Royaumont Abbey At Indre-et-Loire The Moulin de Touvoie in Rochecorbon is Belle's home. Parçay-Meslay At the Alpes-Maritimes Èze The scenes filmed in a studio were shot At the Franstudio Studio in Saint-Maurice, in the Val-de-Marne At the Eclair Studio in Epinay sur Seine At Joinville Studios in Joinville le Pont The Beast's makeup At first, Jean Marais wanted to use a deer head, but decided against it because in La Chatte blanche, the magical castle has a deer head as its door knocker. He also thought it would be linked to the myth of the Celtic god Cernunnos, the horned god. Also, Jean Cocteau thought that the audience would think that the head of a deer would be ridiculous for a dangerous, ferocious beast. They got Jean Marais' Alaskan Husky, Moulouk, to be the model of the beast's face. The beast's makeup and prostheses took a long time to apply, taking about three hours to attach the beast's mask and one hour for each claw. The teeth would be hooked into the actor's mouth, which was not very practical for eating. This caused the actor to eat mainly soup. In Vincent Pinel's Century of Cinema, he writes (page 207), "With the complexity of the set designer Christian Bérard, the cinematographer Henri Alekan, and his "technical director" René Clément, Jean Cocteau filmed Beauty and the Beast (1946). The impressive makeup of Jean Marais, including both hands and claws, took long hours to apply." Cocteau says, in his film journal, how the close up shots of the beast resembles a deer. "Clément, hiding behind the beast, moves the beast's ears with a stick to make them stand up. The effect is amazing." Reception in the U.S. Upon the film's December 1947 New York City release, critic Bosley Crowther called the film a "priceless fabric of subtle images...a fabric of gorgeous visual metaphors, of undulating movements and rhythmic pace, of hypnotic sounds and music, of casually congealing ideas"; according to Crowther, "the dialogue, in French, is spare and simple, with the story largely told in pantomime, and the music of Georges Auric accompanies the dreamy, fitful moods. The settings are likewise expressive, many of the exteriors having been filmed for rare architectural vignettes at Raray, one of the most beautiful palaces and parks in all France. And the costumes, too, by Christian Bérard and Escoffier, are exquisite affairs, glittering and imaginative." According to