6.9/10
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Blind Husbands (1919)

Not Rated | | Drama, Romance | 7 December 1919 (USA)
An Austrian officer sets out to seduce a neglected young wife.

Director:

(as Erich Stroheim)

Writers:

(book) (as Erich Stroheim), (adaption) (as Erich Stroheim) | 2 more credits »
Reviews

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Cast

Complete credited cast:
...
...
...
...
The Mountain Guide, Sepp Innerkofler (as T.H. Gibson Gowland)
Fay Holderness ...
Ruby Kendrick ...
A Village Blossom
Valerie Germonprez ...
Honeymooner
...
Honeymooner
Richard Cummings ...
The Village Physician
Louis Fitzroy ...
The Village Priest
William De Vaull ...
Man from 'Home'
Jack Mathis ...
Man from 'Home'
Percy Challenger ...
Man from 'Home'
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Storyline

An Austrian military officer and roue' attempts to seduce the wife of a surgeon. The two men confront each other in a test of abilities that ends surprisingly. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

Not Rated
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Details

Country:

Language:

Release Date:

7 December 1919 (USA)  »

Also Known As:

The Pinnacle  »

Box Office

Budget:

$42,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| | | (DVD release)

Sound Mix:

Color:

(color toned)

Aspect Ratio:

1.33 : 1
See  »
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Did You Know?

Trivia

Erich von Stroheim had to agree to wave fees as writer and director in order to make this first film as writer director. However, he still got $200 a week to star. See more »

Goofs

In one shot, when the wife walks across her bedroom, a spotlight beam is visible on the ground following her. See more »

Connections

Featured in The Universal Story (1996) See more »

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User Reviews

 
Restraint
16 July 2005 | by See all my reviews

The story is simple and unoriginal: a love triangle, plus man's determination to conquer nature. But, this early effort by director Erich von Stroheim displays great restraint, especially for a filmmaker who would become notorious for excess. His films, such as "Greed" (1924), are better known for their production and post-production histories than for their actual merits. He would shoot an excessive amount of footage for films of extraordinary length, which the producers then butchered. That's not the case with "Blind Husbands", though; this one has a normal runtime.

It also features the familiar Stroheim touches on a smaller scale. The acting is rather subtile. Stroheim introduces his typical role as a villainous Teutonic womanizer, with a scar, a monocle and a history of military service--"the man you love to hate". Here, he's the other man. Furthermore, the mise-en-scène takes precedence over camera movement or editing. The décor is detailed and occasionally allegorical to the melodrama. Attention to lighting is also evident. "Blind Husbands" is sensational and too contrived and ruminant at times, but, for the most part, the simple story is harmonious with the restrained, yet detailed, film-making.


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