Bluebeard

Infused with a sumptuous elegance, Catherine Breillat's eerie retelling of the Charles Perrault fairytale Bluebeard is very sensual and highly stylized while adhering to an almost literary interpretation of the story. Shown at the Vancouver Film Festival, the film operates on parallel levels, both involving two sisters. In the first story, two young sisters play in the attic of their home in France in the present time. Catherine, who according to Breillat's autobiographical material, represents the director, plays power games with her older but more withdrawn sister Marie-Anne by tormenting her with readings of the classic horror story "Bluebeard".

While young Catherine is reading the story, the drama plays out on the screen in a setting that looks like the 16th century. Another pair of sisters Anne (Daphne Baiwir) and Marie-Catherine (Lola Créton) (note the similarity in names) receive sad news at a convent from a coldly unfeeling Mother Superior that their father was killed while trying to save a little girl. Without means to continue at their private school, the girls are unceremoniously thrown out. On the way home, they pass Bluebeard's Castle and comment on the local aristocrat who, rumor has it, married many wives who strangely disappeared.

It is not long until the corpulent Bluebeard (Dominique Thomas) begins to court the young and attractive Marie-Catherine. Without money for a dowry, Marie-Catherine, undaunted by the whispers, agrees to marry the wealthy Bluebeard. The film then moves back and forth between the two stories, with the younger girls' reading and commenting on the fairytale providing comic relief for the heavy drama of male power and female sexual awareness unfolding at the castle. Marie-Catherine seems to have charmed Bluebeard who appears loving but whose intimidating frame towers over the slender virgin.

Marie has, however, cannily set things up in her favor. She has chosen for herself a room so small that the hefty Bluebeard cannot enter but she can tiptoe down the hall and peek into the room where he is getting undressed. When he goes away on an unspecified trip, Marie-Catherine invites her sister Anne to the house and they have much fun but Marie is sad until her new husband returns home one month later. Before leaving on his second trip, however, he gives his wife a key to a mysterious room in the cellar with the impossible instruction not to open the door. Frightened of disobeying her husband but tantalized by the secret, Marie-Catherine unlocks the mystery chamber only to be confronted by her worst fears and the story plays out in Breillat's provocative and unpredictable fashion.

Bluebeard's setting immerses the audience in a world that is far removed from today's realities, yet teenage newcomer Lola Créton gives Marie-Catherine a playful confidence and pride to go along with her natural purity and innocence in a way that speaks to today's feminist sensibilities. Going backwards and forwards in time also highlights the universal qualities inherent in the Gothic fairy tales that, even when they are decidedly dark as in this case, have a lot to teach us about confronting our fears, lessons often hidden by the pandering of Walt Disney animation. Resonant with wit and sexual tension, Catherine Breillat has, in Bluebeard reestablished the reality of the world of children both full of terror and untold beauty and, in the process, has created a minor masterpiece.

Catherine Breillat's canny revision of the Bluebeard myth is rigorous and assured like her other work. This time she keeps her usual provocations at bay, but the movie is no less compelling for it, with human folly bubbling at the surface of every interaction. The casting, acting, camera work and editing are subdued but still expressive, and the director interrupts the plain and direct storytelling at just the right moments in order to get at her points--albeit in curious and elusive ways.

Some remark how this movie feels boring or its commentary is obvious, but for me the approach makes room for as much complexity and humanity as Breillat brings to her other, more notorious work. If you are a fan of the more cerebral classics of world cinema, this one courses with the energy of the old masters: traces of Buñuel's Tristana are here, as are Bresson's The Trial of Joan of Arc and Mizoguchi's Life of Oharu.

I was curious about a new adaptation of this classic story. After all, there is nothing like a good old story to sustain a movie. As i watched, i was more and more surprised. I kept wondering how can a film maker do such a bad job and let it out for the public to see... I tried to give it a chance, hoping that it will improve, but i was too optimistic. I wouldn't want to criticize something to the point of convincing others to avoid it, but in this case it felt like a civic duty. To put it briefly, bad scenario, awful dialogues, unremarkable camera work, unbelievably bad cinema; a pittiful adaptation. I'm sorry to say such bad stuff about other people's work. I'm sure they didn't want to do a bad job, but sometimes that's how things go. Wish them better luck next time. OK now. Time to forget this disappointment. Don't waste time on this one.

I can't tell you how disappointed and bored I was while watching this movie.

I kept hoping with all my heart that it will pick up its feet at some point and start delivering some feeling, magic, action or whatever. But alas, that was all in vain.

It keeps the same slooooooow pace from start to end, the actors keep showing the same inexpressive faces and delivering the same emotionless dialogs.

That is when they bother to speak. In the rest of the time they keep staring in some more or less distant point for quite long periods (I suppose it's meant to show us how deep they feel or think).

I don't know how the book ends... but the end of the movie looked pretty fuzzy and stupid to me.

You're never told why Blue Beard did all those horrible things or how did the little girl managed to escape.

The only good things in this movie were the costumes and locations, I guess.

All in all, if you expect some bit of fairy-tale, of magic, of fantasy or anything at all which would glue you to the chair in front of the screen, I think you'll be pretty disappointed.

If you are familiar with some of director Catherine Breillat's previous works, you might enter this with a certain expectation to see genitalia and penetrative sex. But in her adaptation of the fairy tale of Blue Beard there is thankfully none.

In olden days, when two young sisters are removed from the private school after their father dies they return to live with their mother and circumstances look dire. A local Lord, known as Blue Beard has a reputation for the ladies and rumours abound that his previous wives and lovers, now missing, were murdered by him. After an invite to a gathering at his castle, one of the young sisters befriends the giant Lord and their marriage is arranged. Marie loves to the cold stark castle aware of the reputation her new husband has and demands that due to her age she sleep in a separate room until she is of age to consummate the marriage. Blue Beard travels away on occasion leaving Marie to her own devises. Amongst this we have in more modern times two young sisters play in an attic and the younger taunts her older more sensitive sister by reading her the story of Blue Beard which she finds scary.

This adaptation is at times very clunky to watch. The cast seem very amateurish and some scenes look like it's been made by a student production. Whilst not familiar with the story, it appears to be quite dark and yet there never really is a sense of foreboding in the film and it never really enters in really dark territory which doesn't work in it's favour. Only near the end does the film show a darker element as Marie faces the consequences of her actions and the modern tale of the two sisters takes an unfortunate turn.

The younger cast do quite well, especially the young girls in the modern part. In fact they provide the only real enjoyment throughout the film as the younger tease and taunts her sister and some of their conversations are priceless. Yet at first these scenes when they appear add confusion to the story as it's not immediately apparent what is happening. The castle settings, in fact the whole setting looks overly baron and cold and it looks odd, especially as there is no contrast between Marie's poor family home and the Lord's sumptuous castle.

Overall the film feels a little stagnant that even at 80 minutes running time feels over long. It is a good story, but save for some nice performances and a few laughs from the two modern sisters, this seems like a bad attempt at film making that clearly shows it's low budget.

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