It's a tale as old as time itself, yet Erich von Stroheim manages to make it feel as fresh and as compelling as any rendition could be. It may lack the finesse of more modern films, or the poetry of stories from antiquity, yet in highlighting conflicts of the heart and human drama, 'Blind husbands' nonetheless carves out a worthy space all its own. The intertitles that open the feature spell it out very plainly - a loving wife, the neglectful husband, and the man that swoops in to woo her. From that foundation is built a story of heartbreak, scheming, secrecy, discovery, and at last a climactic collision of it all. I can appreciate why silent films are hard to engage with for some viewers in all the years since, yet in this feature I once again see a classic that very much holds up and is well worth watching even one century later.
To read even a little bit about the production history informs of the arduous experience of getting this movie made, and the substantial work that was poured into it. One gathers that Von Stroheim was a bit of a perfectionist - yet his fastidious, demanding nature paid off. The whole cast is well, but the principal actors particularly impress with their displays of nuanced range and physicality. Francelia Billington is excellent as beleaguered wife Margaret, embodying her troubled innocence, and frankly giving a performances that does much all on its own to heighten the emotional turmoil. Sam De Grasse is solid as husband Robert, unseeing of the mess developing around him. Von Stroheim, already wearing multiple hats as writer, director, producer, and co-editor, is a smarmy delight as womanizing Lieutenant Von Steuben, capably embracing the man's cool, confident demeanor. It's also worth mentioning Gibson Gowland, whose steady portrayal of mountain guide Sepp reinforces the figure's seeming ubiquity, and his quiet knowing. With these and other swell supporting parts locked in, it's easy to become absorbed in the tale as it unfolds, and in retrospect one can hardly blame von Stroheim for accordingly filming multiple takes in pursuit of the very best.
All this is to say nothing of small touches in the excellent set design and decoration, editing, costume design, or hair and makeup that are fetching in their own right, but which also serve to underline or further the picture's story and themes. The filming locations are marvelous, captured with keen cinematography alongside the active tale. And once more, von Stroheim illustrates fine skills in all the capacities in which he operates here, but not least of all in his screenplay. The final cut perhaps comes across as slightly imprecise, as though a sliver of footage could have been left on the editing room floor, while some beats are presented a tad too brusquely. By and large, however, the story is complete and full yet concise, and engaging for the miasma that is stirred between the three main characters. If not the most wholly riveting saga in the world, every aspect in the movie is pointed toward the same goal of communicating a narrative as rich and as low-key tense as possible. That especially goes for the intertitles, imparting sometimes sharp dialogue, and the dynamic scene writing, but also again the superb acting that is part and parcel to the latter.
It would be easy to sit here and continue to dissect ever more every iota of the picture's construction. From pre-production and writing, to work behind the scenes and von Stroheim's oversight of the production, to the acting and editing and all the details that brings the title to life, there's a lot to take in beyond just the core narrative. This is a film that was made very carefully, and very attentively, in all regards. That doesn't mean it will appeal to all comers; the silent era is for niche audiences these days, and even putting that aside there's a certain simplicity compared to movies of subsequent decades that may or may not comport to personal preferences. All the same, 'Blind husbands' is so well made and sufficiently engrossing that I'd have no qualms recommending it to just about anyone. If you're looking for a movie of interpersonal drama that will keep you watching, you don't necessarily need to look any further than this.
To read even a little bit about the production history informs of the arduous experience of getting this movie made, and the substantial work that was poured into it. One gathers that Von Stroheim was a bit of a perfectionist - yet his fastidious, demanding nature paid off. The whole cast is well, but the principal actors particularly impress with their displays of nuanced range and physicality. Francelia Billington is excellent as beleaguered wife Margaret, embodying her troubled innocence, and frankly giving a performances that does much all on its own to heighten the emotional turmoil. Sam De Grasse is solid as husband Robert, unseeing of the mess developing around him. Von Stroheim, already wearing multiple hats as writer, director, producer, and co-editor, is a smarmy delight as womanizing Lieutenant Von Steuben, capably embracing the man's cool, confident demeanor. It's also worth mentioning Gibson Gowland, whose steady portrayal of mountain guide Sepp reinforces the figure's seeming ubiquity, and his quiet knowing. With these and other swell supporting parts locked in, it's easy to become absorbed in the tale as it unfolds, and in retrospect one can hardly blame von Stroheim for accordingly filming multiple takes in pursuit of the very best.
All this is to say nothing of small touches in the excellent set design and decoration, editing, costume design, or hair and makeup that are fetching in their own right, but which also serve to underline or further the picture's story and themes. The filming locations are marvelous, captured with keen cinematography alongside the active tale. And once more, von Stroheim illustrates fine skills in all the capacities in which he operates here, but not least of all in his screenplay. The final cut perhaps comes across as slightly imprecise, as though a sliver of footage could have been left on the editing room floor, while some beats are presented a tad too brusquely. By and large, however, the story is complete and full yet concise, and engaging for the miasma that is stirred between the three main characters. If not the most wholly riveting saga in the world, every aspect in the movie is pointed toward the same goal of communicating a narrative as rich and as low-key tense as possible. That especially goes for the intertitles, imparting sometimes sharp dialogue, and the dynamic scene writing, but also again the superb acting that is part and parcel to the latter.
It would be easy to sit here and continue to dissect ever more every iota of the picture's construction. From pre-production and writing, to work behind the scenes and von Stroheim's oversight of the production, to the acting and editing and all the details that brings the title to life, there's a lot to take in beyond just the core narrative. This is a film that was made very carefully, and very attentively, in all regards. That doesn't mean it will appeal to all comers; the silent era is for niche audiences these days, and even putting that aside there's a certain simplicity compared to movies of subsequent decades that may or may not comport to personal preferences. All the same, 'Blind husbands' is so well made and sufficiently engrossing that I'd have no qualms recommending it to just about anyone. If you're looking for a movie of interpersonal drama that will keep you watching, you don't necessarily need to look any further than this.