Bluebeard's Eighth Wife

Years before pre-nuptial agreements became a regular thing, Ernest Lubitsch made a screen comedy on which they are the basis. Bluebeard's Eighth Wife involves Gary Cooper as a multi-millionaire living on the French Riviera who's been married seven times and now marries Claudette Colbert for number eight. But Cooper's a good sport about it, he always settles with his ex-wives for a $50,000.00 a year as per an agreement they sign before marrying him. Sounds like what we now call a pre-nuptial agreement.

Of course Claudette wants a lot more than that and she feels Cooper takes an entirely too business like approach to marriage. She'd like the real deal and is willing to go some considerable lengths to get it.

Bluebeard's Eighth Wife has some really funny moments, the original meeting of Cooper and Colbert in a men's store where Cooper is insisting he wants only pajama tops and Colbert looking for only bottoms. And of course my favorite is Colbert trailing and blackmailing the detective Cooper sends to spy on her. Herman Bing has the best supporting role in the film as that selfsame, flustered detective.

I've often wondered how back in the day Hollywood could get away with casting so many people who are non-French in a film like this. Of course Cooper is an American and Colbert of the cast is the only one actually of French background. Though David Niven is charming as always, having him be a Frenchman is ludicrous, he is sooooooo British.

Nevertheless Bluebeard's Eighth Wife is an enjoyable film and a great example of what was called 'the Lubitsch touch' back in the day.

For some perverse reason best known to themselves these IMDb boards seem reluctant to credit the great Billy Wilder as co-scriptwriter on at least two (this one and Ninotchka) of his early classics when any buff can detect the Wilder hand at work. As it happens this represented the first time he was teamed with Charles Brackett (who DOES get a credit) and it was a great start. One commenter has noted how satisfying it is to see these type of films in old-fashioned cinemas and I couldn't agree more. In Paris one of the smaller Revival houses shows in one of its salles a more or less continuous Lubitsch retrospective and I'm pleased to report that this played to a very appreciative audience right across the age spectrum though I doubt whether any were actually alive when it was first released in 1938. The famous Wilder schtick the meet-cute is particularly tasty here when millionaire but-careful-with-it Cooper attempts to buy half a set of pajamas in a department store on the Riviera and meets with sales resistance until Claudette Colbert turns up and agrees to buy the other half. The gag is milked even more when, having exhausted the chain of command at the store itself the manager places a call to the owner, who is in bed and leaves it to reveal that he, too, is only wearing the top half of pajamas. The film is full of sight-gags like this balanced with verbal wit which makes it just about perfect. Claudette Colbert is only terrific and gets great backing from Edward Everett Horton as her impoverished titled father. David Niven in fourth billing has some funny 'business' as does Franklin Pangborn and if Gary Cooper is not up to his role lacking as he does the verbal dexterity and sophisticated persona that Wilder scripts called for at this stage of his career well, you can't have everything and what you DO have is darned near perfect.

It starts in the French Riviera at a dressing department store where an elegant man wants to buy pyjama tops and a woman the bottoms . He is the US multi-millionaire Michael Brandon (Gary Cooper, though miscast , at times ) who tries to marry his eight wife , called Nicole (Claudette Colbert is fine as the beautiful girl who aims to be his eighth) . After learning her multi-millionaire fiancé has already been married seven times , Nicole , daughter of a bankrupted French Marquis (Edward Everett Horton) attempts to tame the egoistic man and he then ends at an asylum . He married in haste and repeated in pleasure!

Problematic comedy and sporadically fun , set in the French Riviera about a spoiled millionaire who attempts to marry the daughter of a penniless marquis , she then decides to control him , as she doesn't want to be only a number in the row of his ex-wives and starts her own strategy to "tame" him . Good for a few laughs , based on the play by Alfred Savoir and American version by Charlton Andrews with a diverting script by prestigious Charles Brackett and Billy Wilder , though providing a wrong sort of discomfort to the closing scenes at a lunatic sanatorium . Adding some scenes justifying Ernst Lubitsch's reputation for his famous ¨Touch¨ , along with adequate as well as evocative musical score by Frederick Hollander . This Lubitsch romp contains a very good main and support cast . Gary Cooper is nice as the millionaire who who can handle money but not wives , as he has a comeuppance coming up from the eighth , though Coop seems out of place as a playboy . Claudette Colbert is perfect as the woman who aims to be his eighth and she then tries to tame him. There's astringent and typecast secondary cast from sympathetic Edward Everett Horton as the broken Marquis De Loiselle , delightful David Niven as Albert De Regnier , Elizabeth Patterson as Aunt Hedwige , Herman Bing as Monsieur Pepinard , Warren Hymer as Kid Mulligan and Franklin Pangborn as snooty Assistant Hotel Manager

The motion picture well photographed by Leo Tover was competently made by master filmmaker Ernst Lubitsch ,though softening the script's acidity, and he had previously directed Gary Cooper in Design for life . Lubitsch was a maestro director of naughty but entertaining comedies who had lots of successes . Lubitsch's breakthrough film came in 1918 with "The Eyes of the Mummy", a tragedy starring future Hollywood star Pola Negri. Also that year he made Carmen (1918), again with Negri, a film that was commercially successful on the international level. His work already showed his genius for catching the eye as well as the ear in not only comedy but historical drama. The year 1919 found Lubitsch directing seven films, the two standouts being his lavish Madame DuBarry (1919) with two of his favorite actors--Negri (yet again) and Emil Jannings. His other standout was the witty parody of the American upper crust, "The Oyster Princess" 1919 . This film was a perfect example of what became known as the Lubitsch styl e, or the "Lubitsch Touch", as it became known--sophisticated humor combined with inspired staging that economically presented a visual synopsis of storyline, scenes and characters. Lubitsch directed a lot of comedies and vintage movies , such as : ¨Heaven can wait¨, ¨That uncertain feeling¨, ¨Ninotchka¨, ¨Bluebeard's eight wife¨, ¨Angel¨, ¨The merry widow¨, ¨The Student Prince¨, ¨So this is Paris¨, ¨Lady Windermere's fan¨, ¨The marriage circle¨, ¨One Arabian night¨, ¨Passion¨, ¨Gypsy blood¨, among others . Rating : 7/10 . Better than average .

There is something about seeing a movie in a good, old-fashioned movie house that adds enormous appeal to every picture. I, fortunately enough, was able to see at Film Forum in New York City a pair of Ernst Lubitsch comedies during their three week tribute to the legendary director. The double feature I attended was a screening of Lubitsch's 1938 comedy Bluebeard's Eighth Wife and the pre-Code classic Design for Living, neither of which I had seen before. Everything I read of Design for Living praised the film, but I could not find a good review anywhere for Bluebeard's Eighth Wife. Leonard Maltin disliked it.VideoHound, too, gave the comedy a low rating.its IMDB score was not complimentary.and Pauline Kael (not a great surprise) blasted the film in her scathing review. So, when I went into the city that day I was expecting to enjoy Bluebeard's Eighth Wife only slightly and love Design for Living completely. Bluebeard's Eighth Wife (which was showing first) began, as the eccentrics who populate the cinema took their seats and the thirties music subsided. `Adolph Zukor presents Claudette Colbert and Gary Cooper in Ernst Lubitsch's Bluebeard's Eighth Wife,' the title card read. Then the picture opened with a hilarious scene: Cooper wants to buy a pair of pajama tops, but he doesn't want any part of the bottoms! He gets into a squabble with the clerk, who seeks the help of his higher bosses, and their seems to be no end to the argument. Enter Claudette Colbert, one of thirties cinema's most beautiful, charming, and talented personalities. `I'll take the bottom,' she kindly intercedes. And there you have perhaps screwball comedies finest `meet cute' ever. The film kept my interest wonderfully.I found myself laughing almost constantly. When Colbert discovers, just before a family portrait is taken, that her groom-to-be has been married seven times, the entire theatre broke into histerics. When she bargains for money immediately after she gets over her shock, the laughs (which still haven't ceased) intensify. And Edward Everett Horton milked some hilarious reactions out of the script as well. When Cooper takes inspiration from Shakespeare's The Taming of the Shrew in disciplining his wife by slapping her in the face, I could not control my laughter when she slapped him back. And the drunk scene with the scallions is one of Claudette Colbert's funniest comic scenes. The greatest comic moment of the film came when Colbert highers a boxer to `teach her husband a lesson.' In pure screwball fashion, he knocks out the wrong man, instead putting her friend David Niven into a cold sleep. He awakes as Cooper is arriving. In order to cover up the situation, Colbert herself, in a moment of strong sexiness, puts her fist up to Niven, asks: `Where did that man hit you? Here? Right here? Right here?' and then BAM! knocks him out again! The film was wonderful, from beginning to end it was a perfect delight. I loved Design for Living, too, though I dare say I think for sheer laughs and entertainment Bluebeard's Eighth Wife was the better and more enjoyable film. There is some charm of seeing a vintage film on the large screen. And in the presence of others laughing, one feels more comfortable doing so himself. That is, perhaps, why I felt the way I did about Bluebeard's Eighth Wife.

Oh Lubitsch how we needed you. Others could elicit fiery performances from actors, captivate with riveting story or lavish us with sets and camera magic. These usually require to be propped up with some effort, but what Lubitsch does simply requires letting go of, in particular letting go of our need to prop up fiction a certain way.

Usually understood as a gift for wit, his famed 'Lubitsch touch' is actually a mastery of something else, spontaneous illogicality. I have written about him in a few other posts so will not bore you here. It's the continuous shift of context, the dismantling of our expectation that story plays out a certain way.

The story could be anything, here a man and woman court each other while vacationing in the French Riviera. He's the blustering American type who won't take no and won't tiptoe around European niceties. She's elegant and smart but will not stoop to be wowed by money like her shyster father.

In the usual mode, they would brush and bounce off each other whilst trying to top each other for control over the story. This as hardwon love that surprises. That's fine, plenty of enjoyable films were being made in this time, what we now know as screwball. For me it's all a matter of how we brush, how much narrative space the players create by pushing and pulling, in which self can take shape, actual visible shape, as the story we watch. Capra has a very agile touch in It Happened One Night. I happen to find His Girl Friday coarse, par the course for Hawks.

In Lubitsch's world, we shift and shift again in a jazz merry-go-round of elusive self. Here's some of it. They meet as strangers in a store, cooperating over trying to buy pyjamas. He decides he's smitten, but uses money to come close to her. So what happens? She agrees to be bought as a wife but gives him a thankless marriage for it, although in love herself.

This is lovely work, clean, vibrant. Some if are just gags, like having married seven times before her. But quite a bit of it is that wondrous surprise where emotions express themselves in paradoxical ways.