Two sets of sisters relate the story of Bluebeard, the murderous wife killer of the old fairy tale. In the sisters of 1950s France, the younger of the two, Catherine, seems to know how to push her older sister Marie-Anne's buttons as they explore an attic in a country cottage. Catherine daringly taunts her about the story of Bluebeard, which scares Marie-Anne. The film goes back and forth between these girls and the girls of the fairy tale they are reading, which takes place in medieval times.
In the medieval story, teen sisters Anne and Marie-Catherine have just lost their father and since they are female, the well-being of their futures are dependent on marriage. As in the 1950s story, it is the younger sister, Marie-Catherine (Lola Creton), who is the central figure. She sees Bluebeard's castle in the distance and is captivated by the stories of him and the many wives who have disappeared without a trace. This doesn't scare her. In fact, when Bluebeard (Dominique Thomas) offers marriage to her or her sister despite knowing they have no dowries, Marie-Catherine is pleased to take the chance.
Although she is pretty young compared to her middle-aged husband, she seems to make many of her own decisions, vowing not to have sex with him until she is older for instance. Bluebeard seems content to go along with this, and also educates her in science and history. He leaves to tend to property for several months, entrusting the household keys to her. Marie-Catherine becomes pretty lonely without him, as there is no one else for her to spend time with. He tells her to amuse herself, but is perturbed and jealous when he returns and she is hosting a party for her sister and friends.
When he leaves again for another trip, he includes a key to a locked room that he tells her she must not enter. But of course, she looks in that room and finds out his secret. When he returns, he knows she has betrayed him, bringing out the murderous personality that was rumored only until now.
Meanwhile in the parts with the more modern day sisters, Catherine continues to boldly antagonize her sister, who becomes more and more meek, until a tragedy ends their story.
The story compares and contrasts the two sets of sisters, with their names and personalities (and even their hair color, one brunette, one redhead), flipped. I also find it interesting that the filmmaker used own name "Catherine" as the more explicit of the sisters, is that deliberate? Also interesting is in the more modern story, it is the little sister (she seems like she is only 7 or 8) who seems more mature and sexually aware than her sister who is older by a few years, even though she may not know what the meanings are of the suggestive words she talks about.
As for Bluebeard, he is not just a husband, but a father figure to his wife. And how the events play out, he is kind of a puppy dog to her too, as she is bold and seems to be able to do as she pleases. This relation also seems to be flipped from where he first has the upperhand, then later Marie-Catherine has the power, but perhaps that is a mislead and the girl has had the power of her sexuality all along. Although Bluebeard's secret is indeed horrific, his behavior with his bride and everyone else belies that as he seems very protective, loving and probably more a love match with Marie-Catherine than he has ever had in the past. We see the dominance go back and forth between them, but we sympathize with him due to his loneliness and ultimate betrayal.
The film has great sets and costumes, and good locations, in the old fairy tale section.
No comments:
Post a Comment