X
- 1933
- Not Rated
- Edward T. Ricci
- 55 m
- 1933
- Not Rated
- Edward T. Ricci
- 55 m
Summary One of cinema's great experiments, this first installment of the Orphic Trilogy stretches the medium to its limits in an effort to capture the poet's obsession with the struggle between the forces of life and death.
Directed By: Jean Cocteau
Written By: Jean Cocteau
- 1933
- Not Rated
- Edward T. Ricci
- 55 m
- 1933
- Not Rated
- Edward T. Ricci
- 55 m
The Blood of a Poet
67
User Score
Available after 4 ratings
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Where to Watch
Summary One of cinema's great experiments, this first installment of the Orphic Trilogy stretches the medium to its limits in an effort to capture the poet's obsession with the struggle between the forces of life and death.
Directed By: Jean Cocteau
Written By: Jean Cocteau
Where to Watch
Top Cast
Metascore
Generally Favorable
Based on 9 Critic Reviews
67
78% Positive
7 Reviews
7 Reviews
11% Mixed
1 Review
1 Review
11% Negative
1 Review
1 Review
Metascore
Generally Favorable
Based on 9 Critic Reviews
67
78% Positive
7 Reviews
7 Reviews
11% Mixed
1 Review
1 Review
11% Negative
1 Review
1 Review
The first time you see this film, you're likely to find it silly, autoerotic, static, absurd, and you may feel cheated after having heard so much about it. But though it may seem to have no depth, you're not likely to forget it -- it has a suggestiveness unlike any other film.
Few drug-induced visions, however, can match the playful ingenuity of this freewheeling assault on the senses, which eschews conventional narrative in favor of one mesmerizingly bizarre image after another.
As a groundbreaking examination of the reality-bending potential of film, it's of a piece with Un Chien Andalou and L'Age D'Or.
The honesty and robustness of the images prevents the movie from lapsing into pretension or preciousness; it remains extremely interesting as a source of Cocteau's later work.
While the various imaginery episodes shown on the screen, to the accompaniment of microphone comment by M. Cocteau himself, reinforced by English titles for those unfamiliar with French, have a certain fascination, especially for persons interested in film technique, they are hardly calculated to set the Hudson River on fire.
On the face of it, this film represents six reels of scraped together footage from off the cutting room floor. A more vague or hopeless mess could not have resulted.
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