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The Sexual “Other” in Children of Paradise

ABSTRACT This essay offers a deep-text reading of the post-war French film Les Enfants du Paradis [Children of Paradise] (1945) as a theatrical exploration of Jungian concepts related to romantic anima/animus projections and the Surrealist ideal of a psychosexually liberated woman. The author juxtaposes Jungian and Hillmanian interpretations of certain scenes with a Lacanian view, to show how Surrealist-influenced post-Freudian theories dovetail with ideas pioneered by Jung. The movie revolves around problems of eros (relationship) between one self-possessed “anima woman” and the four very different men who fall in love with her. Because the film was written by a member of the Surrealist movement and made during the repressive Nazi occupation of Paris, there are many layers of meaning to everything seen and heard onscreen. When the numinous female lead, Garance, articulates her need for perfect freedom, she not only symbolizes the French people resisting Nazi domination, but also how women must struggle to resist idealized male projections if they are to remain whole and free and happy.