Customer Reviews

Bluebeard

5 star:		(1)
4 star:		(5)
3 star:		(8)
2 star:		(3)
1 star:		(2)

 

 

"Bluebeard" is suspense packed thriller. If you love the old Black and White films of the horror genre, this one is for you. It was directed by Edgar G. Ulmer, who keeps you on the edge of your seat from start to finish, and stars John Carradine who is at the top of his form in this one.

The legend of Bluebeard is a frightening one. It is 19th century Paris, and young women are being murdered by Gaston(Carradine), a serial killer. On the surface, he is a quiet artist and puppeteer, but deep down he is psychotic and homicidal(naturally he claims a woman made him this way... HA!). All the models he paints, seem to disappear. But now he has fallen for the very beautiful Lucille, can he control his thoughts when it comes to her,will she be his next victim, or will Lady Jusitce prevail? It's a nail biter!

The DVD I have looks to be the same one here. The image is the one of John Carradine in a red jacket strangling his victim, with a shadowy charcater in the background. The title is in bold blue letters(I mention this because there are a few different editions). The only difference is that in the tech info here the studio of release for this edition is Gotham Distribution but on my copy it says Alpha Video (both released in 2002). The transfer is not the best I've ever seen for a film made in the 40's, but it's not too bad. The film shows it's age, but there was nothing distracting to take away from the enjoyment of the film. The sound was decent, although a bit muffled at times. But I would say, for the price, you get a good old scarey movie to enjoy on a rainy afternoon. Oh and don't be fooled by the cover art..this IS a good ole black and white film. Short but good!

So get the popcorn ready..and...enjoy..Laurie

Firstly, just a word or two about the images and sound quality of this DVD. If I except the Madacy productions which everyone knows to be awfully bad, I haven't seen until now a so terrible DVD transfer. Considering the fact that most of the action of BLUEBEARD is filmed at night in a foggy Paris, the defaults of the transfer are patent. Shameful.

As bonus features, you will find a gallery of photos and posters and a very interesting featurette presenting, among other goodies, an interview of director Edgar G. Ulmer's widow.

BLUEBEARD is the first Edgar G. Ulmer's movie I have the opportunity to see and I cannot wait now to see the other two DVD available here at amazon. It's so obvious that Ulmer was a movie genius and that solely the lack of money has prevented him to direct masterpieces. The artistic quality of BLUEBEARD is far ahead of the quality of, let's say, a Herschell Gordon Lewis movie. There are minutes of pure cinema in BLUEBEARD that reminded me at times of the dreamy atmosphere of Charles Laughton's NIGHT OF THE HUNTER. John Carradine, in the role of a schizophrenic puppeteer, is perfect with his voice so sweetly innocent. At last, a special word regarding the quality of the musical score ; Edgar G. Ulmer's BLUEBEARD lasts 73 minutes and so does the musical score that is literally a character of the movie.

A DVD for your library if you are a movie lover.

I did not know what to expect when I ordered this movie. All I knew was that it starred John Carradine and was made in 1944. It turns out that it is not a pirate movie; it is about Carradine as a tormented artist. Carradine, playing a nineteenth century French artist in Paris is the notorious 'Bluebeard' who kills models and dumps them into the Seine. Although I generally associate Carradine with grade Z horror movies from the sixties, he was at one time a very fine actor capable of a wide range of roles and emotions. Here he is excellent as the tormented painter and puppeteer who is haunted by an early encounter with a woman he helped, but ended up destroying him emotionally. Many of Carradine's talents are put to good use here, including the use of his singing voice. (Actually that wasn't a talent to write home about. The next time I can think of John singing is in the disastrous Coleman Francis cold war fiasco "Red Zone Cuba".)

Carradine is backed up by a talented cast including Jean Parker who plays the object of his desire, and who ultimately helps unravel his doings via a cravat she mended for him after he kills her sister. Also in fine form is Ludwig Stossel, who plays a nervous art dealer who seeks money from an unholy alliance with Bluebeard. Silent screen star Nils Asther plays a police detective very coolly, though when he speaks with his French accent he sometimes seems to be channeling Peter Sellers as Inspector Clouseau.

The film is well done, with excellent acting all around, although there are a few problems. The print is very dark and sometimes the outdoor action (generally at night) is hard to follow as the characters blend into the shadows more than was even intended. The music is public domain, and frequently does not fit the action onscreen, and the outdoor sets look like they were representations made for live theater on stage.

Carradine makes this picture what it is: he is excellent in the role of Bluebeard, and despite the occasionally exaggerated bug-eyed facial expressions (and the singing) this stands as one of the best performances in his very long career.

John Carradine is excellent in one of his most complex roles as a artist-puppeteer driven to strangle his models. Director Ulmer does wonders with cheap sets and lighting to create the atmosphere of 19th-century Paris. Actress Jean Parker is equally fine as the sister of one of Bluebeard's victims. This is probably poverty-row company PRC'S best HORROR movie. Only the upbeat cheesy music score takes it down a notch. Don't know what they were thinking but better to play SINISTER music then that happy s&^%!
Worth a watch and always kudos to John Carradine who always had a soft spot for HORROR films. My kinda guy :)

Much discussed film by the great Ulmer. Solidly made but hardly enthralling like Detour. Beautiful set design with touches of expressionism. This film would be a deal if it were five bucks cheaper

It must have been frustrating to have the mastery of a craftsman and the instincts of an artist, but without the means, and most likely the talent, to put the two together. Instead, Edgar Ulmer became an ambitious director of low budget movies. Most are forgotten, but upon a few rests his reputation for style on the cheap. Watching them requires as much tolerance for schlock as appreciation for what a talented man can do with limited means. Which brings us to The Black Cat, Strange Illusion, Detour, The Strange Woman and...Bluebeard.

Gaston Morrell (John Carradine) is a painter and puppet master in turn-of-the-century Paris. Morrell's paintings never reach the level of excellence he aims for...so he strangles the model, pitches the body in the Seine, and looks for someone else to pose for him. He often finds them when they come to enjoy Morrell's puppet shows. Right after a fresh body is found floating by the police, Morrell accidentally meets Lucille (Jean Parker), a milliner who, with two friends, are on their way home late one evening from work. All Paris, especially young women, are on edge with this killer on the loose. Before long Morrell is presenting his puppets in Gounod's Faust before a crowd in the park...and Lucille is there with her friends. Soon after, Lucille has agreed to make new costumes for Morrell's puppets and Morrell is becoming attentive to her. But wait. Inspector Lefevre (Nils Asther) has discovered a painting by an artist no one seems to know and the woman in the painting looks exactly like the fourth victim of the murderer the people of Paris now call Bluebeard.

The movie looks just fine with all those classy costumes, dark Parisian streets and, especially, the puppet show of Faust with which Ulmer starts things off. There's Marguerite, Faust and Mephistopheles on strings, with a premonition of what may come. It's an unusual and effective way to get us into the movie. Ulmer had to fight to keep it. The movie becomes too involved with the search for models and collectors; a lot of this is played for laughs or badinage. It is, after all, hard to picture Iris Adrian as French. Things also sag when Inspector Lefevre sets a trap for Morrell. But Ludwig Stossel brings us back to the issue of unstable artists who tie their cravats around other people's throats. Stossel plays Jean Lamarte, Morrell's unscrupulous art dealer who knows what's going on and doesn't mind as long as Morrell's paintings sell well and anonymously. Stossel was a great character actor. Here he is not playing a nice man.

But what quality the movie has, and it has glimmers, comes from Carradine as Gaston Morrell. Carradine gives a sad, shrewd performance as a driven man, compelled to paint, compelled to frustration, compelled to kill. Carradine chews not a single piece of scenery and never wrings his hands over his compulsion. Morrell's monologue an hour into the movie, trying to explain himself to Lucille, is a skilled, sympathetic piece of work. Gaston Morrell is a smart, sensitive, talented man who cannot help himself. Carradine doesn't just allow us to feel sad for Morrell, but to respect him in an uneasy way. It's a fine performance.

Carradine appeared in miles of celluloid trash in order to pay the bills -- four wives, five sons -- and finance during the Forties his own theater touring company. When he had a film role that called for it, Carradine could be excellent. Just watch him as Hatfield in Stagecoach, Jessie Wick in Swamp Water ( The Man Who Came Back ) [ NON-USA FORMAT, PAL, Reg.2 Import - Netherlands ], Caleb Green in Son of Fury, Professor Madley in Fallen Angel (Fox Film Noir), Casy in The Grapes of Wrath...or his performance here as Gaston Morrell. John Carradine, I think, was a man to admire.

Be wary. The movie is in the public domain. The DVD transfer is not very good.

One of the more ambitious productions from notorious 'Poverty Row' studio Producers Releasing Corporation (PRC), BLUEBEARD features the amazing John Carradine in the oft-fabled lead role.

Gaston (Carradine) is an artist/puppeteer in 19th century Paris who gets his thrills from murdering pretty young models. His newest model Lucille (Jean Parker) learns of Gaston's bizarre desires and decides to ensure his capture. Despite the 'Poverty Row' limitations of it's studio, BLUEBEARD is filled with exceptional photography and lavish production values, largely thanks to it's expert director Edgar G. Ulmer (who directed the 1934 masterpiece "The Black Cat" and whose later credits included "Strange Illusion" as well as "The Strange Woman" with Hedy Lamarr).

Jean Parker (best-remembered as Beth in the 1933 Katharine Hepburn/George Cukor "Little Women") plays Lucille and makes for a strong and vibrant heroine in the tradition of the great Ulmer leading ladies. John Carradine, who specialised in playing pychopaths and murderers, is completely mesmerising as Gaston.

The supporting cast includes Nils Asther, Ludwig Stossel, Teala Loring, Sonia Sorel, Henry Kolker and veteran character-actress Iris Adrian.

Bluebeard is definitely a film to rediscover. It might not be Ulmer's best but there's enough here to please any serious movie lover. John Carradine gives the performance of his life and although it's obvious that budget is non existent, Ulmer solves the problem with beautiful expressionist sequences, very Caligaresque. Real problem is the print that is often pretty terrible, bringing serious frustration. Have Scarlet Street from the same editor and print is terrible as well.

Hear me people. I love movies, good movies, bad movies, awful movies, A, B, and Z movies. I've seen them all people, but Bluebeard falls into a category that defies description. Ever see a movie from the bottom of the barrel?? Well knock a hole in the bottom of the barrel, start digging, and you'll eventually find Bluebeard.

First of all the picture and sound quality is terrible. The scenes at night cannot be seen, the indoor scenes are so whitewashed, it hurts your eyes. The sound is bad too. But despite all this I could still watch it if it had a good story!!!

This is the most godwaful 'horror' movie I have ever seen. It took me three attempts to finish this movie. I fell asleep the first two attempts and finally finished it on the third. It is not because I wanted to finish it, it was because of the challenge to SEE if I could finish it. This movie spends more time wrapped around the investigation of a painting, clothing for puppets, and droll dialouge. The leading lady is a hottie, but believe me you will not care. This has got to be the most boring thing to watch next to live coverage of a session of English Parliment. Heed my warning people, you would rather eat a bucket of dirty toenail clippings than watch this.

Film director Edgar Ulmer was, in some ways, a pre-Sam Fuller Sam Fuller. Most of his career was spent toiling for B film production companies and producers. Yet, he has a reputation, like Fuller, of producing, if not great films, films that are certainly better than they should be, given the little money spent on them. Case in point is 1944's Bluebeard (a film whose producer Leon Fromkess would later work with Fuller), made by PRC, a `poverty row' studio. As evidence, watch the really well wrought puppet show scene, wherein an engaging opera scene is shown. This 72 minute, black and white film is filled with such moments, including a very good performance by John Carradine, an actor second to only the great Vincent Price in B film excellence in his art form.

Unfortunately, the film also has many moments that truly define it as a B film, in the sense that it is a second rate film- this includes some poor acting from many of the female characters that end up being murdered by Carradine's character. There are also the sort of nonsensical things that make up films not so well thought out. Given that Bluebeard was a character from a classic 17th Century French short story about a wife killer, it makes little sense that the residents of Paris, France (where the film was set) would so self-consciously refer to the killer by that term, since his crimes connect more closely to those of Jack The Ripper (the film is set during the Victorian Era). Also, while the film is ostensibly set in Paris, a poster is put up about town that is written in English, not French.

But, three things, especially, set this film apart from most B films of its day (excepting the terrific Val Lewton produced films of the 1940s). The first is the puppet opera. One has to go almost a quarter century, to Ingmar Bergman's Hour Of The Wolf for a scene of similar power that features puppets. Another, as stated, is Carradine. In a sense, like Vincent Price, he is, at first blush, not an actor of seeming De Niro-like chameleon abilities. But, like Price, his eyes tell all. In a moment, he can veer from contained rage to pathos to humor, than back to a slightly less contained rage. He has a similar angularity that also makes his body seem puppet-like, which makes the depth of his face all the more effective, as it often stands in counterpoint to his body's stiffness. The third excellent element, also mentioned, is Nils Asther as Inspector Lefevre. Aside from his court scene, there is a scene where he is bantering with the two sisters tied to Morell. Asther really walks the line between improper lusting and clever roué wit. In another scene, with Lamarte, he plays his art interest even with his detective skills, and shows multiple levels in his character. In looking up the actor, it seems he had a brief career. Too bad, because he has a quality, at least in this role, that few actors exhibit: the ability to both inhabit and transcend a character.

For these three reasons, Bluebeard is a film that, while not great, and, really, not even a classic B film in the sense that schlock like Robot Monster is, is still a film that cineastes should watch, and Edgar Ulmer is a film director whose canon I will definitely be exploring in the future. Join me.