MARIO GAUCI In the past, I’d watched three other versions (four, if one includes Charles Chaplin’s variation MONSIEUR VERDOUX [1947]) about the famous fictional serial killer Landru – the 1944 Edgar G. Ulmer/John Carradine and 1963 Claude Chabrol/Charles Denner BLUEBEARD and the W. Lee Wilder/George Sanders BLUEBEARD’S TEN HONEYMOONS from 1960.Actually, this one is best approached as “Euro-Cult” (what with its flashes of nudity from a bevy of international beauties) rather than a historical piece – BLUEBEARD, incidentally, was a production of the Salkinds, soon to enjoy critical success with Richard Lester’s “Three Musketeers” films and, eventually, the money would come pouring in with the “Superman” franchise. Besides, the tone is unsurprisingly one of black comedy – with the titular ladies’ man revealed as an impotent who’s forced to kill a succession of spouses so as to keep this embarrassing fact a secret! Incidentally, it also transpires that events as depicted on-screen may well be fabricated since the real reason for the killings only emerges towards the end: “Bluebeard” – a WWI air ace – recounts his romantic misadventures to his latest conquest, a young American showgirl, after she’s cajoled by her husband towards the discovery of a secret passage leading to the vault wherein all the bodies of his former wives lie frozen! The treatment is somewhat heavy-handed (with obvious predatory symbols, for instance): its connotations to Nazism, too, prove unnecessary – and, consequently, Bluebeard’s demise/come-uppance seems fateful when it should have been slyly ironic. All of which results in an uneven film with a tendency towards camp – though undeniably abetted by the overall handsome look (“Euro-Cult” regular Gabor Pogany is the cinematographer) and a typically imposing score by Ennio Morricone; incidentally, I had used portions of a funereal motif from the soundtrack of this film for my final short during the NYFA course I took in Hollywood a couple of years back! Individual contributions by the star cast, then, are also variable: to begin with, Richard Burton’s thespian skills were often misused during this particular period – lending his services to interesting but often ill-advised ventures (three more of which I watched only recently, namely DOCTOR FAUSTUS [1967], CANDY [1968] and THE ASSASSINATION OF TROTSKY [1972]); in this case, he sports a silly colored beard (the script having interpreted the title all-too-literally, but which might actually be an indication that it shouldn’t be taken seriously) and looks alternately bored and exasperated throughout! The ladies are all easy on the eyes but also surprisingly willing, with Joey Heatherton as the stunning current bride getting the lion’s share of the running-time. The others – in order of appearance – are Karin Schubert (when Burton’s deficiency, excused at first by a period of convalescence ostensibly suffering from a war wound, can no longer be concealed, she threatens to expose him to public ridicule and this triggers off his homicidal ‘urge’!); Virna Lisi (enjoying herself as she drives Burton to distraction with her incessant singing of corny love songs!); Nathalie Delon (a model whose inexperience in love leads her to take lessons from prostitute Sybil Danning, but the two become instant lovers!); Raquel Welch (a nymphomaniac who attempts to stifle the habit by, ahem, donning it i.e. she becomes a nun!); Marilu' Tolo (again, fun as an outspoken feminist – who even kicks Burton where it hurts! – but who also turns out to be a closet masochist); and Agostina Belli (as an outwardly-innocent but actually spoilt child-bride).Going back to that “Euro Cult” comment, BLUEBEARD may have been influenced by the giallo work of Mario Bava – with its set of glamorous female victims (as in BLOOD AND BLACK LACE [1964]) and the novel methods of assassination (in the wake of A BAY OF BLOOD [1971]). Still, amid its forced Hitchcock references (the embalmed mother from PSYCHO [1960] and the falcon attack a' la THE BIRDS [1963]), it appears that Burton & Co. were consciously emulating the previous year’s success THE ABOMINABLE DR. PHIBES (1971) – a low-budgeted but stylish vehicle for horror icon Vincent Price. Of course, one can’t forget to mention the film’s affinity with the classic Ealing black comedy KIND HEARTS AND CORONETS (1949) in its nonchalant, inevitably comical attitude to murder.

Juha Hämäläinen Richard Burton with his impressive skill and unforgettable voice surely did many more demanding and better roles than Baron Bluebeard. As limited as the role for him may have been, he really seems to make it his own and it's hard to imagine anyone else of his stature at the time quite reach the same result. Maybe Marlon Brando could have been as good or better. As charming, as vulnerable, as ruthless, as big a star and all at the same. I don't know about the box office, but actor and story wise the producer made a good deal.Poor Richard must have had some hard time with the actresses. All wives the most beautiful actresses around and not too shy. It's a bit shame that the repeating formula in baron's life and in the movie requires to get rid of them so quickly and mostly misses their acting skills leaving only Joey Heatherton linger around longer. Some of these actresses could have even filled in the main role better.Bluebeard is an old fairy tale and a very cruel one as the original old tales used to be. So, this is a fairy tale for adults. The feeling is increased more by the fabulous castle, imaginative deaths and so forth. But placing the time of the story in the era of Nazi regime (though the marks and symbols used in the film are not genuine) gives it also another dimension. By taking on new wives to only to destroy them because of his own incompetence and false pride Bluebeard can be seen as a symbol of certain powers and what they have done (or are doing) to other countries and people. I'm not sure if the filmmakers really meant it that way, but that's how I see some of it.If this film is mostly forgotten now, I think it's unjustly so and deserves new viewings. What it might miss in horror or suspense, it wins at least in wickedly dark humor and some tasty acting.

jerjerrod013 BLUEBEARD is an oddly beautiful film with beautiful sets, beautiful costumes, beautiful European women, and Richard Burton's beautifully blue beard. The film is a retelling of the "Bluebeard" story that takes place in an "almost" Nazi Germany. The Nazi uniforms are not really Nazi uniforms and the swastika is not really a swastika, but this helps add to the fantasy aspect of the film. The idea of watching a pseudo-erotic, black comedy about real Nazis would be a little tacky even for BLUEBEARD, which is abundant in tackiness.The movie is about sex and sadism, but never goes far enough with either the sex or the sadism, even by 1972 standards. Baron Von Sepper (Richard Burton) attracts and is attracted to a series of beautiful women, whom he courts and then marries. Once married to the various objects of his obsession, the sticky part of consummating the marriage rears its ugly head (or fails to, more precisely). An Oedipus complex, a plane crash, and some kind of chemical reaction, that has turned Von Sepper's beard blue, have all combined to render the poor Baron impotent. To save himself from embarrassment, Von Sepper must kill off his wives once they discover his inability to perform. This is where the film is remarkably realistic with its examination of the lengths a man will go to hide that he is not a functional man.I bought Richard Burton as the reserved Nazi baron who is incapable of accepting his shortcomings. He is funny in the scenes where he is trying not to have sex. The many failings of the movie are the fault of the director, Edward Dmytryk. From the incredibly slow pace to the un-dramatic use of flashback right after flashback, the film alternates between the boring and the beautiful. The director also annoys the viewer with an obvious correlation between the sadism of Nazi Germany and the sadism of Bluebeard. Anyone familiar with history knows that the Nazis were sadistic. No one needs this movie to try to drive that point home.

Coventry Ever since I was a child, the morbid tale of Bluebeard intrigued me immensely. But apparently, it's not very easy to find adequate films about the lady-murdering Baron. I haven't been able to track down the 1944 version (starring John Carradine!) yet, but I was very happy when I got hold of this one. I figured it couldn't go wrong with this cast (Richard Burton and Raquel 'One Million Years B.C.' Welsh), the period of release (the rancid 70's) and because it partly is an Italian production (they dare to exceed limits of good taste more easily). To my regret it turned out a disappointment… Not that it's an entirely bad film, though. The classic tale is respected and the film implies an interesting structure, but it's so darn tame! To any creative director or scriptwriter, this plot would offer such a great opportunity to deliver a compelling, adrenalin-filled film but here it's not the case. It doesn't even feature the slightest bit of sleaze, which I actually hoped for. There's too few excitement and action while the chilling set-pieces are underused. To choice to have Richard Burton play Baron Kurt 'Bluebeard' Von Sepper sounded like an ingenious casting idea but his performance only is so so. For those unfamiliar with the plot: it handles about a German WWI veteran who returns from the war a ladykiller….literally. His eighth wife Anne discovers a secret room in the castle and a horrible secret. The only good comments actually go out to the female cast! One thing you got to admit, Baron Bluebeard has a fine taste and eye for female beauty. Goddess Raquel Welsh is great as a nymphomaniac nun and also Sybil Danning, Nathalie Delon and Virni Lisi impress in their roles of ex-wives. Bluebeard is worth a peek if a TV-station would ever program it, definitely not worth buying.