The poet Jean Cocteau is lost in space-time. He has been in the 18th century and is now turning up at different moments in professor Langevin's life. The professor has invented some bullets, which travel faster than light. With one of them he kills Cocteau, who is resurrected as his old self, but is still caught in the space between fantasy and reality. At a gypsy camp a woman saves a photo out of the fire and restores it. On the photo Cocteau recognizes Cégeste from his fil... (Full plot summary below)
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The poet Jean Cocteau is lost in space-time. He has been in the 18th century and is now turning up at different moments in professor Langevin's life. The professor has invented some bullets, which travel faster than light. With one of them he kills Cocteau, who is resurrected as his old self, but is still caught in the space between fantasy and reality. At a gypsy camp a woman saves a photo out of the fire and restores it. On the photo Cocteau recognizes Cégeste from his film Orphée. He tears the photo into pieces and throws it into the sea. Immediately Cégeste himself jumps out of the water. He brings Cocteau to a rogatory commission led by Heurtebise and The Princess from the film Orphée. Cocteau admits that he has constantly attempted to enter a world which is not his own, a world that is beyond the limits of man, and that disobedience is like a religion for him. The commission imposes on him the sentence of life. In a hall inside some stone ruins the goddess Athena kills Cocteau with her spear. His friends assemble around his body, but he resurrects from death, and walks away along a small road. Cégeste comes out from a rock and draws Cocteau into it, because they don't belong to life on earth.
Leave your thoughts about Testament of Orpheus.
| Ozus' World Movie ReviewsDennis SchwartzThe 70-year-old Cocteau plays himself as the eternal poet looking back through his films at himself. |
| User ReviewPavandeep SI was spellbound by this film. A unique experience into creativity and the difficulties of it, and all the effects and causes that goes into it. A fine film. |
| User ReviewJason BAn autobiographical tale of an artist lost in a world of his own making. Blending documentary and fiction, concluding his Orphic trilogy, Testament of Orpheus is a masterpiece by one of the greatest film artists we have had. |
| User ReviewJonny BRemarkable. Flowing with creativity, beauty, humour, and visual candy. A classic. |
| User ReviewJustin MThe third part of the Orphic Trilogy. I have given each film, including this one, five stars. Each feels like it is a bold step in a new direction, while continuing to advance the realm of fantasy. The final film seems to step back into an experimental stage; however, what better way to judge an artist than by their own creations? I have only seen this done a handful of times, such as with Stephen King in his Dark Towers novels and the so-so Wes Craven's A New Nightmare, which both could have been inspired by this film alone. |
| User ReviewRyanheartPhoenixology - the graceful art of death and rebirth - lies at the center of French director Jean Cocteau's final film, Le Testament d'Orphée. The Testament of Orpheus, finished in 1960, was not simply the last film shot by Jean Cocteau, but the culmination of his Orphic saga - a wandering, introspective trinity that began with Le Sang d'un poet (1932) and was followed by Orphée (1950). But while these first two films were met with popular acclaim, The Testament of Orpheus was (and to a certain extent still is) roundly denounced by critics. It's easy to see why. The movie is both heavy-handed and indulgent. It involves a man lost in space-time (played by Cocteau) who seeks the aid of a professor to pluck him from his ceaseless time travels and place him in his proper time and place. The professor uses "faster-than-light" bullets to kill Cocteau, who is resurrected in his proper place (which is curiously reminiscent of Les Baux in the South of France). From there Cocteau continues his wanderings, guided by Cégeste (played by Edouard Dermithe), a character from Orphée. Cégeste - who in a fashion more Oedipal than Orphic was both Cocteau's lover and adopted son in real life - leads him through a series of surrealist landscapes peopled by gypsies, horse-headed men and a sphinx. The movie has multiple cameos from Cocteau's famous friends (like Pablo Picasso and Yul Brynner) that he purposely left uncredited, ostensibly because he did not want his viewers to think he was using them simply for publicity. Throughout the movie, Cocteau also places several of his artistic works - such as a tapestry, Judith and Holofernes, and a painting, Head of Orpheus - throughout the movie in a blatant show of self-aggrandizement. Cocteau also provides off-camera commentary, seeding the startling visual imagery of the movie with proleptical musings on "phoenixology" and "Cartesianism." But in peering through the film's outer layer of baroque self-indulgence, there are moments of breathless beauty and fantasy to be found within. Such as when Cocteau (using his reverse motion technique) creates a hibiscus by showing its dismemberment in reverse. Or - after Cocteau dies a second time - when this black and white film is momentarily infused with a rush of color as his blood, and the hibiscus deepens into a luminous red. In the final frame, Cocteau, newly awakened from his second death, wanders alone down a mountain road. Confronted by two policemen, he is saved by Cégeste, who pulls him to a mountain face. There, pushed against the mountainside in the figure of a crucifix as Cégeste huddles at his feet, he finally fades away into the granite face of the mountain. The Testament of Orpheus is a movie with such transcendent moments that its slight imperfections become even slighter. I can think of no more fitting monument to a life's work than this film, which even though recognizably flawed, is wrought with such pathos and beauty it deserves to be called great. |
| User ReviewInes CLe veritable testatment du GRAND Jean Cocteau. Il l'a voulu comme tel et l'a concu comme tel... Genie naturel, poesie naturelle. Du concentre d'insolite et de poesie visuelle. |
| User ReviewBrian STestement keeps in the autobiographical spirit of this Cocteauvian masterpiece. 3rd and final in the trilogy. You'll have to wait until I publish my master's thesis to get my full analysis! |
| User ReviewLevent Kone man's vision is enough sometimes (very rarely) to sum up the whole humanity's symbols. A bit of Odyssey again, but it seems to me that we have proof in Orpheus, that poetry is universal, but language is better on screen. |
| User ReviewPrivate UI haven't seen this yet,but I am sure it is to be extremely interesting!!! |
