One critic described it as a "wry, self-conscious re-examination of a lifetime's obsessions" with Cocteau placing himself at the center of the mythological and fictional world he spun throughout his books, films, plays and paintings.[2] The film includes numerous instances of "double takes", including one scene where Cocteau, walking past himself, looks back to see himself in what was described by one scholar as "a retrospective on the Cocteau œuvre".[3]
The New York Times called it "self-serving", noting that the pretension of the film was certainly intended by Cocteau as his last statement made on film: "as much a long-winded self-analysis as an extraordinary succession of visually arresting images".[1]
Picasso had introduced Cocteau to the photographer Lucien Clergue who was brought in to photo-document the film's production.[4] His black-and-white stills were published in 2001 as Jean Cocteau and The Testament of Orpheus.[5]
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