Bluebeard

Film historians, like Richard Abel, sometimes split most of the films of Georges Méliès into two categories: the trick films, which are the shorter, generally one-scene films that are entirely about the attraction of the special effects, and the féeries, or fairy films, which are longer, narrative films, fantastic in their subjects, and with multiple tableaux. "Bluebeard" is obviously one of the féeries. Characteristic of the genre, it even has a fairy that manipulates the characters, including their dreams, and the plot of the film. Later films that are often considered fairy films (or fantasy films), such as "Le Voyage dans la lune" (1902), don't involve a fairy to such an extent. Méliès began making these longer narrative films by 1899, beginning with "Cinderella" (Cendrillon). As with "Cinderella" and about every story film of his, Méliès uses the tableaux vivant style, dissolves to transition between the single-shot scenes and studio sets for a theatrical style of narrative. Exhibitors also tended to rely upon the extra-filmic lecturer (which was common then even for non-narrative films, but they became especially useful in aiding audiences in following complex narratives such as this one). Méliès would even provide exhibitors with the narration for the lecturers--including story details that would otherwise be uncertain or unknown. In addition, as with "Cinderella", "Bluebeard" is based on a story by Charles Perrault. Other filmmakers would eventually create more cinematic story films, but at first, they would imitate Méliès's féeries, but with their own regional influences, such as in Robert W. Paul's "The Magic Sword" (1901) and Edwin S. Porter's "Jack and the Beanstalk" (1902). Pathé was also quick to imitate all things Méliès and to try to take over his market.

On its own, "Bluebeard", at ten scenes, is an elaborate production for its time when compared to the short films of often only one shot that continued to coexist with the development of these story films. Méliès would even continue to make both kinds of films. Additionally, although stagy, the set designs by Méliès were the best in filmdom at the time. The film's story is also very good for a Méliès production, including two rather macabre scenes. I especially appreciate the demon, or devil, and fairy characters. They both watch over Bluebeard's wife; the demon, or devil, tempts her into danger, while the fairy protects her against harm. In the dream scene, they both control the wife's superimposed dream images above her. The fairy's control of the narrative reappears in the aforementioned "The Magic Sword" and "Jack and the Beanstalk", as well as in other Méliès films such as "Kingdom of the Fairies" (1903)--reaffirming its centrality to the fairy film.

this movie has great backgrounds from the castle,the greatest moment is a real horror moment when the woman goes into the forbidden room and finds the hanged 7 ladies all former wives of bluebeard,another great moment is when the woman sleeps and dreams when the ghosts of the 7 dead wives and the dancing keys appears.

Georges Méliès Bluebeard is one of the earliest examples of narrative film-making. It is a dry run for Méliès later hugely influential A Trip to the Moon. Up until this point in time cinema was the preserve of visual trickery and pure realist reproduction. No one had really worked out how to tell stories via this new medium. It was left to the ultimate cinematic innovator Méliès to start thinking of film as a narrative form. And with this little movie we have a definite story; one which is also replete with the director's famed visual invention. It's one of the first times that he utilised his special effects into an actual story. There are several different sets, all of which have detailed design. The story itself is about the evil character Bluebeard. It's a much more macabre subject than Méliès more common fantasy based tales. This one still has those elements too but also has darker, more nightmarish content. In its most memorable moment, for instance, the heroine enters a secret room where the dead bodies of Bluebeard's seven previous wives hang. It's quite striking and one of the earliest examples of horror cinema. The whole fantasy dream sequence is overall very effective with a sprite that leaps out of a book, ghostly apparitions and giant dancing keys. It's an entertaining film whose main historical importance is that it is one of the very first twitches of narrative cinema.

I don't know the story of Bluebeard, so this ten minute motion picture is my first introduction. I could gather that he was wealthy and wanted to marry a recalcitrant woman. She reluctantly agreed and was given a huge wedding feast. After the wedding Bluebeard bestowed upon her the keys to his castle--and they were many--essentially telling her that the entire estate was at her disposal, except for one room. One room he made a big show about being off limits, then, laughably, he gave her the key to that room. So what do you think she did?

Of course, she entered the room where she saw the corpses (I'm assuming) of former wives.

I'm intrigued. I now must read the story of Bluebeard.

Free on YouTube.

Georges Melies writes, directs and stars in his retelling of the Charles Perrault classic BLUEBEARD. Melies stars as the title character Bluebeard who is looking for his eighth wife. The previous seven have died under mysterious circumstances. When he finds his wife (Jeanne d'Alcy who interestingly later married Melies in real life until his death in 1938) he goes off on a journey, but leaves the key to the castle with the new wife. In turn she finds the dirty secret Bluebeard has been hiding and he returns to exact some revenge.

When first watching the film in the 1st act you might be thinking this is a comedy, but when the 2nd act opens you should be aware that the tone of the film is horror. The music to the version I watched was great as it added joy, tension and terror when needed. The sets are good as well as they never seem to get boring or over used. In the public domain so should be easy to find.