by Rich Moreland, September 2016
In thinking about Barbazul, I ran various interpretations through my mind. This is the one I settled upon.
All photos are courtesy of Pachamama Films and Decadent Cinema.
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For fans of Amy Hesketh films, the opening credits of Barbazul provide a glimpse into the erotic expectations she offers. Amy’s character is flogged and garroted in an outdoor nighttime scene. But hold on, this is not a BDSM film. Rather it is a bizarre and finely crafted journey of a man in search of his soul.
For the religious, salvation requires pain, suffering and death: the birth-death-rebirth archetype found in all ancient civilizations. As I’ve previously written, the theme of rebirth is ever-present in a Pachamama/Decadent production, though not always in the politest of ways.
In Barbazul, Amy’s Bluebeard desires to connect with himself, to confront and conquer the shadows within his personality that torment him. It’s a form of redemption.
There is one problem, however. Corpses of the fairer sex litter the path along the way.
Psychologist Carl Jung asserts that to become a whole person we must reconcile the subdued side of our personality with its dominate side. In one respect, it’s gender oriented. The duality of anima (female) and animus (male) come into play in determining behavior.
To look at it in non-gendered way, we show our public front, our persona, while we cope with our less well-developed self, our shadow. The persona is often a mask, very much like an avatar, while the shadow is real, our darkest feelings and urges similar to Freud’s infantile id.
Throughout the process, we are subjected to a myriad of human emotions, among them the drive for success, love, and empowerment and their opposites, anxiety, hatred, and fear.
However, the most painful emotion is rejection . . . and that is the taproot of the Barbazul story for anger and hurt can fester on the underside of who we are.
Amy Hesketh’s scriptwriting and direction artfully explores this dichotomy and Bluebeard’s struggle to find its resolution within himself.
Buying His Bride
In the film’s opening scene a young woman dressed in black is seductively climbing a rocky terrace. It’s a photo shoot and she is as primordial as she can get. Bluebeard (Jac Avila), a man of means in Amy Hesketh’s story as he is in Charles Perrault’s, is on hand to watch.
He likes his women crawling and slithering, the temptress archetype exhibiting her basest instincts.
The cameraman, Paul (Erix Antoine) is overly critical of his model, Soledad (Mila Joya), referring to her as a “useless cunt.”
When the shoot takes a break, the belittled girl is approached by Bluebeard.
He invites her to dinner and the romancing begins.
Perrault’s Bluebeard is physically unattractive, not so in Amy Hesketh’s interpretation of the story. And, she’s given her Barbazul an easy way with women.
With the demure Soledad we are introduced to Bluebeard’s modus operandi that includes picnics and boat rides in the park. Offered a ring, she accepts and the scene shifts quickly to a hotel room for a premarital romp.
Bluebeard instructs her undress but modesty prevails and she doesn’t remove her undies . . . the reality of the temptress quickly fades.
“Do you remember what you were doing when we met? Do it now,” Bluebeard insists with quiet firmness.
Soledad gets on the bed and crawls toward him.
As a sign of commitment, Bluebeard’s women wear the ring on their right hand as is customary in some European and Latin American countries. In the story it’s a single ring removed from one woman and passed to the next.
Incidentally, Bluebeard marries only one of his fiancées, Annabelle, but curiously the ring is not shifted to her left hand in the usual practice.
Later Bluebeard dines with his intended and her sister. Soledad is shy and a little nervous, perhaps caused by naiveté or an innate fear that something isn’t right. (Interestingly, she remains barefoot through much of the film, existing in an infantile state like young girls in Perrault’s time.)
Hearing of his plans, the sister, Ana (Mariella Salaverry), remarks, “You’re buying her. Do whatever you want.”
Soledad bows her head in shame. They have no parents to protect them, a set-up for disaster.
Off to the Plantation
With his betrothed beside him, Bluebeard drives the dusty road into the countryside. Isolation and desolation frame the visual theme with aerial shots of the jeep snaking through the mountains. The road is descending at first, then climbs to reach the metaphoric height of loneliness.
At this point, the narrative shifts to the hacienda. In fact, it’s one of the movie’s central characters, its persona and shadow a reflection of Bluebeard himself.
Walter (Beto Lopez), Bluebeard’s alter ego, acts as butler and “administrator” of the estate. Walter’s appearance is a counterpoint to Bluebeard’s. He is clean-shaven, prim, proper, and dresses immaculately.
He’s also sinister and secretive.
Incidentally, clothing is a major image in this film. For the women it’s dresses; for the men, neckware.
More formal than Bluebeard’s scarves, Walter’s ties are displayed in a colorful collection that corresponds to the rack of dresses in Bluebeard’s forbidden room. Neatness counts, of course. Walter is there to help Bluebeard keep up appearances.
One of Bluebeard’s women, Agata, insults him when she suggests they get rid of Walter (impossible, of course, because he is Bluebeard’s second self). On the other hand, Ana later suggests Walter should get a raise. Listening, the butler smiles wryly, smokes a cigarette and carries his own ashtray while he awaits the final bloodbath.
The plantation house feels empty and lonely. Upon arriving, Bluebeard opens a gate to go in. It carries a jail cell image in a shot that is heavily shadowed. At the end of a long veranda, Soledad walks from light into darkness.
Bluebeard’s bedroom is sparse with a weary, depleted feel that is mirrored in Bluebeard’s expression when the film concludes. Notice the dresser/chest of drawers outside the bedroom door. Some of the drawer pulls are intact, others absent, and a couple replaced with short pieces of rope.
They reveal Bluebeard’s ritual. Women begin as decorations then die by strangulation leaving empty spaces.
Bluebeard takes Soledad on a bike ride around the estate (Annabelle refuses his offer, as we’ll see). They stop at the chapel where the camera focuses on statuary of a weeping Madonna and a Madonna and child. A male figure with a dangling key on a red cord is emphasized in a subtle tribute to Charles Perrault.
The icons are delicate but lack animation.
He wants to know if Soledad likes the chapel.
“Will we get married here?” she asks.
Though a crucified Christ is within sight, Soledad is clueless as to what awaits her.
Amy Hesketh now directly references Perrault’s story. Bluebeard gives Soledad the keys to the house and mentions there is a room she is not to enter. He knows she will, of course, but says nothing.
Later when they have sex in his bedroom, there is a burning candle (male desire and empowerment) on each side of the shelf above the bed. There is another phallic symbol, a print of the Eiffel Tower. There is no companion print of female sexuality.
Soledad learns Bluebeard is leaving for the city and will return with her sister.
Alone the next morning, she goes to the dresser for her robe and finds a portfolio of photographs. Some are nudes. She lays them out on the bed before returning them to the drawer.
Picking up the keys, she’s ready to sate her curiosity.
Getting to Annabelle
Having finished shaving, Walter notices Soledad headed for the forbidden room. He goes into a small bedroom and picks out the first tie to the left.
All is going according to plan.
Compared with the austere interior of the house, the office, for that is what it appears to be, is cluttered most likely because Walter avoids it.
There’s an old dusty wall telephone, a cash register that dates back at least a hundred years, and a desk with an old-fashioned adding machine. Newspapers and journals are scattered about. On another table there appear to be chemical containers.
Is the winemaking business still alive because in this room not everything is?
At this stage of her story, Amy Hesketh deviates from Perrault. There are no suspended corpses or pools of blood, just a tired looking office. The plantation teaches us that appearances can deceive. The shadow forever lingers beneath the persona.
Oh yes, don’t forget that rack of dresses nicely displayed in a line just to the right of the office door. The first is a black mini, the last a pink polka-dot; a dark sequined one and a red outfit are in between. As we will come to realize, an extra dress hangs alongside the others. Is it reserved for Soledad?
And, of course, prominently placed on the desk where it can’t be missed is a black bound journal. Soledad, like the young wife in Charles Perrault’s story, is consumed with the fatal flaw of curiosity. She spots it and can’t resist it’s contents.
No problem, Bluebeard wants his imprisoned prey to read about those who came before her.
That brings us to Annabelle and the next post in this series . . .
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DVDs of Barbazul can be ordered from Vermeerworks and Amazon.
Amy Hesketh is on twitter and Facebook. Her website can be found here.
One response to “Barbazul, Part Two: The Dangling Key”
Anxiously waiting for the third part. I love it.