catfish-er I'm working my way through the Horror Classics 50 Movie Pack Collection and BLUEBEARD is one of the movies in the set.The two leads are really the only redeeming qualities about this film, as the print is awful, the sound unbearable; and, the score heavy-handed. John Carradine, as Gaston Morrell (the puppet master) is fantastic. His performance as the tortured painter/perpetrator is great. While not outright evil, nor with guile, he manages to stir up sympathy; and, hope for restoration.With a bit of schizophrenia surrounding his relationship with his models; and, his one great love, Carradine displays his considerable talent. Jean Parker, as Lucille (the seamstress) is charming as well. By the way, she was an absolute delightful in ONE BODY TOO MANY, so you might want to check that one out as well.Teala Loring played her sister; and, is cast as some sort of "tough" called in by the Police Inspector. However, since the film is set in Paris, her brash New York accent throws off what would have been otherwise a very good performance; it strains credulity. The rest of the cast is abysmal.The plot is rather thin; but, there are elements of interest to hold your attention through the whole 70 minutes.

wes-connors Failed painter turned puppeteer John Carradine (as Gaston Morrell) is secretly terrorizing 19th century Paris, as the serial killer nicknamed "Bluebeard" (since nobody knows who he is, the name is moderately appropriate). After strangling the women, Mr. Carradine dumps them into the river Seine. The reasons for Carradine's homicidal behavior are, later, explained (in a nicely performed scene); predictably, they involve his relationship with women. Carradine's Achilles' heel appears in the form of slim-waisted seamstress Jean Parker (as Lucille). Carradine has stated the title role of "Bluebeard" was his favorite performance. The film's surprisingly weak structure and glaring soundtrack are among the obvious flaws; but, there are some enjoyable and entertaining elements present. The film is directed with style, and includes some fine performances. Carradine's characterization is, obviously, most appealing. There are other players worth watching; and, director Edgar G. Ulmer must deserve great credit. Ms. Parker helps a great deal; her character's approaching spinsterhood helps make the film, and its characters, seem more authentic. Other thirtysomething actresses of the 1940s would have declined the line, "Are you disappointed after seeing me more closely?" Nils Asther (as Lefevre) is another underrated performer appearing; his Parisian inspector, with an eye for art, is outstanding. Also notable is Sonia Sorel (as Renee); she was one of Carradine's wives, and the mother of Keith and Robert. ******* Bluebeard (1944) Edgar G. Ulmer ~ John Carradine, Jean Parker, Nils Asther

whpratt1 Always enjoyed the films of John Carradine and in this film you will see his great acting abilities as a painter who loves to paint beautiful women and gets a thrill out of killing them. John playing the role of Bluebeard is a natural to him with all his expressions and eyes that seem to glow like moons. The law is constantly trying to find this killer and they keep going around in circles. Bluebead meets up with a very attractive girl named Lucille, (Jean Parker) who seems to make him change his ways and he actually falls in love with her and she has no idea just what type of man he is, except that he paints a good picture. This is a great John Carradine Classic which is worth watching after his many horror films over the years of his career.

dougdoepke A PRC poverty row production that makes the most of its limited budget. A lot of credit should go to production designers Eugene Shufftan and Edgar Ulmer who collaborated on the movie's sumptuous look. Even when the middle part drags, the visuals remain arresting. Note too how the meagre exterior sets are stylized to make up for the limitations. Of course, cult director Ulmer was no stranger to transforming army surplus material into artistic effects. The overall result is an atmospheric recreation of 19th century Paris. Making Carradine's Bluebeard a puppeteer is a novel and interesting wrinkle. Then too, I can't help thinking there is more plot potential in continuing with Bluebeard the puppet master than in shifting the story line over to Bluebeard the painter, as the screenplay does. Nonetheless, those early scenes in the park are good ones. However, the cadaverous actor who can be as florid and intense as anyone seems a little too understated here. While physically he looks the part of the grim reaper, Carradine is simply no good as a simpering lover, while too many of his scenes lack the menace the role calls for. Unfortunately, the result compares unfavorably, for example, with Laird Cregar's riveting Jack the Ripper in that Gothic thriller The Lodger of the same year. It appears Ulmer is much more the visual artist than the thespic coach.Nonetheless, the movie remains an interesting curiosity. Consider the sheer wackiness of presenting Iris Adrian whose cheap Brooklyn accent can barely be disguised as a Parisian. Still, it does amount to an amusing turn. Also, note the off-angle camera staging of Carradine's flashback sequence, which is both effective in identifying the sequence and artfully composed. Such camera effects were hardly a Hollywood staple at a time when producers generally felt they would confuse the audience.Of course, there's the question that always arises for fans of Ulmer. What would he have done with an A-budget and A-material in a career spent in the lower depths of Hollywood production. Hard to say-- perhaps he needed the challenge of PRC-type constraints. However, I think it's fair to say that none of his poverty row productions are without genuine points of interest and entertainment, and-- as is the case with Bluebeard-- may even rise at times to artistic levels.