In '44, Carradine had leading roles in two PRC movies, 'Bluebeard' and 'Waterfront', both by European directors, i.e. a movie by Ulmer and one by Sekely. In both movies, he's a cereal killer: a very chilling one, in Sekely's espionage movie.'Bluebeard', directed by Ulmer, has a not very good script, with anachronistic music and painting (Francine traveled by train, but the uniforms were from the beginning of the 19th century), but the cast can boast Jean Parker (as usually, she upstages her colleagues, and has a very assured understanding of her role's possibilities), and Henry Kolker, here aged; Erdody's score enamels the storyline with a layer of schmaltz. There are scenes made in a more ambitious style, especially beginning with the arrival of the puppeteer's landlord, through the Paris' underground, till, of course, the chase on the roofs. I believe that Ulmer had his quirks, but I am not convinced he directed well, or knew how to master a movie. He's very championed, but I prefer Sekely, Lewis, Beaudine, Rosen, Strayer, perhaps Yarborough.Jean has at least one good scene, when she mends his cravat.Francine, the sister, was pretty in a trashy way.On the waterfront, Carradine has been a determined, interlope cereal killer; here, he's a tormented, disturbed, torn one (though proving a good physical shape, during the rooftops chase and fight), as his confession gives the fashionable twist to his murderousness.Otherwise, the silliness was annoying, with the puppeteers singing with impressive voices, and Morel's lousy drawings amazing the art public. The idyll of two humble people, a puppeteer and a seamstress, but as dreamed by a concierge. When Bluebeard confesses to the seamstress, there's an attempt to reshape the character and make him a relative of the Expressionist effigies, but the close-ups don't necessarily help the lead avail himself of the chance. In 'Waterfront', as a mercenary, Carradine had a dark glamor.The movie is soaked in loud music by Erdody.

Those unfamiliar with the pleasures to be found in the demented cinematic poetry of Edgar G. Ulmer, whose most notorious film, DETOUR (1945) has fascinated cineastes the world over for decades, will find much to enjoy in his 1944 production, BLUEBEARD. Emerging from PRC (Producer's Releasing Corporation), the same poverty row studio responsible for DETOUR (as well as several other Ulmer classics) it tells the haunting story of Gaston Morrell, a Parisian artist and puppeteer (magnificently played by John Carradine) who, after painting the portraits of beautiful women, finishes the job by strangling his models to death. Morrell seems genuinely tortured by this hideous compulsion but in true noir fashion, is powerless to do anything about it. The problem becomes even more complicated when he falls in love with Lucille (Jean Parker), a beguiling young seamstress who seems fated to become Morrell's next victim. Filmed in one week on the dank and murky back lots of poverty row, BLUEBEARD is a prime example of Ulmer's peculiar genius for turning nearly nothing into something of profound and lasting beauty. Creating a brilliantly stylized Paris under such financially limiting conditions was pair pour le cours for Ulmer and his production designer (and uncredited cinematographer) Eugen Schufftan. Schufftan had worked some fifteen years earlier with Ulmer on MENSCHEN AM SONNTAG (People On Sunday) (30) and would do so again on STRANGE ILLUSION (45), CLUB HAVANA (45) and THE WIFE OF MONTE CRISTO (46) --- all for PRC. Among the many other films photographed by Schufftan are G. W. Pabst's L'ATLANTIDE (32), Marcel Carne's LE QUAI DES BRUMES (PORT OF SHADOWS) (38), Rene Clair's IT HAPPENED TOMORROW (44), Robert Rossen's THE HUSTLER (61) and LILITH (64) and Jack Garfein's SOMETHING WILD (61). Clearly it is no accident that BLUEBEARD achieves such a distinctly expressionistic look and feel; it is the product of committed artists whose work, before and after, establish them as supreme cinematic stylists. BLUEBEARD was produced by poverty row pioneer Leon Fromkess who would achieve additional notoriety in the 1960s as the producer of two of Samuel Fuller's most provocative noir films, SHOCK CORRIDOR (63) and THE NAKED KISS (64). And finally, it has often been noted that John Carradine cited BLUEBEARD as his favorite role in a long and prolific career. It is easy to understand why. He rarely, if ever, had the opportunity to be so prominently featured at the center of a film, one that would allow him to channel his obsessively melodramatic histrionics into a character that blended so perfectly with his environment. A performance as mesmerizing as the film itself.

Failed painter turned puppeteer John Carradine (as Gaston Morrell) is secretly terrorizing 19th century Paris, as the serial killer nicknamed "Bluebeard" (since nobody knows who he is, the name is moderately appropriate). After strangling the women, Mr. Carradine dumps them into the river Seine. The reasons for Carradine's homicidal behavior are, later, explained (in a nicely performed scene); predictably, they involve his relationship with women. Carradine's Achilles' heel appears in the form of slim-waisted seamstress Jean Parker (as Lucille). Carradine has stated the title role of "Bluebeard" was his favorite performance. The film's surprisingly weak structure and glaring soundtrack are among the obvious flaws; but, there are some enjoyable and entertaining elements present. The film is directed with style, and includes some fine performances. Carradine's characterization is, obviously, most appealing. There are other players worth watching; and, director Edgar G. Ulmer must deserve great credit. Ms. Parker helps a great deal; her character's approaching spinsterhood helps make the film, and its characters, seem more authentic. Other thirtysomething actresses of the 1940s would have declined the line, "Are you disappointed after seeing me more closely?" Nils Asther (as Lefevre) is another underrated performer appearing; his Parisian inspector, with an eye for art, is outstanding. Also notable is Sonia Sorel (as Renee); she was one of Carradine's wives, and the mother of Keith and Robert. ******* Bluebeard (1944) Edgar G. Ulmer ~ John Carradine, Jean Parker, Nils Asther

John Carradine has called his role as "bluebeard" one of his favorite characters to play and it shows. He plays a puppeteer and painter who likes to paint women. The problem with this hobby is that he also likes to strangle the women once he paints them. Well, he finally meets a girl he really falls for and struggles with his inner demons in deciding whether to make her his next victim. It is explained at the end why this seemingly well-mannered artist has these uncontrollable urges to kill women. The film has a good look and feel to it and the acting's not bad for a film of this time. It does however move slowly at some points but comes together at the end.