Barbe bleue (2009) Reviews

• Bresson's Beast

  tedg2011-10-09

  Its a sad thing to see the tragedy unfold, that tragedy of growing weariness of life we have impressed on the story of the lost innocence of a girl. There are three such stories here. The least interesting is the 'fairy tale' itself: an innocent younger sister by fate ends up married. Her impression of her husband is stretched in her mind: he is huge, with appetite to match. Urges related to sex, which she has not yet felt, are mapped onto bloody murder. Her wedding night will be a death. The bridal chamber, accessed by a golden key, is a storehouse of dead women, all dripping fresh blood on the floor from under their nightgowns. Fears, fears. Unlike the typical Breillat, the man here is gentle and suffers. But like the rest of her work, it concerns the strangeness of sex as it barrels into young girl's lives. All of it is highly abstract, absurdly so. Redhead note: our girl's older and wiser sister is played by an extreme prototype redhead. When they get to the castle of grownups, they encounter an actual sexually active woman, and she is yet more extremely redheaded. There is an initial recognition and embrace. This tale is wrapped in a second, set in Brellait's childhood era. In this case, two sisters — younger than those in the tale — discover the book of the story. Much is made of the disparately between the two: the younger one is 'more advanced' and she lords it over her sister. When we see these two, peppered throughout, we see how profound is their ignorance of adult ways. As the inner story produces its gruesome end of an undeserved death, so does the outer story. But there is the third story, the outer wrapper, the story of the filmmaker who we knew as a young woman. She made some films full of energy, richness, sexual imbalance and personal pain. Now she is a mature woman, and all the blood is gone. All we have left is lifeless metaphor. Ted's Evaluation -- 2 of 3: Has some interesting elements.

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• Full of terror and untold beauty

  howard.schumann2009-10-04

  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.

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• Disappointing Film from the Director

  Michael_Elliott2012-09-17

  Blue Beard (2009) * 1/2 (out of 4) Incredibly disappointing adaptation of Charles Perrault's fairy tale has sisters Marie-Catherine (Lola Creton) and Anne (Daphne Baiwir) being taken out of a rich school after the death of their family. Moving back with their mother, the three are now desperately poor and this is when they're invited to the castle of Lord Bluebeard (Dominique Thomas) and soon after Marie-Cathrine agrees to marry him. This story has been told countless times before but I had high hopes going into this one because I'm always impressed with the work of director Catherine Breillat. I'm sure some might be able to say this film spoke to them or that it was deep in some fashion but to me it was just a complete mess from start to finish and the worst thing is that it's totally lifeless. I'm really not sure what the director was trying to do here but no matter what the goal was it certainly didn't succeed. I was rather shocked to see how lifeless the picture was as it doesn't contain a bit of energy and after a while the viewer just grows tired of the slow pacing. Even worse is that this thing clocks in at 78-minutes, which feels twice as long. It was impossible to care about either of the sisters and all the flashbacks to a couple girls playing in an attic just doesn't work or add anything to the picture. The one thing I did like about the film were the performances. I thought Creton was very effective in the role of the strong sister who will stop at nothing to get what she wants. I also thought Thomas was extremely good as the ogre Bluebeard. He brought a certain sympathetic nature to the role that I thought worked very well. With that said, the film is a major letdown and it's a real shame because it should have been much, much better.

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• Marilou Lopes-Benites steals the show

  oOgiandujaOo_and_Eddy_Merckx2010-09-21

  Despite possibly the most charming child performance in a movie ever (no I have not watched all movies ever) by Marilou Lopes-Benites, I didn't allow myself to fall for Bluebeard, though this little girl narrator is so winsome that on occasion her charm has the audience gasping. The way that Bluebeard is shot is very casual, almost matter-of-fact and Rohmerian, strangely for what is potentially such an atmospheric story. The level of graft going on is very low, more befitting a conversational type film a la Rohmer. I also took badly to a scene of animal slaughter that seemed inhumane. I think comparisons with Tarsem Singh's wonderful movie The Fall are beneficial. In both movies there have two timelines, the first, the timeline of narration is set in the early Twentieth Century, the second is a period fantasy being narrated. In both movies there is a charming child actress, in The Fall it's Catinca Untaru. Where The Fall succeeds in my view is that the fantastical narrative really feels like a product of the narrators' minds. In Bluebeard, even though the girls are reading from a book, the resultant fantasy doesn't feel like a product of their minds, but distinctly a product of Catherine Breillat's mind, too knowing and sophisticated. Quite clearly for example the children would not have been imagining the squirming of a dying animal. Even though the narration is less ostentatious, and takes up less screen time, as with The Fall you really can make a case for it being the most moving part. I think Breillat did manage to access the essence of the Bluebeard story which is that if you are a big ugly sensitive oaf, you are condemned to not participate in life, one of my fondest quotes, from Le Quai Des Brumes / Port of Shadows (in French it's more eloquent) is "It's horrible to love like Romeo when you look like Bluebeard!". I think that's what worse is that women often don't acknowledge that it's possible that such a man could have the feelings of Romeo, as if only pretty and graceful men could feel like that. Something that should never be forgotten is that passion is something everyone feels. Brief summary of the plot is that Bluebeard is a rich man rumoured to have murdered previous wives. He takes new wives without dowry, and persuades Marie-Catherine, a child bride, to marry him. There are some funny post marital scenes, like when Bluebeard is sat eating an ostrich egg, and Marie-Catherine is sat eating a quail egg side by side. I really am fond of the movie, but I would have liked to see more mise-en-scene, the movie as I say, is far too casual. There is a feeling of great boredom that arises from the last scene of the fantasy strand, in a scene that should perhaps be incredibly stirring.

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• Unconventional retelling of a fairy tale

  Gecq2009-02-16

  Director Cathérine Breillat folds two fairy tales into another, one of her own design and the classic narrative theme Barbe Bleue (King Blue-beard). I guess she deliberately renders the performances and sets artificial and hollow. This is for example clearly indicated in the tower stairs scene, where the same part of the spiral stairs is shown over and over again to give the impression of a high tower but there are distinctive parts showing it's always the same. As if this wasn't already clear enough, at one point she needlessly lets the image flip to show its cut. I interpret this as a cryptic reflection of narrative tradition where she blends the image of the girl devouring King Blue beard into a new image of the girl's courage and fearless endeavor. Hence Lola Creton is the only one who seems to be allowed to give a glowing performance and so she does. A difficult film, but worth a watch if anything of the above made sense to you or you know and like Breillat's unconventional work.

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