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Jean Cocteau, Film and Early Sound Design

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Jean Cocteau, Film and Early Sound Design 1 The Poetry of Sound: Jean Cocteau, Film and Early Sound Design Laura Anderson, MMus Thesis submitted to Royal Holloway University of London for the degree of Doctor of Philosophy September 2012 2 Declaration of Authorship I, Laura Anderson, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 3 ABSTRACT The Poetry of Sound: Jean Cocteau, Film and Early Sound Design Jean Cocteau’s (1889–1963) involvement in the musical sphere spanned genres such as ballet, oratorio, music hall and theatre pieces, and adaptations of his poetry for song. His creative exchanges with Satie, Stravinsky, the Ballets Russes, and Les Six are famous, and the fact that Georges Auric (1899–1983) composed the music for all of his films is also well known. However, no detailed study of Cocteau’s film soundscapes as a whole has yet been undertaken from the director’s perspective. Given that Cocteau had eclectic artistic interests, and clearly engaged with music and sound in his stage works, it is perhaps unsurprising to discover that he himself was actively engaged with the music and sound of his films. In this thesis, I examine Cocteau’s approach to music and sound in his cinematic work, tracing the development of his approach throughout his career. His films span a thirty-year period, from early sound film to 1960. I argue that Cocteau’s film soundscapes constitute an important stage in the development of French film sound, and link his approach with the emergence of musique concrète and approaches to sound in New Wave cinema. His embrace of emerging technologies suggests links between his film soundscapes and developments in art music. The thesis comprises case studies of Cocteau’s film soundscapes and is presented in three sections. The first section outlines how he drew on Symbolist aesthetics and Wagnerian rhetoric in writing about and arranging his early soundscapes. The second section centres on his film adaptations; as music was not part of the source material for these films, Cocteau was forced to reflect on 4 its role to ensure that music did not become merely an accessory to a pre- existing artwork.1 The final section invokes issues of musical self-reflection in a study of two films for which Cocteau chose Orpheus as his thematic material. Given that the Orpheus myth centres on the gap between sight and sound, I read Cocteau’s soundscapes in these films as reflections on cinema itself. If sound design is understood to be the creative process that results in the complete soundscape, then Cocteau's decisions concerning the sonic atmosphere throughout these films merit the view of him as a proto-sound designer. 1 It must be noted that one of the adapted plays did include a hymn as part of the text. 5 TABLE OF CONTENTS Acknowledgements List of Figures 7 List of Musical Examples 8 INTRODUCTION 9 PART ONE: COCTEAU’S UNIQUE HISTORICAL POSITION Chapter One: Cocteau as Proto-Sound Designer: French Sound Design’s Foundations in Musique Concrète and New Wave Cinema 29 Chapter Two: The Early Years: Sound and Music in Cocteau’s Dramatic World 58 PART TWO: COCTELIAN COMPLEXITIES: SYMBOLIST OPERA AND THE INESCAPABLE SHADOW OF WAGNER Introduction 82 Chapter Three: Le Sang d’un poète: A Project of Close Collaboration 92 Chapter Four: Cocteau and Wagner: L’Éternel Retour 121 Chapter Five: The Significance of Silence: Parallels with Pelléas and Symbolist Resonances in La Belle et la bête 150 PART THREE: THE SOUNDS OF COCTEAU’S LITERARY ADAPTATIONS: MELODRAMA, MONOTHEMATICISM, AND MELVILLE Introduction 181 Chapter Six: The Melodramatic Soundscape of a Theatrical Film: L’Aigle à deux têtes 189 Chapter Seven: The Monothematic Score of Les Parents terribles: A Solution to the Challenge of ‘Filmed Theatre’ 212 Chapter Eight: Collaboration on an Adaptation: Les Enfants terribles 236 PART FOUR: COCTEAU AND ORPHEUS Chapter Nine: Cocteau and Orpheus: Self-Reflection Through Sound 262 APPENDIX 299 FILMOGRAPHY AND BIBLIOGRAPHY 300 6 Acknowledgements I wish to thank the Arts and Humanties Research Council for funding my research. I am also thankful to the Central Research Fund of the University of London, Royal Holloway Music Department, the Helen Shackleton Trust Royal Holloway, and the Music and Letters Trust for additional financial support, which enabled archival research in Paris and dissemination of parts of this research at various conferences. This project has been enriched by the generous guidance and support of my supervisor Dr Julie Brown, and I am very grateful to her. I also wish to thank my advisor Prof Julian Johnson for his time and continuous encouragement over the course of this project. My thanks are also due to the staff at the Bibliothèque Historique de la Ville de Paris and especially Claudine Boulouque who offered kind expertise on both of my visits to the Fonds Jean Cocteau. The staff at the Bibliothèque du Film were helpful to me, and in particular Valdo Kneubühler. I also wish to thank the staff of the British Library, the Bibliothèque Nationale, the Houghton Library Harvard, and Trinity College Library Dublin. I am grateful to the staff of the Music Department at Royal Holloway and my fellow postgraduate students who were supportive to me throughout this time. Thanks to Charlotte Osborn and Marie-Hélène Lambert for assistance with proof-reading French translations. Finally, I wish to thank my parents for their constant encouragement and assistance. 7 List of Figures 3.1: Le Sang d’un poète: The poet looks down at his (Cocteau’s) thumping heart. 3.2: Le Sang d’un poète: The poet stares at the mouth on his hand. 3.3: Le Sang d’un poète: He waves his arm furiously in an effort to get rid of the mouth. 3.4: Le Sang d’un poète: The snowball fight. 4.1: L’Éternel Retour : Nathalie and Patrice lie together in death. 4.2: L’Éternel Retour : The lovers are transported to a heavenly state. 5.1: La Belle et la bête: Avenant proposes marriage to Belle. 5.2: La Belle et la bête: The merchant arrives at the castle. 5.3: La Belle et la bête: The Beast appears. 5.4: La Belle et la bête: Belle arrives at the castle. 5.5: La Belle et la bête: The Beast carries Belle inside. 6.1: L’Aigle à deux têtes: The queen leaves the king’s room. 6.2: L’Aigle à deux têtes: Pan shots of the ballroom. 6.3: L’Aigle à deux têtes: A shocked Félix tells Édith that he has seen the queen. 6.4: L’Aigle à deux têtes: Stanislas bursts through the window. 7.1: Les Parents terribles: Michel describes his family to Madeleine. 7.2: Les Parents terribles: ‘Je suis très heureux’. 7.3: Les Parents terribles: ‘C’est ce soir qu’elle va dire la vérité au vieux.’ 7.4: Les Parents terribles: ‘Bien sûr, il ne peut pas être question de jalousie’. 7.5: Les Parents terribles: ‘Je suis heureux! Tu es heureuse?’ 8.1: Les Enfants terribles: The frenetic snowball fight at the Lycée. 8.2: Les Enfants terribles: Paul sleepwalks out of the shared bedroom. 8.3: Les Enfants terribles: Paul wanders through the gallery. 8.4: Les Enfants terribles: Élisabeth walks mechanically downstairs. 8.5: Les Enfants terribles: Élisabeth weaves her web of lies. 8.6: Les Enfants terribles: Michael serenades Élisabeth: ‘Were you Smiling at Me?’ 9.1: La Testament d’Orphée: Minerva launches her spear. 9.2: La Testament d’Orphée: Cocteau prepares to reconstruct the hibiscus flower. 9.3: Orphée: Aglaonice arrives at the Café des Poètes. 9.4: Orphée: Orphée glances at Eurydice in the car’s rear view mirror. 9.5: Orphée: The moment Eurydice disappears. 8 List of Musical Examples 3.1: Le Sang d’un poète: Melody that accompanies the poet’s journey down the corridor. 3.2: Le Sang d’un poète: Melody that accompanies the snowball fight. 4.1: Opening theme to L’Éternel Retour . 4.2: L’Éternel Retour: Apotheosis cue. 5.1: Pelléas et Mélisande, Act II, scene two. 5.2: Pelléas et Mélisande, Act IV, scene two. 5.3: Pelléas et Mélisande, Act IV, scene four. 5.4: The love theme in La Belle et la bête. 6.1: main theme in L’Aigle à deux têtes. 7.1: Metamorphoses of a Theme. 7.2: Variant of Theme for light, playful, scenes. 7.3: Theme for Les Parents terribles. 8.1: Opening chords of Andante, Bach, Concerto in A Minor. 8.2: Arpeggios in the second half of the Andante. 9.1: The love theme in La Belle et la bête and the opening theme in Orphée. 9.2: The ‘Cocteau as Orpheus’ theme. 9.3: Gluck, Orphée et Euridice, Act III, scene one. 9 INTRODUCTION Jean Cocteau: I am ‘quite as interested in the use of sound as in the use of images’.1 Jean Cocteau (1889–1963) always insisted that he was a poet above all else. For him, poetry was not limited to the written word but could be created in a range of artistic forms, and he coined terms such as ‘poésie de roman’, ‘poésie cinématographique’, and ‘poésie graphique’ in order to reflect this. His career included explorations in a variety of media including literature, poetry, film, and the plastic arts. For him, the impetus to make a film rather than write a play or poem, draw, or even sculpt rested in the distinct quality of the cinematic medium to communicate an idea.
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