On Feb. 28, the University community will have the opportunity to spend the evening watching the black-and-white French film “Beauty and the Beast” and listening to two guest speakers chat about cinematography and the origins of the film. In addition, a synopsis of the up and coming “Beauty and the Beast” ballet will be given by the choreographer.
According to the Internet Movie Database, www.imdb.com, one of the most multi-talented artists of the 20th century is John Cocteau. His 1946 film “Beauty and the Beast” (“Belle et la Bete”) with English subtitles will show in Room 138 Gilbert Hall at 7 p.m. Wednesday. Admission is free.
The thing to remember is that the 1946 “Beauty and the Beast” is not similar to the Disney version. Cocteau is more dramatic, and he doesn’t feature singing teapots.
Cocteau’s “Beauty and the Beast” is about a virtuous beauty who is besieged by the greed and jealousy of her two sisters, who are like Cinderella’s evil stepsisters. Even though she suffers, she still loves and honors her father by engaging in risky perils in the enchanted realm of the Beast.
“Cocteau goes into the psychology of ‘Beauty and the Beast,’ emphasizing a mystical meaning,” wrote “Beauty and the Beast” choreographer Toni Pimble.
“‘Beauty and the Beast’ is a classic film you hardly ever see on a big screen,” marketing director Darell Kau said.
Two guest speakers, Mark Gallager and Denis Reynaud will follow the end of the movie, along with the appearance of Pimble.
“Denis is a folklorist who will open, discussing the origin of ‘Beauty and the Beast’ in the 18th century,” Kau said. “Gallager will talk about the artistic endeavors of Cocteau’s’ ‘Beauty and the Beast.’”
Pimble will discuss why elements in Cocteau’s’ “Beauty and the Beast” influenced the up-and-coming double feature ballet “Beauty and the Beast” along with the factors that contributed toward the direction of costume design, style, music and the dancing. In addition, music by Curtis Salgado will be the second segment in the double feature.
Pimble said when she discovered Cocteau’s’ “Beauty and the Beast” for a ballet, she fell in love with the direction. “I based the dance piece off of that,” she said.
When asked why she chose “Beauty and the Beast” for a ballet, she replied, “We’re always looking to involve family entertainment, fairy tales or matter that works well for a piece,” and added that “it had name recognition.”
Remember, Wednesday night delves into the core of Cocteau’s genius and the making of “Beauty and the Beast” ballet.
“It’s going to be of interest to people who are interested in John Cocteau and how elements used in the creation of the film coincide with elements Pimble used for the choreography,” Kau said.