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8 of 8 people found the following review helpful
on April 15, 2012
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....
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20 of 25 people found the following review helpful
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.


"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.


"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.


"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".


"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.


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!
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6 of 6 people found the following review helpful
on February 3, 2012
I hadn't seen this in years, I have it on VHS but don't have use of a VHS player(too lazy to hook it up, plus no HDMI output etc)... so it's strange to watch this now. Cocteau used his typically novel film techniques to the point of humor sometimes, but this movie exhibits a couple of his most famous scenes that shouldn't be missed by those who love film history. I won't even go into the story/theme why spoil it completely? If you like "art" films then check it out. Ultimately this is a romantic film in nature with Cocteau once again weaving an otherworldly spell of sorts upon the world of cinema. 5 stars simply because it is unique for those who have patience.
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5 of 5 people found the following review helpful
I totally loved this, and was able to follow it in French which is much more dramatic and flowery and oddly more fitting than the subtitles. This film foreshadowed THE MATRIX in many ways that you will be able to pick out, from Trinity's costume, to agents. Cocteau is a wildly insane genius. There is a lot of originality in here. While it is not completely faithful to the original Greek/Roman Myth, See it, as "Filme."
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3 of 3 people found the following review helpful
on January 30, 2013
Jean Cocteau was a genius, doing film not by the books, breaking barriers, giving us the unexpected. I loved this film and Beauty and the Beast when I saw both in the mid 70s. They have only improved with time. You don't need the subtitles to understand these films. This is the poet as film maker. AND there is Jean Marais.

The DVD has great additional features. Interviews with two of the principal actors; interviews with Cocteau and a home movie (so to speak). It is important to remember when this film was made to appreciate some of Cocteau's film 'tricks'. Some of the extra features help put this in context with the period. This would make an interesting double bill with Black Orpheus (another of my favourites).
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2 of 2 people found the following review helpful
on April 1, 2012
Criterion has put out two films from the 1950s that pay homage to the Greek story of love and death they are named after, both by french directors: 'Orpheus', directed by Jean Cocteau (1950), and 'Black Orpheus', by Marcel Camus (1959).

Despite this, while both are based on the same mythologic legend, neither movie is remotely close to being a carbon copy of the other. In Cocteau's Orpheus, the protagonist is a well known poet in France, who while still adored by his fans seems both burnt out and willing to make fun of the young poets trying to follow in his footsteps. What could be an art-house film that makes fun of art-house culture quickly turns to its mythologic roots however, focusing on the meanings of love and death. When his wife (Eurydice) is killed, and is taken by a supernatural agent of the underworld who serves as a new jealous love interest (Maria Casares), Orpheus has to decide whether he wants to stay alive or die, and whether he wants to stay on earth or live in the underworld (and with whom). The choices carry significant weight, not only for himself but the women he loves.

Access to the underworld is quite literally through mirrors, and Cocteau employs special effects that while now dated were fairly breakthrough for the time and still work extremely well as supernatural gateways made of liquid glass. Played by handsome lead Jean Marais, the character is worthy of the original charismatic Orpheus, but the film does suffer from a lack of realistic love for Eurydice, which makes his choice between rescuing her from Hades or starting a new life seem like an obvious choice and less of a struggle. A few confusing plot elements offer much in stylization but also detract slightly from the film. Overall however a very original, visually compelling, and entertaining interpretation of the Greek myth.

This film is one part of Cocteau's Orphic Trilogy (The Criterion Collection), although it is not a trilogy in the true sense and this reviewed film can be seen as a stand alone effort. I would recommend getting this bluray instead of the Orphic Trilogy to save some money: IMHO this Orpheus is the best of the bunch, and I found the triology to appeal primarilly to those more interested in Cocteau "the man" rather than his movies.
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4 of 5 people found the following review helpful
on January 21, 2011
Familiar with the Greek myth, I found this adaptation very interesting. I first saw the final portion on TCM channel and was hooked to see it all. If I were teaching high school/college English again, I would include this film.
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1 of 1 people found the following review helpful
"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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4 of 6 people found the following review helpful
on May 20, 2011
***** ***** ***** SPOILERS ***** ***** *****
by Jean Cocteau

The ultimate self-centered workaholic screws up good marriage story in all filmdom. Our lead boy is a poet who happens to be married so he has a pregnant girl to ignore. His attention is centered on himself, his love of his work & fame. Admittedly he hasn't been told of the pregnancy but the movie illustrates it would've made no difference. Work of course includes applying his poetic muse to the subject of death.

This attention draws the notice of Death (played by a hetero female) who, as females sometimes do, falls in love with this new & insistent suitor. The wife becomes of course an obstacle to the desire of Death & is easily removed by the killing of the wife & her transport to Death's domain.

Now our boy notices he has lost something he cared about & with the help of one of Death's minion's crosses into Death's domain. He's a true man so he's confused about which girl he is going after. Unlike most Frenchmen, I don't know why, he doesn't admit he'd like both. There is some really nice scenery & philosophizing about death in this show & the middle portion is taken up with that.

In Death's domain her main minion turns rat & she is brought before a review board for exceeding her orders & authority. It is decided that the wife will be returned to life with her poetic husband but only on the condition that he never look upon her. This is like being offered parole with conditions attached that will get your buttinski returned to the joint ASAP. Smart people turn this kind of release down but smart isn't the subject of this movie.

The couple returns to life as we know it & they try to keep her out of his eye. Fat chance. Especially since the main minion has returned to help monitor the enforcement of the condition. The minion has BTW fallen in love with the wife as his wife in real life treated him badly, he can't resist this good woman who suffers patiently for her love.

Needless to say the man spies his wife in a mirror the minion fails to warn them about (yeah fails to warn). His wife is immediately taken from him forever & the poet gets himself killed trying to play badass, like poets & guns are a smart mix.

Death waiting for his return greets him & makes a fateful decision, in order to make him immortal (return him to life) a sacrifice is necessary so she chooses to have him smothered there in Death's domain. It's done by main minion of course. She then orders minion (against rules) to escort the poet back through time & return him to the life he had before she fell for him. This being Death's selfless act of love. The wife is of course asleep in their bed when he is returned to life & there they are none the wiser & no better off.

Death & main minion are arrested & escorted out of sight. Presumably to the hearing room again for what is described as a not nice dispensation. Great effects done here, unobtrusively & a fascinating take on death & inter-dimensional travel. I would have loved this like La Belle et La Bete if it had been set in a past or future time frame. I can just picture it set in the same period as La Belle et La Bete but that's a bit much for a director to have to adhere to since it is only my wish & he forgot to ask me for my preference.
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on June 13, 2015
Cinematic poet Jean Cocteau explored the myth of Orpheus on no fewer than three occasions: Le Sang d'Un Poete (Blood of a Poet, 1930), Orphee (Orpheus, 1949) and Le Testament d'Orphee (1960). This second of his "Orpheus" trilogy stars Jean Marais in the title role. Updated to contemporary Paris (albeit a Paris never seen before or since), the story concerns a sensitive young poet named Orpheus, who is married to the lovely Eurydice (Marie Dea). Orpheus' friend Cegeste (Edouard Dermit) is killed in a traffic accident. In the hospital morgue, Cegeste's patroness, The Princess of Death (Maria Casares), revives the young man; then, both Cegeste and Princess pass into the Underworld. Back on earth, Orpheus receives cryptic messages from Cegeste's spirit, as well as nocturnal visitations from the Princess. Meanwhile, Orpheus' wife enters into an affair with Heurtebise (Francois Perier). After seeking advice on her mixed-up love life, Eurydice is herself struck down and killed by the same cyclist who snuffed out Cegeste's life. It appears to Heurtebise that the ghostly Princess has claimed Eurydice so that she, the Princess, can be free to love Orpheus. Heurtebise persuades Orpheus to accompany him into the Underworld in hopes of returning Eurydice to life. By now, however, Orpheus cares little for his wife; he is completely under the Princess' spell. Offered her own liberation from the Underworld by the powers-that-be, the Princess dolefullly agrees to restore Eurydice to life, and to never have anything to do with Orpheus again. Orpheus has weathered much controversy to take its place among the director's most acclaimed works.
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