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Indeed she is not. The Beast has perhaps intuited that a daughter who would take her father's place has a good heart. He tells her that every night at 7 he will ask her the same question: "Will you be my wife?" She shudders and says she will never marry him, but eventually her heart softens, and she pities him and sees that he is good. He gives her a magical glove that allows her to travel instantly between the castle and her home (emerging whole from the wall), and there is intrigue involving the key to the garden where his fortune is held. The sisters plot and scheme, but Belle of course prevails. Her father rises up from his deathbed, the Beast sinks into a final illness instead, and when she begs him to rally, his dying words are pathetic: "If I were a man, perhaps I could. But the poor beasts who want to prove their love can only grovel on the ground, and die."

Then there is another death, of the faithless family friend who wanted to marry her, and as his body turns into that of the Beast, the Beast comes back to life and turns into a prince who looks uncannily like--the dead friend. And no wonder, because all three--friend, Beast and prince--are played by Jean Marais. Odd, how appealing Marais is as the Beast, and how shallow and superficial he seems as the pompadoured prince. Even Belle doesn't leap cheerfully into his arms, but looks quizzically at her new catch and confesses she misses the Beast. So did Marlene Dietrich, who held Cocteau's hand during the suspenseful first screening of the film at a Paris studio. As the prince shimmered into sight and smilingly presented himself as Belle's new lover, she called to the screen, "Where is my beautiful Beast?"

Although he made many films, Cocteau (1889-1963) did not consider himself primarily a filmmaker but a poet; he also painted, sculpted, wrote novels and plays, and stirred the currents of the Paris art scene. His first film, the surrealistic "Blood of a Poet," was made in 1930, the same year as Salvador Dali and Luis Bunuel's notorious "L'Age d'Or." Both films were produced by the Viscount de Noailles, who delayed the release of Cocteau's after the other film inspired riots (Bunuel wrote of filling his pockets with rocks to throw at the audience if they charged the screen). Cocteau's film included images that became famous, as when a mirror turns into a pool of water, and when a mouth wiped off a painting affixes itself to his hand.

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