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“Bloody key as sign of disobedience”-this is the motif that folklorists consistently read as the defining moment in the tale. In much the same way that cinema criticism has been obsessed with the “paranoia” of a wife rather than by the very real threat posed by a husband who seems to be restaging the Bluebeard story, folklorists have shown surprising interpretive confidence in reading Perrault’s “Bluebeard” as a story about a woman’s marital disobedience or sexual infidelity rather than about her husband’s murderous violence. In Hitchcock’s Rebecca, the boathouse and Rebecca’s bedroom are forbidden or uncanny spaces for the character played by Joan Fontaine in Jane Eyre the title character must unlock the secret of the tower room in which Bertha Mason is housed in Gaslight it is the attic, along with the husband’s locked desk, that are taboo and in Secret beyond the Door, the heroine is barred from entering room 7, a replica of her own bedroom built to provide her husband with the scene of his next crime. Driven by hermeneutic desire, these women investigators search for the key to understanding the cryptic behavior of their sinister husbands, always by penetrating the mysteries of a chamber in the house where they have taken up residence. In what one critic has tellingly called “paranoid woman’s films,” we also find the Bluebeard syndrome at work in all its melodramatic theatricality.3 These films, which were made in the wake of Hitchcock’s Rebecca (1940) and include such classic thrillers as Robert Stevenson’s Jane Eyre (1944), George Cukor’s Gaslight (1944), and Fritz Lang’s Secret beyond the Door (1948), all feature a heroine who is beset by fears that her husband is planning to murder her. It is not only in cinematic horror from the 1970s onward that the Bluebeard story manifests its cultural staying power. The “terrible place” of horror, a dark, tomblike site that harbors grisly evidence of the killer’s derangement, manifests itself as Bluebeard’s forbidden chamber.2
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In “Bluebeard,” as in cinematic horror, we have not only a killer who is propelled by psychotic rage but also the abject victims of his serial murders, along with a “final girl” (Bluebeard’s wife), who either saves herself or arranges her own rescue. Stories like “Bluebeard” prefigure the gothic plots of modern horror and construct desires and fears that remain remarkably intact (despite cultural variations) as we move from one century to the next and as we cross from one popular form of entertainment to another. “Bluebeard” is also without doubt the most stunning piece of evidence that folktales can be seen as the legitimate precursors of cinematic horror, another genre notorious for trading on collective fears and fantasies. In many ways, the story of a wife’s transgressive curiosity about her husband’s violent past could be seen as a self-reflexive meditation on how fairy tales feed our undiminished appetite for horror. Commercial.Folklore often trades in the sensational-breaking taboos, enacting the forbidden, staging hidden desires, and exploring pathologies with uninhibited investigative energy. Back to the Future: The Game - Episode 2. Back to the Future: The Game - Episode 1.
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