Barbablù

It's almost impossible to find the words to describe exactly how bad this film is. Or to describe how much fun it was to watch. Bluebeard is the story of a German Baron (Richard Burton) who has a, well, blue beard. When Joey Heatherington finds out that he has killed a series of wives and hidden the bodies she realizes that she is next. In attempt to delay the inevitable she gets the Baron to tell his story. What follows is a primer in how not to pick a girl.

The dialogue is phony, the accents are terrible but the women are all beautiful and (at least partially) disrobed. Maybe not the intent but this movie is a great example of a 1970's campy sex movie.

Sit back, relax and enjoy the ride.

Enjoyable, campy fun featuring a number of beautiful women, most of whom go nude, a seductive score by Ennio Morricone, good old fashioned direction from Edward Dmytryk that stresses atmosphere and setting, and that uses the flashback structure to good effect. Burton is an amusing Bluebeard and he's a lot more enjoyable here than he was in The ExorcistII(77), and Joey Heatherton who worked with Dmytryk in Where Love Has Gone(64)is well cast as the only American and the film's only likable character. Though Heatherton's look is not period, her charm and appeal to Burton's Bluebeard is believable, especially since most of Bluebeard's other wives are depicted somewhat unflatteringly. Though the film's treatment and attitude towards women is largely exploitive, and the film could be better paced, it's nonetheless diverting trash and thanks to a clever ad campaign and trailer it was a hit when released in theaters in 1972. The theatrical trailer is featured on Anchor Bay's DVD.

Austrian aristocrat Kurt Von Sepper (Richard Burton) is a celebrated WWI pilot with a striking blue beard and connections to the fledgling neo-Nazis. He's a real ladykiller. He meets and marries American vaudeville performer Anne (Joey Heatherton). After moving into his castle, she makes disturbing discoveries including his seeming inability to consummate their marriage. He gives her the keys to the castle with a golden key which leads to a freezer filled with his murdered former wives. He recounts to her the story of each wive and their faults which led to him murdering them. Anne plots her escape as she listens to his tales of horror.

This is sold as an erotic thriller with an international cast of beauties such as Raquel Welch. Joey Heatherton has a sincere bouncy cuteness which fits the sincere vaudeville role. However, she is not the best of actresses. She has to be both inwardly horrified and outwardly placating the crazed killer. Her inconsistencies only add to the camp of this movie. Richard Burton is still a powerful actor but the material is strictly B-level. There are some very memorable kill scenes like the elephant tusk chandelier and the hawk. The erotic thrills are fleeting and the horror is old style weak. Most of it is in flashbacks which takes away any intensity. It is still a memorable camp classic.

This film has a lot of neat ideas, some beautiful women, and Burton as world-weary Baron with a campy, phony, middle-European accent. The script is clever and the sets are lavish, with Bluebeard's estate evoking E. A. Poe's Prince Prospero's: a different color dominating each separate room.

Only Dmytryk fails as a director. The material frankly begs for someone like a Roger Vadim or even Roger Corman. BLUEBEARD should have been more fun, more intelligent than the Vincent Price movies of the time (such as THEATRE OF BLOOD) or even those of Roger Vadim (such as PRETTY MAIDS ALL IN A ROW), and yet it isn't. The script demands macabre humor and erotica, and Dmytryk couldn't deliver either, even in his heyday (and this film was made at the end of his slow, sad artistic decline).

However, I personally enjoy this movie more for what it could have been than what it is. Unlike Chaplin's MONSUIER VERDOUX, and other "Bluebeard" movies directed by various people (from Edgar G. Ulmer to Claude Chabral) this is one film not inspired by the true story of Landru. It much more hearkens back to the original Perrault fairytale, only done in the modern times with Burton's Bluebeard as a proto-Nazi. It's not a bad idea for a film, but someone more hip, with more energy, was needed to pull it off.

This tale told largely in flashbacks is pretty bad, but there is some very funny black humor too ! Richard Burton in the title role literally walks through appearing anguished in 99% of his scenes. What the Burtons wouldn't take on during their marriage to keep the $$$ rolling in ! On his honeymoon night with latest wife Anne, played by Joey Heatherton, Burton's Baron von Sepper fails to rise to the occassion. In flashbacks, his tales of murderous endeavor with previous wives unfold. Most of the beautiful European actresses in this movie merely pose looking beautiful. One exception is Virna Lisi who can't stop singing, so the Baron must off her to keep his sanity. Raquel Welch is another wife, a former convent nun named Sister Magadalena who constantly modifies both her nun's habit and appearance during the weeks that the Baron is courting her. By the time that the Baron is ready to pop the question to her, her habit is low cut and thigh high! Magadalena begins to confess her past indiscretions 1 by 1. By the time she is on her 76th peccadillo, the Baron can take no more and entombs her alive ! Otherwise the film is both dull and has terrible dialogue. Heatherton mutters things like, " I spit on you my darling ". The continuity runs like a badly dubbed Mexican horror flick. It's no wonder that the careers of those involved stalled..........