David O'ConnellBluebeard (La barbe bleue)
August 12th 2009 04:55
Often derided for her more provocative, sexually-explicit content, French director Catherine Breillat’s latest film is an understated retelling of Charles Perrault’s fairytale, Bluebeard (La barbe bleue). Her reputation may be based more on 1999’s Romance but the subsequent A Ma Soeur! and Brief Crossing (both 2001) showed real maturity in their unconventional pacing and subject matter.
In Bluebeard Breillat splices two timelines together: in one, two sisters are removed from a convent after the untimely death of their father. Riding home in the back of a horse-drawn carriage, they speculate about the rumors associated with a towering castle in the distance where the cruel and repugnant Bluebeard (Dominique Thomas) supposedly resides. Inside those walls, it is said, a succession of wives has mysteriously disappeared over the course of years.
One sister, Marie-Catherine (Lola Creton), eventually becomes the next wife, only to learn that the physically imposing, but far from monstrous, Bluebeard elicits more pity than fear. Trusting her to sole occupancy whilst away, his only stipulation concerns the one room in the castle she must never enter. Of course this dire warning only ensures she’ll disobey him at the first opportunity, but Breillat keeps an ace up her sleeve for the dénouement.
Meanwhile, in an era much closer to our own, another pair of sisters plays in an attic, one recounting the legendary tale from a book to the other. The neat structure of Breillat’s two strands - swerving back and forth as the story progresses - helps alleviate the lack of a profound core within the story. The actors are all excellent, especially the younger girls, though Thomas deserves particular mention, effortlessly drawing empathy as the murderous, but strangely meek, title character.
At only 80 minutes long, there’s not much meat on these bones, but by the same token, boredom is never a factor. The observations of the belligerent younger sister (Marilou Lopes-Benites) in the attic, constantly setting her bored sister (Lola Giovannetti) straight, provide welcome comic relief from the formal solemnity of the unfolding period drama.
This is ultimately a minor Breillat work, utilising style - albeit limited by its apparently made-for-television origins - to gloss over any real substance. Yet in much the same way that Brief Crossing began to take on admirably sinuous dimensions, Bluebeard leaves behind the unique and indelible creative imprint of its idiosyncratic creator. The dual shock endings, sewn together in a dazzling edit, offer unexpected closure to these resonant, cautionary tales as well as providing memorable talking points.
Bluebeard recently screened at the 2009 Melbourne International Film Festival.
In Bluebeard Breillat splices two timelines together: in one, two sisters are removed from a convent after the untimely death of their father. Riding home in the back of a horse-drawn carriage, they speculate about the rumors associated with a towering castle in the distance where the cruel and repugnant Bluebeard (Dominique Thomas) supposedly resides. Inside those walls, it is said, a succession of wives has mysteriously disappeared over the course of years.
One sister, Marie-Catherine (Lola Creton), eventually becomes the next wife, only to learn that the physically imposing, but far from monstrous, Bluebeard elicits more pity than fear. Trusting her to sole occupancy whilst away, his only stipulation concerns the one room in the castle she must never enter. Of course this dire warning only ensures she’ll disobey him at the first opportunity, but Breillat keeps an ace up her sleeve for the dénouement.
Bluebeard (Dominique Thomas) with his new wife Marie-Catherine (Lola Creton)
Meanwhile, in an era much closer to our own, another pair of sisters plays in an attic, one recounting the legendary tale from a book to the other. The neat structure of Breillat’s two strands - swerving back and forth as the story progresses - helps alleviate the lack of a profound core within the story. The actors are all excellent, especially the younger girls, though Thomas deserves particular mention, effortlessly drawing empathy as the murderous, but strangely meek, title character.
At only 80 minutes long, there’s not much meat on these bones, but by the same token, boredom is never a factor. The observations of the belligerent younger sister (Marilou Lopes-Benites) in the attic, constantly setting her bored sister (Lola Giovannetti) straight, provide welcome comic relief from the formal solemnity of the unfolding period drama.
This is ultimately a minor Breillat work, utilising style - albeit limited by its apparently made-for-television origins - to gloss over any real substance. Yet in much the same way that Brief Crossing began to take on admirably sinuous dimensions, Bluebeard leaves behind the unique and indelible creative imprint of its idiosyncratic creator. The dual shock endings, sewn together in a dazzling edit, offer unexpected closure to these resonant, cautionary tales as well as providing memorable talking points.
Bluebeard recently screened at the 2009 Melbourne International Film Festival.
Sisters in the attic: Marilou Lopes-Benites and Lola Giovannetti
| 83 |
| Vote |
subscribe to this blog
Comment by Matt Shea
20/20 Filmsight
Comment by David O'Connell
Screen Fanatic
Comment by Matt Shea
20/20 Filmsight