Director Jean Delannoy had intended making the legend of Tristram and Yseult as an historical film but budgetary constraints obliged him to film it in modern dress. Enter poet Jean Cocteau who envisaged this as a vehicle for his 'protegé' Jean Marais.
Taking its title from Nietzsche's 'Thus Spake Zarathustra', Cocteau has imbued his screenplay with what he called 'the marvellous' which he defined as 'that which removes us from the confines within which we have to live.' This of course was manna from heaven for those living under German occupation. Such escapist fare was adored by the public although the critics in their infinite wisdom were less enthusiastic and regarded it as too 'Aryan'. In Britain it was dismissed as 'Teutonic mysticism' and Monsieur Marais described as a cross between Lohengrin and Horst Wessel!
Almost eighty years on however it remains one of the most poetic and beautiful of films. Delannoy is truly blessed to have the services of production designer Georges Wahkévitch, cinematographer Roger Hubert and composer Georges Auric.
Jean Marais' athletic physique and chiselled features make him perfect casting as Patrice and he is complemented by the cool and mysterious Madeleine Solange as Nathalie la blonde. Ironically it was Mlle Solange's perceived chumminess with the Vichy regime that was to damage her career.
Delannoy has drawn splendid performances from Jean Murat, Junie Astor, Yvonne de Bray, Roland Toutain, Jeanne Marken and Alexandre Rignault whilst Périel is unforgettable as the destructive dwarf. The presence of canine chum Moulouk is inspired.
The final apotheosis of the doomed lovers is one of the most memorable scenes on film and cannot fail to move all but the hardest hearted.