L'ottava moglie di Barbablu

Ernst Lubitsch is the guiding hand behind "Bluebeard's Eighth Wife," a 1938 comedy starring Claudette Colbert and Gary Cooper. The screenplay was written with a light touch by Brackett and Wilder.

The story concerns a wealthy man, Michael Brandon (Cooper), who meets the very attractive Nicole De Loiselle (Colbert) in a Parisian men's department store. Brandon wants to buy the top of the pajamas, as that's what he sleeps in, but the clerk insists that he buy the entire set. Nicole enters and buys the pants.

Nicole's father (Edward Everett Horton) is a penniless marquis, trying to sell a project to Brandon, who isn't interested. The marquis then attempts to get him to buy a Louis IV bathtub. When he realizes that Nicole is the marquis' daughter, the marquis sees immediately that there is interest and tries to get them together. After all, he's loaded, and the hotel bill is due.

Finally, the couple does become engaged and of course the marquis brings in his entire family at his expense for the wedding. While everyone is gathering for a photograph, some white stuff falls out of Michael's suit. "What is that?" she asks. "It's rice," he says. "Don't you use it at weddings? It's supposed to bring good luck." "Did your bride and groom have good luck?" she asks. "Well," he says, "we had a pleasant six months."

She then finds out he's been married seven times. After renegotiating some sort of prenup he has set up, she goes through with the wedding, but they live separate lives.

For some reason, people put this film in the same category as I Met Him in Paris because they're on the same DVD and they both take place in Paris. I Met Him in Paris is not a Lubitsch film and has some problems. This film has a fine script, zips along at a great pace, and has some wonderful scenes. I Met Him in Paris didn't really pick up until the second part.

Gary Cooper and Claudette Colbert are delightful. It's hard to believe that someone like Gary Cooper actually existed - tall, drop dead gorgeous, and a cowboy to boot. Talk about your perfect man. And what a smile.

Colbert is flawless in acting and in beauty - I saw her up close in 1974 and she looked the same as she did in this film. For as much success that she had, I don't think she ever received the credit for her dramatic work that she deserved, though she did for her comedy.

In her last appearance, in The Two Mrs. Grenvilles, she played an actual person, Elsie Woodward (name changed in the movie), and people who knew Elsie said Colbert was totally the character.

I don't think this is Lubitsch's best, but it's still delightful. How can you miss with those stars, that director, and those writers.

David Niven has a supporting role as an employee of Brandon's who is also a friend of Nicole's. He's very funny.

There is something about seeing a movie in a good, old-fashioned movie house that adds enormous appeal to every picture. I, fortunately enough, was able to see at Film Forum in New York City a pair of Ernst Lubitsch comedies during their three week tribute to the legendary director. The double feature I attended was a screening of Lubitsch's 1938 comedy Bluebeard's Eighth Wife and the pre-Code classic Design for Living, neither of which I had seen before. Everything I read of Design for Living praised the film, but I could not find a good review anywhere for Bluebeard's Eighth Wife. Leonard Maltin disliked it.VideoHound, too, gave the comedy a low rating.its IMDB score was not complimentary.and Pauline Kael (not a great surprise) blasted the film in her scathing review. So, when I went into the city that day I was expecting to enjoy Bluebeard's Eighth Wife only slightly and love Design for Living completely. Bluebeard's Eighth Wife (which was showing first) began, as the eccentrics who populate the cinema took their seats and the thirties music subsided. `Adolph Zukor presents Claudette Colbert and Gary Cooper in Ernst Lubitsch's Bluebeard's Eighth Wife,' the title card read. Then the picture opened with a hilarious scene: Cooper wants to buy a pair of pajama tops, but he doesn't want any part of the bottoms! He gets into a squabble with the clerk, who seeks the help of his higher bosses, and their seems to be no end to the argument. Enter Claudette Colbert, one of thirties cinema's most beautiful, charming, and talented personalities. `I'll take the bottom,' she kindly intercedes. And there you have perhaps screwball comedies finest `meet cute' ever. The film kept my interest wonderfully.I found myself laughing almost constantly. When Colbert discovers, just before a family portrait is taken, that her groom-to-be has been married seven times, the entire theatre broke into histerics. When she bargains for money immediately after she gets over her shock, the laughs (which still haven't ceased) intensify. And Edward Everett Horton milked some hilarious reactions out of the script as well. When Cooper takes inspiration from Shakespeare's The Taming of the Shrew in disciplining his wife by slapping her in the face, I could not control my laughter when she slapped him back. And the drunk scene with the scallions is one of Claudette Colbert's funniest comic scenes. The greatest comic moment of the film came when Colbert highers a boxer to `teach her husband a lesson.' In pure screwball fashion, he knocks out the wrong man, instead putting her friend David Niven into a cold sleep. He awakes as Cooper is arriving. In order to cover up the situation, Colbert herself, in a moment of strong sexiness, puts her fist up to Niven, asks: `Where did that man hit you? Here? Right here? Right here?' and then BAM! knocks him out again! The film was wonderful, from beginning to end it was a perfect delight. I loved Design for Living, too, though I dare say I think for sheer laughs and entertainment Bluebeard's Eighth Wife was the better and more enjoyable film. There is some charm of seeing a vintage film on the large screen. And in the presence of others laughing, one feels more comfortable doing so himself. That is, perhaps, why I felt the way I did about Bluebeard's Eighth Wife.

When my colleague suggested watching this movie, she showed me the Shakespeare-reading scene. As I found it really amusing, I later watched the whole piece. And I didn't regret the time I spent! To say honestly, I'm not the old movie addict who knows all the history of American and European film industry back to black-and-white silent pictures and being woken up at night can list all the prominent actors and directors. I'm not into movies at all, which is the reason that my watching list is highly haphazard with British series followed up by French melodramas and historical documentaries. Bluebeard's Eighth Wife is a really nice piece featuring good-looking actors, jokes, funny without the slightest trace of vulgarity. The plot is a turned inside out ''Taming of the Shrew'', and no wonder it appears as a book the main hero reads, as I mentioned at the beginning of my review. However, it is common knowledge that not the plot itself, but its presentation matters, and in this case it does not undermine expectations. The naivety of the old times has a special charm, especially the good old happy end, so enjoy!

An Ernst Lubitsch comedy, co-scripted by Billy Wilder and Charles Brackett, which has always been generally dismissed by critics and fans alike. Perhaps with the film's reputation as a lesser effort those who sit down to view it will be pleasantly surprised to find it an agreeable affair, anyway.

Gary Cooper plays a seven times married American businessman millionaire who finds that with wife no. 8 (Claudette Colbert) he may have met his match. She has made him agree to a pre nuptial agreement of paying her $100,000 should there be a divorce and then makes him spend much of the marriage unhappy and wishing he hadn't signed that agreement.

While the film is never as funny or clever as the best of Lubitsch, it still has its moments. The film is remembered primarily for the scene in which Colbert and Cooper "meet cute" as they agree to split a pair of pajamas in a department store.

But there are other moments, too, such as the scene in which Cooper, inspired by having just read Taming of the Shrew, bursts out of his room, walks with great macho determination and accompanying soundtrack drum roll down a hallway, enters a room where Colbert stands and slaps her across the face. She responds by slapping him back and Cooper, perplexed by this unexpected turn of events, leaves the room, walks back through that same hallway to his room again and picks up the book to try to figure out what he did wrong.

Like all Lubitsch productions this film has a graceful air of sophistication, with a physical elegance in its sets and photography. Colbert is an old hand at frothy material like this while Cooper, cast against type, plays his role with obvious enthusiasm. He's a far cry from the Cooper we're used to seeing on screen in the scene in which he plays a piano while singing "Looky, looky, looky, Here comes Cookie" to Claudette. The supporting cast is first rate, all of them deft performers: a young David Niven, and old pro character actors Edward Everett Horton and Herman Bing.

English mangling, beer barrel shaped Herman Bing is the unlikeliest of detectives, hired by Cooper to follow his wife to see if she has any lovers. "Don't forget," he tells the millionaire, "we are a first class firm. You will find that out when you get our bill." Recommended as middling production code era Paramount fare.

For some perverse reason best known to themselves these IMDb boards seem reluctant to credit the great Billy Wilder as co-scriptwriter on at least two (this one and Ninotchka) of his early classics when any buff can detect the Wilder hand at work. As it happens this represented the first time he was teamed with Charles Brackett (who DOES get a credit) and it was a great start. One commenter has noted how satisfying it is to see these type of films in old-fashioned cinemas and I couldn't agree more. In Paris one of the smaller Revival houses shows in one of its salles a more or less continuous Lubitsch retrospective and I'm pleased to report that this played to a very appreciative audience right across the age spectrum though I doubt whether any were actually alive when it was first released in 1938. The famous Wilder schtick the meet-cute is particularly tasty here when millionaire but-careful-with-it Cooper attempts to buy half a set of pajamas in a department store on the Riviera and meets with sales resistance until Claudette Colbert turns up and agrees to buy the other half. The gag is milked even more when, having exhausted the chain of command at the store itself the manager places a call to the owner, who is in bed and leaves it to reveal that he, too, is only wearing the top half of pajamas. The film is full of sight-gags like this balanced with verbal wit which makes it just about perfect. Claudette Colbert is only terrific and gets great backing from Edward Everett Horton as her impoverished titled father. David Niven in fourth billing has some funny 'business' as does Franklin Pangborn and if Gary Cooper is not up to his role lacking as he does the verbal dexterity and sophisticated persona that Wilder scripts called for at this stage of his career well, you can't have everything and what you DO have is darned near perfect.