Trivia: French actress Josette Day's best-known role was that of Beauty in Cocteau's 1945 version of Beauty and the Beast. Born Josette Dagory in Paris, she started acting in films at age five and later went on to work in the theater and to dance in the Paris Opera. She began her adult film career in the early '30s and went on to play in French films through 1949 when she retired to marry a wealthy Belgian industrial magnate.

Trivia: French actor Marcel André has had a long distinguished career on both stage and screen. During the 1920s he appeared in a few French versions of Hollywood films. He is the father of actor Michel Andre.

Trivia: German-born actor Michel Auclair made his first impression upon international audiences with his supporting appearance in Jean Cocteau's La Belle et La Bete (1946). He gradually developed into a leading man in the post-war French cinema, with few appearances outside his adopted country. As his career continued into the 1970s, he could be seen on occasion in such international productions as The Day of the Jackal (1973), but still he was hardly a household name in the United States. Michel Auclair's most memorable English language appearance was his fourth-billed turn as Professor Emile Flostre in the Fred Astaire/Audrey Hepburn musical Funny Face (1957).

Trivia: As with many of the best film music composers, Georges Auric was a child prodigy. At 15, the French-born Auric published his first compositions, and before he was 20 he had orchestrated and written incidental music for several ballets and stage productions. Considered "avant garde" in the days before atonality became commonplace, Auric was a favorite of such progressive filmmakers as Rene Clair and Jean Cocteau. It was for Cocteau's 1930 film Blood of a Poet that Auric wrote his first film score; his next assignment was Clair's A Nous a Liberte (1931), in which characters unexpectedly break into song at the drop of a chapeau. After the war, Auric wrote extensively for the British film industry, contributing scores to such films as Dead of Night (1945), Caesar and Cleopatra (1946) and Passport to Pimlico (1949). The music for these productions was as distinctly British as Auric's music for Les Parents Terribles (1949) and Orphee (1949) was unmistakably French. Auric's American films include Roman Holiday (1953), Heaven Knows Mr. Allison (1957), Bonjour Tristesse (1958) and The Innocents (1961). A few times, Auric found his work on the hit parade, as in the case of his love theme for Moulin Rouge (1952). Auric curtailed his cinema activities after 1962, when he was named director of the Paris Opera, though he kept his hand in the film business until 1969. While Georges Auric never won an Oscar, his work was cited several times by the Cannes Film Festival.