Surrealist works often showcase surprise elements, unanticipated juxtapositions as well as a non sequitur. Nevertheless, most of the surrealist writers, poets and artists consider their art piece as a manifestation of the intellectual movement, most importantly with these works taken as artifacts.
In the Beauty and the beast movie, the palace is a dark and secluded place, desperately resembling Gothic customs. Also, there exist ghostly hands that are acting as workers despite the fact that Belle refers to them as ‘invisible.’ These servants carry candles alongside serving people foods and drinks (Taussig 34). The Beast provides Belle with a hand glove that leads her up the where her family stays. Such features are described as surreal, though there are no Gothicism in them (Taussig 97).
The Beast’s spectacular image Surreal in its unnerving contrasted statement of animalism and humanity. Typically, the Beast looks dismaying like a horrid, frightening lion, though his animalism is not sitting contentedly. He strides just like a man and talks the same way as a man. Additionally, the Best clads in a lustful nobleman attire. Possibly, the most disturbing feature is the fact that his eyes are fixed amid disheveled fur. The eyes of Jean Marais appear intense and liquid, unbelievably mournful in support of his wild look. The Beast warns Belle not at any moment look straight into his eyes (Sabbadini 101). That is the damning proof indicating that he is beyond whatever he seems. The transformation similarly is seen as a Gothic Surrealism. Remarkably, Cocteau had initially designed the Beast to be a stag-like creature. All through the film, there are clues of the Beast, as of the antlered sculptures within a courtyard towards the back transfers to the moon and Diane.
Sabbadini, Andrea. “In the title of the eighteenth-century fairy tale La Belle et la Bête by.” Women and Images of Men in Cinema: Gender Construction in La Belle et la Bête by Jean Cocteau (2015): 101.
Taussig, Michael. Beauty and the Beast. University of Chicago Press, 2012.