Protraph Lack of good storyline.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Joanna Mccarty Amazing worth wacthing. So good. Biased but well made with many good points.

Scotty Burke It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

thinbeach Was this written by a VFX department? Heavy on effects, and light on story, a couple of kids from a poor family have a dream that an angel takes them to heaven and reminds them of all the good stuff in life. To pull this off we get reverse footage, double exposures, stop animation, painted sets, creative editing and so on - all the high tech tricks of the era, which are still being used in cinema today, if a little more convincingly. The feel of the film is part Melies, part 'The Wizard of Oz' (particularly the 1914 version - complete with humans dressed up as animals) and part the dream sequence of Tourneur's earlier 'Poor Little Rich Girl'. Despite some campiness, the visuals are the most interesting thing going for it - there is some nice photography here.But what is the good stuff the angel shows them, you ask? Well, mostly just pretty girls dancing in the outdoors, as it turns out. These images are meant to symbolise ideas, such as 'the joy of pure air'. The 'souls' of inanimate objects like milk and water and light are also symbolised, and guess what they turn out to be - pretty girls! Very cheesy, and completely lacking in the poignancy it tries so hard create, this is only for those who like abstract for the sake of abstract.Now I have no issue with a moral reminding us of the natural virtues of life and the people around us, but a moral alone does not a great film make, and this film is sorely lacking in the most important element - story.

Michael Morrison Beautiful performances and astonishing special effects highlight this very early allegory of where and how to seek happiness.Other reviewers have commented on the performance of the then very young actress Tula Belle, who was about 12 and who didn't make movies but for two more years, to our loss. No superlatives are excessive.The entire cast was, in fact, excellent, and not a one is well known today. In fact, of the entire production, most of the names are generally unknown today, except for director Maurice Tourneur, film editor Clarence Brown, and -- known to me, at least, because I actually met him in about 1974 -- Ben Carré, who designed both costumes and set. Ben Carré was a genius in his field.For 1918, the special effects were amazing and effective. The entire production was just breath-taking and eye-popping.Seeing this on Turner Classic Movies Sunday night, 17 January 2015 (California time), was an exciting experience, even to me, and I have been a silent movie fan for more than 40 years. I thought I knew the history of the genre, and still have lots to learn.For anyone who missed it on TCM, or for anyone who wants to see it again, it's available at YouTube, three versions at this writing for free and another for a rental fee."The Blue Bird" is a real treat, both for its entertainment value and for its history lesson. The message is perhaps rather corny and maybe not so well delivered in the last shot, but the over-all experience is, to me, just overwhelming. I highly recommend "The Blue Bird."

kidboots Maurice Maeterlinck's play "The Blue Bird" was produced for the first time in America in October 1910 and was considered a success. If Maurice Tourneur's film productions of both "The Blue Bird" and "Prunella" had met with the success they deserved, they may have paved the way in the twenties for a fantasy film genre instead of the over population of sheiks and flappers!! Most critics were abundant in their praise - "The Moving Picture World" saw in it "the simplicity of childhood and the wisdom of deep and kindly philosophy", Photoplay also praised it as "one of the most important productions ever made" but unfortunately Motion Picture Magazine spoke for the philistine portion of the public when it said "Seven reels of children and trailing through fairy places with bread, water, light and fire is frankly tedious on the screen". The production values were moral and allegorical as well as beautifully pictorial and those of the public that rejected it were all the worse for it.When Mytyl refuses to give her little bird to the sickly child across the way she and brother Tyltyl are visited by a strange old fairy who sends them on a journey of self discovery and to seek the true meaning of happiness. They first meet the spirit of water and fire that their mother had told them about (and they had scoffed at her), their dog and cat then begin to converse with them and tell them all the stories they could only bark and miaow out before.The special effects performed by Ben Carre who was closely associated with Maurice Tourneur, are extraordinary. The children are magically dressed, spilt milk turns into a lovely maid and the fairy of light finally whisks them all to the Fairy Palace, flying high above the roof tops. However Fairy Berylune, who first came to the children has said that whoever finishes the journey with the children shall die - so the cat leads the party who will try to stop the children finding the blue bird. Only the faithful little dog promises to protect them. The Underground Palace of Night - Mother Night has two children, Sleep and Death (probably a bit heavy going for children in the audience) and Mytyl and Tyltyl also find ghosts, sickness, War and terrors behind heavy wooden doors - but no blue birds. They visit the graveyard where the "happy dead sleep" but at a turn of TylTyl's diamond it becomes a beautiful flower land. They finally find the blue bird at their grandparent's little house where they also visit their little brothers and sisters who died in infancy. Unfortunately, when they leave, the blue bird flies away. On to the Palace of Happiness where luxury and riches abound, then there is also the "Happiness of the Home", "Joy of Pure Thoughts" and "Springtime". Another amazing sequence was in the land of children waiting to be born. A ship was waiting to take all the little children to their waiting mother's arms.Enchanting Tula Belle was born in Norway and was just wonderful as Mytyl, a real child if ever there was one. Unlike the two other youngsters in "The Blue Bird" , Robin MacDougall and Katharine Bianchi, she did have a reasonable career as a child actress before retiring in 1920.Highly, Highly Recommended.

Ed The Belgian author and symbolist playwright Maurice Maeterlinck was a very popular literary figure of his day. His play "Pelléas et Mélisande", in fact, inspired at least four well-known musical works by Fauré, Schönberg, Sibelius and, most famously, the full-length opera of the same name by Claude Debussy.The heavy symbolism of his plays including his "fairy" play, "L'Oiseau Bleu" (The Blue Bird.) from 1909 apparently intrigued the public in the first part of the 20th century. But when his works were placed on the Roman Catholic Index of Forbidden Books, they, naturally, became even more popular! There have been many film versions of "The Blue Bird", most notably, the unsuccessful 1940 version with Shirley Temple and the 1976 Russian-American disaster with Elizabeth Taylor. The present film is a 1918 silent film by the renowned French director (working in America at this time.) Maurice Tourneur.The cast of this film is unfamiliar to present-day audiences. The little girl who played Mytyl was Tula Belle (Hollingshead); she was born in Norway (to an American father at least.) and died in California in 1992! The boy Robin MacDougall seems to have made only this one film and the rest of the cast are not likely to be alive in 2007 as they'd mostly have to be well over 100. So this is a fascinating look at long-gone film techniques and acting styles.The DVD is based on an obviously deteriorated print but restored, as well as possible, at the George Eastman House in Rochester, New York. Various scenes were tinted in accordance with the theories of what each scenes' mood was meant to be. The "special effects" were adequate for the period but obviously not up to modern computer-generated effects.The characters are generally allegorical with actors portraying the personifications of Light, Night, Dog, Cat, Water, Milk, Bread etc. The lengthy scene with unborn children clearly mirrored the ideology of the time that one has a duty to have many children. A similar scene with the voices of unborn children in the Richard Strauss opera (1918 coincidentally.) "Die Frau Ohne Schatten" (The Woman Without a Shadow"), a similar ode to fecundity, shows the obvious influence of this play and probably mirrors the attitudes against Margaret Sanger and her birth-control followers. (But Sanger largely prevailed, at least in the U.S.) Another obvious influence of this play is on the 1939 film "The Wizard of Oz". In Judy's last speech, she realizes that if happiness can't be found at home "in your own backyard", it can't be found at all. There was also a popular but now rather campy song made popular by Jan Peerce in 1948, "Bluebird of Happiness". (He did an earlier version in 1935.) This DVD is an important reminder of these old attitudes and it certainly has its moments of beauty. On the whole, though, it is, in my opinion, rather of a "hoot". The acting is strictly of the period and everything else about it is quite dated.