Century Film Project

Celebrating the movies our ancestors loved

Tag: Bluette Bernon

The Kingdom of the Fairies (1903)

Released just one year after “A Trip to the Moon,” this extended adventure story from Georges Méliès was at least equally as ambitious and well-executed, although it’s not so well remembered today. Essentially a fairy tale-quest story, the use of a witch and her demons as antagonists fits it more or less into my October history of horror.

The movie begins on a proscenium-style set dressed as a medieval court. Lords and ladies arrange themselves around the throne. Méliès himself appears as “Prince Bel-Azor,” who is betrothed to Princess Azurine (Marguerite Thévenard). Various fairies give the princess wedding gifts, led by the fairy godmother, Aurora (Bluette Bernon). Suddenly a witch runs in, offended at not having been invited. When she is admonished by the prince, she turns into flame and disappears. The next sequence shows the princess in her bedchamber, assisted in undressing for bed by several ladies-in-waiting. Once they leave, the witch, assisted by several green demons, seizes the princess from her bed and puts her into a “chariot of fire.” She is unable to resist, although the prince rushes in at the last moment to be confronted by a fire-wielding demon. He and the court rush out to a high tower and watch the chariot of fire and its retinue rushing across the sky. The prince vows to pursue. Read the rest of this entry »

A Trip to the Moon (1902)

My review of this movie was originally a facebook post, then it became the first post I ever put on this blog. I attach it below for posterity, however given the fact that I now write much longer reviews of much less important movies, it seemed like it was time to update it at last. This review will now take its place on my index.

The movie begins by showing a meeting of philosophers and scientists (many of whom dress like wizards) to discuss a proposal by one of their number. A proscenium-style stage shows a conference set up inside of an observatory, with a large telescope prominent in the background and in front there is a blackboard with the images of the Earth and Moon drawn on. A group of women carry in telescopes and present them to the magicians standing in the front rank. They raise them into the air and the telescopes transform into stools, which they now sit upon. The presenter goes to his podium and speaks, gesturing excitedly, and drawing a line on the chalkboard between the two spheres, showing the route that could be taken. Most of the audience applauds, but one of the front-ranking scientists raises an objection, resulting the speaker hurling books and papers at him. The other scientists push him to a chair in the back, and congratulate the speaker. The servant-women bring packs of gear for the front-ranking scientists, so that they can go on the expedition along with the inventor. They change out of their robes into explorers’ garb and leave the stage.

Read the rest of this entry »

Blue Beard (1901)

Alternate Title: Barbe-bleue

This short by Georges Méliès is one of the longest things he did in 1901 and also one of the most serious subjects he handled. The story of a man who routinely murders his wives is a classic part of the horror genre, and fits neatly into my October exploration of its history.

blue-beardBy this point in time, Méliès and other filmmakers were beginning to stitch separate scenes together to create longer narratives. Méliès had already done something like this when he created the reenactment of “The Dreyfus Affair” in a series of single-scenes. However, those movies were sold separately, while this is billed as a single item in the Star Films Catalog, meaning that it would have been sold to exhibitors already edited together in sequence.

blue-beard1The movie begins with the “Betrothal of Bluebeard,” which shows a group of nobles in a set built to resemble a palace. There are many young women present. Suddenly, a man with a large beard and a haughty manner (Georges Méliès) appears, but the women reject him when he kneels before each in turn. He then has servants bring out cardboard props representing large sums of money, but this does nothing to change the women’s minds. They are more impressed when he displays a necklace, and the father of one of the ladies forces her to accept, although she (Jeanne d’Alcy) shows obvious reluctance.

blue-beard2The next scene is “Preparing the Wedding Feast.” We see the marriage party cross through a kitchen set, at which many cooks are hard at work. There is a procession of cardboard cut-out props showing elaborately prepared boars, steaks, desserts, etc. At the end, one of the cooks is bumped and falls into the stew pot. Another cook tries to fish him out, but only pulls out his clothes. Then there is a brief “Wedding Feast” scene at which the nobles sit down and eat in celebration in a sumptuous dining hall. It is not clear whether they are served the stew with the dissolved cook in it.

blue-beard3Next is the scene “Bluebeard departs on a journey.” Bluebeard displays the keys to his castle to his new bride and gestures that she is free to go to any room she likes. Then, he produces a large key separate from the set, and indicates the one door we can see on the castle set. He forbids her to enter this room, and gives her the key, perhaps as a test of her honor. Once Bluebeard leaves, the young woman shows an interest in entering the forbidden room, but she resists. Then an imp or devil appears (I believe that this is also Méliès in costume), and entices her until she opens the door. The next scene takes place in the “Forbidden Chamber.” At first, the room is gloomy and dungeon-like, and there are seven sack-like objects dimly visible in the background. The bride crosses the room and opens the window, revealing the corpses of Bluebeard’s previous seven wives, all hanging from ropes at the back of the room. The bride is shocked, and drops the key on the floor. The key grows to tremendous proportions, apparently to show us that it is now stained with blood, and when it returns to normal size, the bride attempts to clean it off. The imp dances about in this scene as well. The next scene is titled “A Troubled Dream,” and it shows the bride lying in her bed while visions dance above her as in-camera effects. She awakes upon having a vision of Bluebeard impaling her with a sword.

blue-beard4In “Bluebeard’s Discovery and Condemnation,” the bride is caught when Bluebeard returns home and sees the blood on the key, and he flies into a rage. This scene is staged on a courtyard set, the only set used twice in this movie. The bride flees stage right into a tower door. Bluebeard pursues her and we see the top of the tower as a set for “Looking in the Tower for Fatima.” There is another woman present (possibly intended to represent a Guardian Angel). Bluebeard seizes his wife and drags her back downstairs. The scene “At the Place of Execution” takes place back in the courtyard, as does the scene “Arrival of the Deliverers,” making them appear to be a single scene with two parts (and then a third): at first, Bluebeard threatens and rages at his bride, and then, just as he is about to slay her, a group of noblemen break through the gate (actually, it looks like paper) and fight Bluebeard, finally running him through with a sword and pinning him to the wall. He continues to struggle while they reassure the bride and the imp reappears to dance around the stage. Then the sword is removed, cuing the “Death of Bluebeard,” in which he tries to rise and fight again, but finally falls to the ground. Then, there is a short “Apotheosis: The Eight Wives over Bluebeard’s Body.,” in which we see the women in a happy afterlife, with Bluebeard sprawled before them.

Bluebeard, as depicted by Gustav Doré in 1862

Bluebeard, as depicted by Gustav Doré in 1862

Bluebeard is a traditional figure in French folk tales, and there were several operas written about him in the 19th and early 20th centuries. This doesn’t seem to draw on any of them, however, although it probably draws on a 1697 story version written by Charles Perrault. Audiences in 1901 (especially in France) would be familiar enough with the story that it was possible to make this movie with no Intertitles, although in fact it was probably accompanied by live narration, at least when shown at the Robert Houdin Theater. I have had to fill in some details from reading about the narrative – it didn’t all make sense to me when I watched it cold. In particular, I didn’t understand the part about the expanding key, which I think Méliès was using as a kind of close-up, to make sure we saw the key and what had happened to it, but to a modern viewer it just looks like an anomalous magic trick. It’s also strange that the catalog breaks a single scene in the courtyard into three separate titles.

At any rate, this is quite possibly the most genuinely horrific work we’ve seen from Méliès, even granting that it retains his sense of playfulness (especially in the character of the imp) and fantasy. The implications of the story are quite grim, and even the bit with the cook dissolving into the stew works as sort of a black comedy joke, establishing the low value of human life in Bluebeard’s castle.  Bluebeard writhing on the sword is also fairly grotesque for the time. This is also the most complex movie I’ve seen from Méliès at this early date, although we are just one year away from his masterpiece “A Trip to the Moon.” That movie is just a little over two minutes longer than this one, but involved more elaborate sets and special effects, and a somewhat larger cast as well.

Director: Georges Méliès

Camera: Unknown

Starring: Georges Méliès, Jeanne d’Alcy, Bluette Bernon

Run Time: 10 Min, 15 secs

You can watch it for free: here.