James S. Williams
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Le Sang d’un poète
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The genesis of Le Sang d'un poète is the stuff of film legend. Le Sang d'un poète offers itself, in fact, as a cinema of the senses. Ironically, and despite all André Breton's best efforts to smear Jean Cocteau worldwide, Le Sang d'un poète was championed in the United States in February 1934 precisely as a surrealist work and would eventually enjoy a seventeen-year run at the Fifth Avenue Playhouse in New York. In the first of his many film collaborations with Cocteau, Georges Auric composed the music played by the Edouard Flament orchestra, and plastercasts were supplied by Plastikos. The final editing was by Cocteau himself. According to Cocteau, Charlie Chaplin himself considered the uninterrupted passage at one point from medium shot to close-up to record the continuous movement of one character as an innovation.

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