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Visually original and emotionally powerful, this telling of the classic fairy tale is still a magical experience even though it is now 60 years old. The story is as everyone knows — the beautiful Belle (Josette Day, 1933’s THE BARBER OF SEVILLE) gives herself to the Beast (Jean Marais, 1950’s ORPHEUS) as his prisoner to spare the life of her father (Marcel Andre, THE STORM WITHIN), who fell into debt with the Beast after picking a rose from the creature’s garden for his daughter.

Before this conflict starts, we look into Belle’s life with her family. She serves her snobby sisters Felicie (Mila Parely, THE RULES OF THE GAME) and Adelaide (Nane Germon, LES BICHES) like Cinderella. Her brother Ludovic (Michel Auclair, 1957’s FUNNY FACE) has gotten the family into great financial trouble. Because she is so dedicated to her family, especially her father, Belle will not even consider the proposals of Ludovic’s arrogant friend Avenant (Marais).

Director/writer Jean Cocteau (THE TESTAMENT OF ORPHEUS) creates two worlds — the Beast’s castle and the outside world. The latter is realistic while the former is grand and dramatic. The actors even take on this change in their performances. Everything about the Beast’s world is magical.

Cocteau’s production design is magnificent. Animate human arms serve as wall fixtures for the candlesticks. Doors open on their own as well as talk. The statues open their eyes and watch those in the room. Belle can float down the hall as silken drapes brow in the wind. It’s an epic romantic place. And then we have the character design of the Beast. It’s simply marvelous, ranking up top with the cinema’s best. It’s like Frankenstein’s monster and Dracula — the design is iconic. One can easily see the influences of this design in the Disney’s animated version.

At first, Belle is repulsed by the ugliness of the beast, but soon enough she comes to care for him and long for his company. The story contrasts Belle’s treatment at home with that of the Beast’s castle and makes us question where she was more of a prisoner. The economical story quickly makes us care for Belle and the Beast, which helps develop real tension when Belle’s family plots against the creature.

Cocteau opens the film with a statement to the audience that they need to view the film as a child would, believing in magic. At its core that is the film’s purpose. The original fairy tale is a universal love story and Cocteau breathes life into it with visual style and engaging characters. Entertainment and art collide to a great degree in BEAUTY AND THE BEAST. It’s a masterpiece that is accessible to all and still has the power to wow an audience accustomed to the razzle-dazzle of modern visual effects.