not familiar with the actors of the time, I though just the right actor was picked for each part and did not replace the character with their own personality.
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5.0 out of 5 stars A great masterpiece Oct. 12 2013
Format:Blu-ray|Verified Purchase
Jean Cocteau was a poet, a painter and a filmmaker. Orphee is, with "la Belle et la Bete", one of his great films.
This edition from Criterion is full of interesting extras.
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Amazon.com: 4.6 out of 5 stars  20 reviews
8 of 8 people found the following review helpful
5.0 out of 5 stars "From Now On You Belong to the Other World" Sept. 7 2011
By Stephen C. Bird - Published on Amazon.com
Format:DVD|Verified Purchase
I enjoy studying "Orpheus", my favorite of Cocteau's films for its sheer originality, cryptic whimsy, audio-visual conceptual risks, and superb musical score by Georges Auric. Each time I see it, more is revealed to me, thanks to the richness of the details and the underlying subtext. The picture switches effortlessly between "real-world life" and "dream world / underworld reality". This film features trick shots and special effects that are simple, yet state of the art for their time (as is also the case in "La Belle et La Bête"): rubber gloves, that grant one entrance to the Underworld, by means of walking through mirrors; mirrors with watery surfaces; broken mirrors reassembling; the Princess ("La Mort"--María Casares) disappearing and reappearing; mysterious sequences of numbers and abstract poetry fragments emanating from the Princess' car radio.

Although all the performances are excellent, María Casares is the star of this film, with her strong, take-charge, no-nonsense approach. Conversely, she is also vulnerable, and ultimately pays the price, for misusing the privileges of her power, by falling in love with Orpheus (Jean Marais). The Princess' assistant, Heurtebise (François Périer), is introduced as a vaguely sinister presence, but is soon revealed to be a sympathetic character; he falls in love with Orpheus' wife, Eurydice (Marie Déa). In the end, in an act of compassion, the Princess and Heurtebise are punished for returning Orpheus and Eurydice to the world of the living. The film closes with soaring orchestrations, followed by a coda of drums; intermittently throughout the picture, those drums provide a memorable background for the poets / "bacchantes", their brawling at the Café des Poètes, as well as for the Underworld, for which the ruins of the Saint-Cyr military academy provide a fantastic visual backdrop.

A second DVD of supplemental material provides a wealth of information about Cocteau, for those interested in learning more. By way of the various interviews, documentaries and programs included on the supplemental DVD, one can become more familiar with his archetypes. In one documentary, Cocteau talks about how people often worship the name of an artist, without even knowing their work; they worship fame for fame's sake. So perhaps Cocteau foresaw the development of our current culture that is filled with vacuous celebrities who celebrate the mundane. And yet, maybe hypocritically, he acknowledges the advantages of fame. As much as he was a key figure of the avant-garde of his era, he was also interested in having as big an audience as possible.

Stephen C. Bird, Author of "Hideous Exuberance"
16 of 21 people found the following review helpful
5.0 out of 5 stars Blu-ray: One of the greatest, visually poetic films of all time. Dec 16 2011
By Dennis A. Amith (kndy) - Published on Amazon.com
Format:Blu-ray
In French cinema, there are many filmmakers named Jean Renoir, Jean Vigo, Jean-Luc Godard, Jean-Pierre Melville, to name a few. But among these filmmakers who really never craved the spotlight was Jean Cocteau. A proud man with humility and creative talent that extends beyond cinema.

Before Cocteau was a playwright, a screenwriter, a director...he was one of the most prestigious, talented poets living in France.

At a young age, similar to Jean Vigo who suffered through pain throughout his childhood after the death of his father, Jean Cocteau lived a different life. Coming from a prominent family, like Vigo, at a young age, Jean Cocteau lost his father (who committed suicide).

Where a filmmaker like Vigo had cinema at a young age to escape reality, Cocteau had poetry.

In fact, his first volume of poems titled "Aladdin's Lamp" was created at the age of 19 and would eventually become popular through his poetry.

But it was World War I which changed Cocteau. He would meet poet Guillaume Apollinaire, artist Pablo Picasso and Amedeo Modigliani and would later collaborate with many talents which include Russian choreographer Sergei Diaghilev, who persuaded the poet to write a scenario for his ballet "Parade" in 1917.

As one of the great poets, the introduction to writing for a ballet would lead him to writing and directing plays but also novels. Among the novels he is known for are "Les Enfants Terribles" (1929), "The Blood of the Poet" (1930), "Les Parents Terribles" (1948), "Beauty and the Beast" (1946) and "Orpheus" (1949).

In 1930, is Cocteau's "The Blood of a Poet" would be the first film that would become the start of a trilogy known as "The Orphic Trilogy", followed by film adaptations of his novels "Orphee" and "Testament of Orpheus" (1960). The trilogy which are not connected to each other in terms of story would showcase Jean Cocteau the writer, the poet, the novelist, the playwright and filmmaker. Utilizing the Orphic myth to explore the relationship between artist and their creations, reality and imagination.

In 2000, the Criterion Collection released "The Orphic Trilogy" on DVD but recently, Cocteau films/works are now being released in the US by the Criterion Collection on Blu-ray. While "Beauty and the Beast" is the first Cocteau film to be released on Blu-ray in America, the second is "Orpheus" (Orphee) which is also the second film of "The Orphic Trilogy".

A film that remains poetic and influential for many artists today. In fact, for music fans, an image from the film is used in the Smith's single "This Charming Man", the music video for "Take On Me" was inspired by "Orpheus" and radio messages from the film were sampled in "DJ Culture" by the Pet Shop Boys. And in 2010, the film was voted in Empire Magazine's "100 Best Films of World Cinema".

And while the film has its place in cinema and also pop culture, from a cultural, poetic and creative artist such as as Jean Cocteau, its the symbolic nature of the film, people who want to delve further into the life of Jean Cocteau and the era of when the film was written, to grasp how World War II had an impact in the making of the film but also, at 60-years-old, "Orpheus" was also a film that included elements of how Cocteau was feeling about his past-life, how he felt about his peers.

How he saw the new generation of poets being free, but at the same time, showing disdain towards how they lived their lives. A different experience when Cocteau was younger.

But as for the story of "Orpheus", it was a chance for the talented artist to bring his passion but also part of his life to cinema. In a much different style than what he had done years earlier with "Blood of a Poet".

"Orpheus" is one of cinema's celebrated, visually poetic films ever created and a true representation of the creative genius of writer/director Jean Cocteau.

VIDEO:

"Orpheus" is presented in 1080p High Definition, black and white (1:33:1 aspect ratio). As a previous owner of "The Orphic Trilogy" DVD Box set, as expected from the Criterion Collection, the contrast of the film looks fantastic! Black levels are inky and deep, contrasting whites and grays are magnificent and while there may be signs of mild flickering at the beginning, by no means does it ruin one's viewing pleasure of this 1950 film.

According to the Criterion Collection, the new digital transfer was created in 2K resolution on a Spirit 2K Datacine from a 35 mm fine-grain internegative struck from the original nitrate negative. The restoration of Orpheus was carried out in a collaboration with the Archives francaise du film in Bois-d'Arcy, France, under the supervision of assistant director Claude Pinoteau. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system and Pixel Farm's PFClean system, while Digital Vision's DVNR system was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

"Orpheus" is presented in French monaural with English subtitles. The film is dialogue driven and dialogue is crystal clear through the center channel.

According to the Criterion Collection, the original monaural soundtrack was remastered at 24-bit from a 35 mm optical track print. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using Audio Cube's integrated workstation.

SPECIAL FEATURES:

"Orpheus - The Criterion Collection #68' on Blu-ray comes with the following special features:

Audio commentary - An excellent and in-depth audio commentary byFrench-film scholar James S. Williams.
Edgardo Cozarinsky's "Jean Cocteau: Autoportrait d'un Inconnu (Autobigraphy of an Unknown) - (1:08:51) The longest feature of this entire DVD is the 1984 documentary about Jean Cocteau. For those interested in knowing more about the filmmaker/poet, this documentary is very informative as Cocteau talks about his childhood, his artistic contemporaries and more.
In Search of Jazz - (17:38) An interview from April 24, 1956 as Cocteau discusses the use of music in his films.
Jean Cocteau and His Tricks - (13:29) A 2008 video interview with assistant director Claude Pinoteau by Marc Cairo.
40 Minutes with Jean Cocteau - (40:37) From an interview back in August 28, 1957, for the TV series "At Home With..." featuring Francois Chalais talking to Jean Cocteau.
La villa Santo-Sospir - (36:26) Jean Cocteau's 16 mm color film from 1951. A visit of Francine Weisweiller's Villa in Saint-Jean-Cap-Ferat, on Côte d'Azur, which was decorated by Jean Cocteau.
Gallery of images by French-film portrait photographer Roger Corbeau - Using your remote (or computer arrow button), you can scroll through a gallery of images.
Saint-Cyr Military Academy Ruins - (1:41) Raw newsreel footage from 1950 of the , a location used for "The Zone" in "Orpheus".
Theatrical trailer - (3:31) Theatrical trailer for "Orpheus".

EXTRAS:

"Orpheus - The Criterion Collection #68' comes with a 30-page booklet, which includes the following essays: "Through a Glass, Amorously" by Mark Polizzotti, "Cocteau on Orpheus", "Cocteau's La villa Santo-Sospir" by James S. Williams.

JUDGMENT CALL:

Filmmaker Francois Truffaut once asked the question, "Do we still have to prove how important a filmmaker Jean Cocteau is?"

In 2011, there is no arguing of Jean Cocteau's place in cinema. There is no arguing how influential and how multi-talented he was not only as a poet, a playwright, novelist, filmmaker, etc. He was a person who embodied the life of artistic creation and a man who lived life at the beat of his own drum. A man who lived with humility and lived a long life of being wanted because of his talent.

I use a juxtaposition with Jean Vigo and Jean Cocteau, not to compare their talent but to show how a few films created by these two individuals, would remain as an inspiration for other filmmakers not just in the '50s but also to filmmakers today.

For Cocteau, while "The Blood of a Poet" and "Testament of Orpheus" were very different kind of films when compared to "Orpheus", many probably were attracted or repulsed by the level of surrealism in his films, "Orpheus" was not surreal but it was poetic in nature, especially when you work with an actor such as Jean Marais.

You just don't see films like Cocteau films. Others have their own way of taking on surrealism, but when you have a creative poet wanting to make poetry visual for cinema, its a rarity in cinema.

There is a visually poetic and creative way he directs his talent but also knows what to get out of them. From the way the film is acted, it is like watching a play as Orpheus reactions when he comes home to his wife and is haunted by his exchange with the Princess (Death). From the scene where he wakes up on top of the mirror on the sand, it's a classic yet artist shot or when we see Death coming out of the mirror to visit Orpheus when he is asleep.

It's a fantastic blend of fantasy and reality which we have seen before, especially in "Beauty and the Beast". A whimsical probe of a character done intelligently, a bit of surrealism but a film that show us why Cocteau is an important and unique filmmaker with a style that can never be duplicated.

These are intoxicating images that are strong, beautiful and you feel almost as if you are part of that dreamlike environment that the characters are part of. There have been films where one tries to reach out to their dead spouse, but the film is more sci-fi in nature because of the focus and over-reliance of visual effects.

The people from the netherworld are not shown in demonic forms. Death is not the typical look of a robe with a hand holding a sickle, death is beautiful, death is emotional, death wants to find love in Orpheus, as Orpheus also finds love in the death. And that is something that should not happen.

The film shows us the anguish each side feels towards the unknown. Death loves Orpheus, who loves Death but also loves his wife Eurydice who loves him, but feels alone because of his focus is more on lady death and thus, we see one man staying with her (Heurtebise) when the other, Orpheus is consumed with his passion to find death.

Sure this is somewhat a modern 1950's retelling of the Greek myth but who else can craft something so genius and mesmerizing? No other than Jean Cocteau. And suffice to say, if you watch "Blood of a Poet" and then you go this film, you realize how far the filmmaker has come since his last film.

But when it all comes down to it, there is nothing like "Orpheus". It's a great film and its exciting to see The Criterion Collection bring this out on Blu-ray but most importantly, to showcase the career of Jean Cocteau through many lengthy special features.

I know that many of the Jean Cocteau fans own "The Orphic Trilogy" and in some cases, typically when Criterion releases a classic that was on DVD for Blu-ray, the special features are the same.

In this case, it is not the same. The original DVD version of "Orpheus" didn't come with hardly any special features but the other films included in the trilogy did. The 1984 documentary and "Villa Santo Sospir" were included in the trilogy DVD box set on the discs of "The Blood of a Poet" and "Testament of Orpheus" but everything else on this Blu-ray is new.

From listening to the in-depth and wonderful commentary and just the sheer amount of well-done documentaries and also classic interviews, this Blu-ray release of "Orpheus" is a wonderful tribute to Jean Cocteau.

And I can tell you right now, because of the enhanced picture quality, the booklet and the additional special features, "Orpheus" on Blu-ray is obviously worth the upgrade, especially if you are a Jean Cocteau fan. It's a 5-star release and I give it my highest recommendation.

But with that being said, for the newbie Criterion Collection fans who are used to more literal storylines, Jean Cocteau films, especially "Orpheus" is creative and is visually poetic, for some people, Cocteau's films may not be for them. "Orpheus" may not be for them. It takes an appreciation of Cocteau's work and his style to really enjoy this film.

So, for those who adore Cocteau's films, especially "The Orphic Trilogy", will be happy to know that with this Blu-ray release, you are not only getting a better version of the film to date, there are also a good number of special features included.

Once again, another fantastic Blu-ray release from the Criterion Collection that is highly recommended!
3 of 3 people found the following review helpful
5.0 out of 5 stars Nether-this and nether-that.... April 15 2012
By Dr. Morbius - Published on Amazon.com
Format:Blu-ray|Verified Purchase
Jean Cocteau pulls out his usual bag of tricks to create a film that rivals his magnificent Beauty and the Beast (1946). Both films are masterpieces which deserve your undivided attention--especially on blu-ray where the blacks are black and the whites are white and mirrors are the doorways to unreality and back again in a gray-warp of unintentional mystery....Get it....
9 of 12 people found the following review helpful
4.0 out of 5 stars Perhaps one has to be in love to truly make sense of this film. Sept. 10 2011
By Brad Baker - Published on Amazon.com
Format:DVD
Jean Cocteau explored the myth of Orpheus three times. This second of his trilogy("Orpheus" 1949) stars Jean Marais as the young poet Orpheus; married to the lovely Eurydice. Orpheus' friend Cegeste is killed in a traffic accident, but the Princess of Death revives the young man. Cegeste and the Princess pass into the Underworld. Orpheus receives messages from Cegeste's spirit via a car radio(?), and visits from the Princess. Meanwhile Orpheus' wife enters into an affair, and is also struck down and killed. Enough drama? Now enchanted, Orpheus falls in love with the Princess, the glamorous Incarnation of Death. The narrator, Cocteau, implies "You look at yourself in a mirror all the time. And you see Death at work. Mirrors are the doors through which Death comes and goes..."In "Orpheus", Cocteau escorts us through his magic-mirror portals to Hades; nothing more than modern, bomb-ravaged Paris. Reverse photography, slow-motion, and rear projection provide cinema illusion resolving back to his "La Belle Et La Bete(1946)", also starring Jean Marais, Cocteau's one-time lover. Jean Cocteau was a French poet, novelist, playwright, and filmmaker. Tragic himself, his father committed suicide when Cocteau was ten. Disallusioned, Cocteau became addicted to opium, and wrote "Les Enfants Terribles" during the worst of his drug crisis. Cocteau died of a heart attack in October 1963, and is buried beneath the floor of the Chapelle Saint Blaise Des Simples in Milly-la-Foret. This 2-disc Criterion release is a new high-definition restoration, with audio commentary by scholar James Williams, "Jean Cocteau: Autobiography" from 1984, a video from 2008 with assistant director Claude Pinoteau on special effects, "40 Minutes with Cocteau", a TV interview from 1957, "In Search of Jazz", another interview from 1956, and "La Villa Santo-Sospir", a 16mm color Cocteau documentary from 1951 that has never been seen before. There is also a photo gallery, the trailer, and raw newsreel footage of the bombed-out Saint Cyr military academy ruins, built by Napoleon in 1808, and used as a shooting location. And there is a booklet by author Mark Polizzotti, with an essay by Cocteau. Criterion previously released "Orpheus" in April 2000. Not a perfect film, "Orpheus" is yet a vibrant fantasy-film-poem from a French artist in his prime. As Cocteau says: "Allow me to salute you my lord. It's been a long time since I've never met you." Mark Polizzotti says it best: "Without entirely knowing why, the poet will continue to sing of Death, to seek her out, until the day he goes to his own eternity--and even then he will not find her..."
1 of 1 people found the following review helpful
5.0 out of 5 stars Can a Person Fall in Love...With Death ? Aug. 13 2013
By Gerard D. Launay - Published on Amazon.com
Format:DVD
For as long as I remember, I watch this film every 5 years. Something about the imagery pulls me into its alternative world, unlike any other movie I have experienced. (Yes, that is the right word). Mirrors that turn into water...mirrors that can seize a life...mirrors that reform themselves after being broken. Magic? Not quite. Dream? ... absolutely.

Like the Song of Songs where "Love is as Strong as Death", both the Biblical Poem and the Film use dreams within dreams to fuel our imaginations and desires. In Jean Cocteau's vision, Death is incarnated as a beautiful but mysterious women dressed immaculately in black and white. (These reflect her association with the ETERNAL FEMININE, the colors of the MOON). She commands - and others must obey. But once she glimpses Orpheus (played by the impossibly handsome Jean Marais), she herself falls in love. The forbidden act of love induces Death to violate the rules of her other world, to bring Orpheus back with her, and to go so far as to orchestrate the death of his wife. Ashamed by his lack of attention to his wife or, more likely, drawn by an inexplicable desire for death itself, the poet Orpheus voluntarily passes into the hidden underworld of Death - perhaps to comprehend the other, perhaps to fulfill his own wish to escape an ordinary life.

I disagree with Roger Ebert who opines that the female who incarnates Death should have been played by Greta Garbo or Marlene Dietrich. Had that been so...the personality of Death would have been mixed with the personality of one of these stars of the silver screen, With Maria Casares, we experience her anew, untainted by other associations. Part of the charm of the film is that Death herself is vulnerable to but one thing, and that is love.

Maria Casares as Death does not commit any misdeeds personally. She gives orders to two leather clad minions on motorcycles who literally take the lives of others. They remind me of Nazis, emotionless, who unthinkingly carry out the commands of their higher-ups. Nevertheless, DEATH herself is not All Powerful. She is required to obey orders from above and is even answerable to Judges if she does not. Orders are passed from one being to another, so that the ORIGINAL source of the orders becomes unknown or unknowable. Ultimately, then, this becomes a religious film because it involves GOD, but never shows him. As for DEATH, is she a CHRIST figure? She sacrifices herself so that others may have life. Or perhaps the film might be interpreted as the conflict between matriarchal and patriarchal spirituality.

There are other important symbolic references. Although the film has a timeless feel, nevertheless it was written at a certain time and place - The bureaucracy of the underworld is set within the (actual) bombed out remains of France's officer military academy. (Imagine an American film set within the actual bombed out remains of West Point - and you get the idea). One organization that gives and carries out orders replaces another organization that gave and carried out orders. In addition, the ruin of that military school reminds the viewer of France's initial failure in the war. Is the resurrection of the poet, at the end of the film, then a resurrection of FRANCE itself after the occupation. The film works on so many levels.

In five years, I will see the film again. My mirrors will show death at work.
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