This reviewer has always had a view of who Richard Burton was. It was always informed by three things. Who’s Afraid of Virginia Woolf?, Cleopatra, and Elizabeth Taylor. Beyond that, I have had little to no real knowledge of the actor. The campy sadist dark comedy hall of horrors that is Bluebeard has made me want to invest time into more of the filmography of this particular acting titan. The full unapologetic commitment that Burton approaches his role of the murderous husband like it was Shakespeare is fascinating.
Burton plays Baron Kurt Von Sepper, a WWI fighter pilot vet whose wives (all six of them) have died under mysterious (re, murderous) circumstances. The film alternates between his life with the various wives played by likes of Raquel Welch, Virna Lisi, Marilù Tolo, Karin Schubert, Agostina Belli, Nathalie Deleon and his life with his current wife, an ex-American showgirl Anne played by Joey Heatherton, as she deduces the worst impulses of Von Sepper. Can Anne escape Von Sepper’s murderous sadism before it’s too late?
Director Edward Dmytryk directs everything with a technicolor hallucinatory palette that recalls the color work of Mario Bava and the early giallos of Dario Argento. The film is visually pleasing but stately in its execution and editing, running a leisurely 125 minutes. Though it does not shy away from nudity, it’s rather bloodless but still violent. In fact, it could be off-putting to many as it features multiple scenes of sadism and torture (though again not graphic but definitely prolonged).
In the center of this all is Burton, who seems to be relishing the chance to place a tweed villain with some truly horrifying behavior. The actor plays it with the sort of arched diabolic charisma that recalls Christopher Lee in his lesser-known work. That feeling that he’s not slumming but rather elevating the material to his level. Burton is greatly aided by the women he shares the screen with who seem to be as game as he is and are great sparring partners. Welch, Lisi, Schubert, Belli, and Deleon all do fantastic work, though it’s Tolo that steals the show as the wife that matches Von Sepper’s violent boot-for-boot licking boot. Heatherton as the primary lead opposite Burton is the poster child for late 1960s early 1970s youthful mod beauty; her entire attitude/demeanor (along with hair, costuming, and makeup) screams the era and not the early 1900s.
For those attuned to its specific vibe, Bluebeard will be a newly discovered cult gem in the vein of Bava and Jess Franco.
The Transfers
The all-new UHD SDR Master by StudioCanal – From a 4K Scan of the 35mm Original Camera Negative is another excellently sourced transfer from StudioCanal master. The transfer is free of any blemishes, dirt, or scratches. The image is sharp with a beautiful patina of active film grain, adding accurate color reproduction and giving it the look of a 35mm production shot in the 1970s (which obviously it was). The transfer in 4K has an added layer of luminosity and detail to the black levels, giving further clarity to the picture.
The Extras
They include the following;
DISC 1 (4KUHD):
NEW Audio Commentary by Film Historians Howard S. Berger and Nathaniel Thompson
DISC 2 (BLU-RAY):
NEW Audio Commentary by Film Historians Howard S. Berger and Nathaniel Thompson
Making a Difference: Jean Porter-Dmytryk on Edward Dmytryk
Brutality, Burton and Bluebeard: Interview with Anna Bogutskaya
Theatrical Trailer
The all-new Audio Commentary by Film Historians Howard S. Berger and Nathaniel Thompson begins with the duo begins with their credentials before diving into the context in which Burton and Dmytryk made this film. Some of the details include the folk tale this is based on and the various films they’ve made based on the material; their first viewings and impressions of the film – including Thompson seeing this at six years old with his grandmother; director Edward Dmytryk and his part in Hollywood Ten and his naming names – also how this history informs Bluebeard and its themes; the work and critical response to director Dmytryk and how it changed and evolved over his career and how Bluebeard fits into that career; the personal and professional career of Joey Heatherton; a larger discussion of the later career of Richard Burton including this film and personal issues informed on the work and how it didn’t in some cases; the salacious manner of the film and the material and similar sexually forward films of the era; the work of composer Ennio Morricone and the release of the soundtrack; the use of color in the film; a larger discussion of the political themes of the film and how they relate to Dmytryk and his personal life; a larger discussion of the psychosexual and sadism text of the film; a larger discussion of the various actors that appear in the film; and much more.
Making a Difference: Jean Porter-Dmytryk on Edward Dmytryk (33:48) – the archival interview with actor and wife of director Edward Dmytryk, Jean Porter-Dmytryk opens with how she began her career and eventually married Dmytryk. Porter-Dmytryk goes on to discuss Dmytryk’s early career as an editor, choosing movies over a full scholarship at Caltech; the director eventually getting his shot at directing and his career in what Porter-Dmytryk called “B-Pictures”; Dmytryk’s work with Dick Powell on his most famous film noirs culminating in the Crossfire; how everything changed for her career with the rise of the Red Scare, how she was eventually fired, and stood by Dmytryk; both of their eventual blacklisting and moving to England – where they were welcomed warmly; the work that the director did in UK and how successful those films were; the work she did while in the UK; coming back to the US and getting sentenced to six months in prison; her account of the time and Dmytryk’s “naming names”; Dmytryk’s work post-prison/”naming names” which eventually led to getting a contract with Stanley Kramer and Columbia which eventually led to Caine Munity; the studio for hire work he did through the 1960s including The Young Lions, Broken Lance, Mirage; and much more.
Brutality, Burton and Bluebeard: Interview with Anna Bogutskaya (23:16) – the film history looks at the career and life of Edward Dmytryk, which opens with Dmytryk’s rise through the studio system, his involvement with the Red Scare and the Hollywood Ten, where he was in the early 1970s with the rise of the New Hollywood and moving over to Europe where he eventually directed Bluebeard. Bogutskaya goes on to discuss the folktale that Bluebeard is based on; the updating of the folktale to post-WWI Europe; how the film used a mixture of sadism, nudity, the sexual liberation of the 1960s, and camp to questionable effect; the context of where Richard Burton was in his life and career when he made this movie; some of the fun facts they’ve gotten out of Bluebeard’s production, including Liz Taylor’s 40thbirthday; the various actresses and their portrayal of Bluebeard’s seven wives; and much more.
Rounding out the special features are trailers for Bluebeard (1:47); Raid on Rommel (2:44);Play Misty for Me (1:53); Fright (1:23); Eyes of Laura Mars (3:34); Blood and Lace (2:04); Mirage (2:12); The Carpetbaggers (2:56);
The Final Thought
Kino Lorber has provided collectors with another winning 4K UHD upgrade. Highest Possible Recommendations!!
Richard Burton is the lady-killer in the updated version of the folktale Bluebeard. New to 4K UHD, loaded with special features from Kino Lorber.
The Film
This reviewer has always had a view of who Richard Burton was. It was always informed by three things. Who’s Afraid of Virginia Woolf?, Cleopatra, and Elizabeth Taylor. Beyond that, I have had little to no real knowledge of the actor. The campy sadist dark comedy hall of horrors that is Bluebeard has made me want to invest time into more of the filmography of this particular acting titan. The full unapologetic commitment that Burton approaches his role of the murderous husband like it was Shakespeare is fascinating.
Burton plays Baron Kurt Von Sepper, a WWI fighter pilot vet whose wives (all six of them) have died under mysterious (re, murderous) circumstances. The film alternates between his life with the various wives played by likes of Raquel Welch, Virna Lisi, Marilù Tolo, Karin Schubert, Agostina Belli, Nathalie Deleon and his life with his current wife, an ex-American showgirl Anne played by Joey Heatherton, as she deduces the worst impulses of Von Sepper. Can Anne escape Von Sepper’s murderous sadism before it’s too late?
Director Edward Dmytryk directs everything with a technicolor hallucinatory palette that recalls the color work of Mario Bava and the early giallos of Dario Argento. The film is visually pleasing but stately in its execution and editing, running a leisurely 125 minutes. Though it does not shy away from nudity, it’s rather bloodless but still violent. In fact, it could be off-putting to many as it features multiple scenes of sadism and torture (though again not graphic but definitely prolonged).
In the center of this all is Burton, who seems to be relishing the chance to place a tweed villain with some truly horrifying behavior. The actor plays it with the sort of arched diabolic charisma that recalls Christopher Lee in his lesser-known work. That feeling that he’s not slumming but rather elevating the material to his level. Burton is greatly aided by the women he shares the screen with who seem to be as game as he is and are great sparring partners. Welch, Lisi, Schubert, Belli, and Deleon all do fantastic work, though it’s Tolo that steals the show as the wife that matches Von Sepper’s violent boot-for-boot licking boot. Heatherton as the primary lead opposite Burton is the poster child for late 1960s early 1970s youthful mod beauty; her entire attitude/demeanor (along with hair, costuming, and makeup) screams the era and not the early 1900s.
For those attuned to its specific vibe, Bluebeard will be a newly discovered cult gem in the vein of Bava and Jess Franco.
The Transfers
The all-new UHD SDR Master by StudioCanal – From a 4K Scan of the 35mm Original Camera Negative is another excellently sourced transfer from StudioCanal master. The transfer is free of any blemishes, dirt, or scratches. The image is sharp with a beautiful patina of active film grain, adding accurate color reproduction and giving it the look of a 35mm production shot in the 1970s (which obviously it was). The transfer in 4K has an added layer of luminosity and detail to the black levels, giving further clarity to the picture.
The Extras
They include the following;
DISC 1 (4KUHD):
DISC 2 (BLU-RAY):
The all-new Audio Commentary by Film Historians Howard S. Berger and Nathaniel Thompson begins with the duo begins with their credentials before diving into the context in which Burton and Dmytryk made this film. Some of the details include the folk tale this is based on and the various films they’ve made based on the material; their first viewings and impressions of the film – including Thompson seeing this at six years old with his grandmother; director Edward Dmytryk and his part in Hollywood Ten and his naming names – also how this history informs Bluebeard and its themes; the work and critical response to director Dmytryk and how it changed and evolved over his career and how Bluebeard fits into that career; the personal and professional career of Joey Heatherton; a larger discussion of the later career of Richard Burton including this film and personal issues informed on the work and how it didn’t in some cases; the salacious manner of the film and the material and similar sexually forward films of the era; the work of composer Ennio Morricone and the release of the soundtrack; the use of color in the film; a larger discussion of the political themes of the film and how they relate to Dmytryk and his personal life; a larger discussion of the psychosexual and sadism text of the film; a larger discussion of the various actors that appear in the film; and much more.
Making a Difference: Jean Porter-Dmytryk on Edward Dmytryk (33:48) – the archival interview with actor and wife of director Edward Dmytryk, Jean Porter-Dmytryk opens with how she began her career and eventually married Dmytryk. Porter-Dmytryk goes on to discuss Dmytryk’s early career as an editor, choosing movies over a full scholarship at Caltech; the director eventually getting his shot at directing and his career in what Porter-Dmytryk called “B-Pictures”; Dmytryk’s work with Dick Powell on his most famous film noirs culminating in the Crossfire; how everything changed for her career with the rise of the Red Scare, how she was eventually fired, and stood by Dmytryk; both of their eventual blacklisting and moving to England – where they were welcomed warmly; the work that the director did in UK and how successful those films were; the work she did while in the UK; coming back to the US and getting sentenced to six months in prison; her account of the time and Dmytryk’s “naming names”; Dmytryk’s work post-prison/”naming names” which eventually led to getting a contract with Stanley Kramer and Columbia which eventually led to Caine Munity; the studio for hire work he did through the 1960s including The Young Lions, Broken Lance, Mirage; and much more.
Brutality, Burton and Bluebeard: Interview with Anna Bogutskaya (23:16) – the film history looks at the career and life of Edward Dmytryk, which opens with Dmytryk’s rise through the studio system, his involvement with the Red Scare and the Hollywood Ten, where he was in the early 1970s with the rise of the New Hollywood and moving over to Europe where he eventually directed Bluebeard. Bogutskaya goes on to discuss the folktale that Bluebeard is based on; the updating of the folktale to post-WWI Europe; how the film used a mixture of sadism, nudity, the sexual liberation of the 1960s, and camp to questionable effect; the context of where Richard Burton was in his life and career when he made this movie; some of the fun facts they’ve gotten out of Bluebeard’s production, including Liz Taylor’s 40thbirthday; the various actresses and their portrayal of Bluebeard’s seven wives; and much more.
Rounding out the special features are trailers for Bluebeard (1:47); Raid on Rommel (2:44); Play Misty for Me (1:53); Fright (1:23); Eyes of Laura Mars (3:34); Blood and Lace (2:04); Mirage (2:12); The Carpetbaggers (2:56);
The Final Thought
Kino Lorber has provided collectors with another winning 4K UHD upgrade. Highest Possible Recommendations!!
Kino Lorber’s 4K UHD Edition of Bluebeard is out October 20th.
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