Barbe Bleue

Anne (Daphné Baiwir) reads her younger sister, Marie-Catherine (Lola Créton), the story of Bluebeard. In 17th-century France, another set of sisters — also named Anne and Marie-Catherine — are left impoverished by their father's death. Marie-Catherine dreams of marrying into money, and soon falls for wealthy divorcé Bluebeard (Dominique Thomas). Grateful for the chance at a life of comfort, Marie-Catherine marries Bluebeard — in spite of rumors that he has made a hobby of murdering his wives.

Film adaptation of the famous French folktale by Georges Hatot.

A young woman becomes the eighth wife of the wealthy Bluebeard, whose first seven wives have died under mysterious circumstances.

Perrault's fairy tale presented in claymation with choral voices. Bluebeard goes courting, all six of his wives having died. He arrives at the house of a widow with two daughters. He's greatly feared, but he overcomes objections with a generous dowry. One sister (Anne) refuses him; the other accepts. At his castle, the damsel delights in precious minutes away from Bluebeard in the rose garden. The Saracens declare war; Bluebeard goes off to fight them, leaving the keys to the castle in the damsel's hands. He warns her not to enter the forbidden room. As war rages, she discovers riches in the castle and then enters the forbidden room. Will Bluebeard discover her act? Can she escape death?

Just before wowing international critics and moviegoers with his adventure romp Fanfan la Tulipe, director Christian-Jaque dashed off the lampoonish Barbe-Bleue. Ostensibly the story of the famed wife-killing potentate Bluebeard (Pierre Brasseur), this lighthearted costumer begins as the title character is poised to march down the matrimonial aisle for the eighth time. Barbe-Bleue's newest spouse Aline (Cécile Aubry) is kept in line by her husband's claims of murdering her predecessors. But when Aline opens the famous locked door to the equally famous hidden room, both she and the audience are in for quite a surprise. The frivolous nature of Barbe-Bleue is underlined by its pleasing utilization of the French Gezacolor process.

While her husband is away, Bluebeard's seventh wife sets out to discover all the secrets hidden in the castle using the keys he has given her. But she fails to see that by doing so she will be instrumental in creating a series of tragic events.

When Barbe-bleue loses his fifth wife, the turbulent Boulotte is selected at random to be the next one. But Barbe-Bleue falls in love with Hermia – who loves the shepherd Saphir – and soon wearies of Boulotte. So, he asks his alchemist to concoct for him an “anti-wife” philtre. But, as on the previous occasions, it is merely a sleeping potion and Boulotte wakes up the other five “dead” wives. They reappear, dressed up as gypsies and bring the truth to light.

This recording of the opera Ariane et Barbe-Bleue by Paul Dukas was staged at the Liceu in Barcelona in 2011, with Claus Guth as director, Stéphane Denève as conductor and José van Dam and Jeanne-Michèle Charbonnet in the leading roles.

A new version of the famous story about Bluebeard. Two characters - killers from different eras, from different myths - decide to start a family. Who will win in a deadly duel? Another attempt to get married will be the last for the hero...

Running through Bartók’s disenchanted tale, whose haunting music was initially condemned as unplayable, and the expression of despair in Poulenc’s monologue, the director Krzysztof Warlikowski perceives a shared dramatic thread, a shared feminine consciousness and a shared sense of imprisonment and suffocation: for the woman who penetrates the confines of Bluebeard’s castle and Elle, the woman who clings to a telephone conversation with a man as the only thing worth living for, are condemned to share the same fate. And this man she speaks to, does he really exist? Unless the director has interpreted Cocteau’s words to the letter and the telephone has become a “terrifying weapon that leaves no trace, makes no noise”…

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