From the Chicago Reader (February 7, 2008).
After the hostile reception to his 1960 masterpiece Peeping Tom, Michael Powell was virtually banished from English cinema, and most of his remaining oeuvre is a scattered assortment of TV commissions and Australian features. Made in 1964 for West German TV, this rarely seen one-hour adaptation of Bela Bartok’s only opera, based on a libretto by Bela Balazs (later known as a film theorist and as screenwriter of Leni Riefenstahl’s first feature), is a particular standout, especially for its vivid colors and semiabstract, neoprimitive decor (by Hein Heckroth, who also designed the sets for The Red Shoes and The Tales of Hoffman). The two performers are producer Norman Foster (not to be confused with the Hollywood actor and director) in the title role and Anna Raquel Satre as Bluebeard’s doomed wife, Judith. In accordance with Powell’s wishes, the English subtitles briefly describe and clarify the action but don’t translate the text. (JR)