utgard14
PRC thriller has a few things going for it. First, John Carradine in one of his rare starring roles. Carradine was proud of his performance and he should have been. He's excellent. Second, the radiant Jean Parker. She always had a sweet gentility about her. Such a beauty. Third, director Edward G. Ulmer, who deservedly has a cult following. He uses quite a few interesting angles and techniques, never letting his limited budget stop him from being creative. There's a great moody atmosphere to this film, due in large part to his use of shadow and music. There's also a good supporting cast, including Nils Asther as the inspector on Bluebeard's trail, Ludwig Stossel as the disreputable accomplice of Bluebeard, and the beautiful Teala Loring as the sister of Jean Parker's character. Speaking of sisters: Loring was the sister of actresses Lisa Gaye and Debra Paget. Talk about good genes!
Cosmoeticadotcom
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.There is, as example, an excellent performance by Nils Asther, as Inspector Lefevre, best seen in the courtroom scene where models and prostitutes are brought in to see if they recognize the painting style of the Duke's painting. None do, but Asther's suavity and wit make the scene work. Also, despite being filmed entirely on sets that do not resemble Paris, and having mostly mediocre actors, Ulmer does a very good job of creating an effective German Expressionistic type mood, resembling mostly The Cabinet Of Dr. Caligari. Credit can go to unbilled cinematographer Eugen Schüfftan.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.
funkyfry
John Carradine appears in a rare leading role in this bargain-basement PRC production helmed by legendary B movie director Edgar Ulmer. He appears in the role of Bluebeard, a man who preys on women in a serial fashion in the streets. Nevermind that the historical Bluebeard was supposed to be a guy who married his victims, that wouldn't fit into the running time of this film. You have to see Chaplin's "Monsieur Verdoux" for that. But this isn't a bad little movie, taken for what it is.Carradine looks very striking in a hairstyle that emphasizes Oscar Wilde-ish bangs. He's an artist who murders the women that he paints, and so he's very keen not to paint a particular lady who he's convinced is a better type of lady, portrayed by Jean Parker (who can't really hold her weight on screen against Carradine). Carradine's odd manner of delivery never really suited a character better than this one. Still I'm left feeling that the movie has a bit of a cold heart. Characters are killed off towards the end in a way that is sort of casual, and we never get invested enough in any of the characters to really care one way or the other. Ulmer's mood and atmosphere are far more compelling than any of the performances he's able to elicit.
