Drama

Blind husbands (1919) Erich von Stroheim (silent)

  • Download 5x Faster
  • Download torrent
  • Direct Download
  • Rate this torrent +  |  -
Blind husbands (1919) Erich von Stroheim (silent)

Anonymous and Free Direct Download


Torrent info

Name:Blind husbands (1919) Erich von Stroheim (silent)

Total Size: 1.61 GB

Magnet: Magnet Link

Seeds: 0

Leechers: 1

Stream: Watch Online @ Movie4u

Last Updated: 2015-09-06 06:41:19 (Update Now)

Torrent added: 2009-11-07 03:02:29



VPN For Torrents

Torrent Files List


screenshots (Size: 1.61 GB) (Files: 20)

 screenshots

  snapshot6836586.jpg

41.28 KB

  snapshot6839603.jpg

41.17 KB

  snapshot6836337.jpg

37.86 KB

  snapshot6839459.jpg

36.92 KB

  snapshot6835800.jpg

28.93 KB

  snapshot6836190.jpg

27.81 KB

  snapshot6839320.jpg

26.08 KB

  snapshot6836131.jpg

25.89 KB

  snapshot6836709.jpg

25.38 KB

  snapshot6839818.jpg

25.28 KB

  snapshot6839711.jpg

25.03 KB

  1snapshot.jpg

24.45 KB

  snapshot6836521.jpg

20.33 KB

  snapshot6836638.jpg

13.78 KB

  snapshot6839140.jpg

12.32 KB

 Blind husbands (1919).AVI

1.61 GB

 cont'd.txt

19.30 KB

 Blind Husbands.txt

19.30 KB

 Blind Husbands.jpg

4.93 KB

 media info.txt

1.85 KB
 

tracker

leech seeds
 

Torrent description

http://www.imdb.com/title/tt0009937/

Blind Husbands (1919)

Directed by
Erich von Stroheim

Writing credits
Lillian Ducey titles
Erich von Stroheim screenplay
Erich von Stroheim story "The Pinnacle"

An Austrian military officer and roue' attempts to seduce the wife of a surgeon.

Cast
Sam De Grasse ... Dr. Armstrong
Francelia Billington ... Margaret Armstrong
Erich von Stroheim ... Lieutenant Erich von Steuben
Gibson Gowland ... Silent Sepp (as T.H. Gibson Gowland)
Fay Holderness ... The 'Vamp' Waitress
Ruby Kendrick ... A Village Blossom
Valerie Germonprez ... The Newlywed
Jack Perrin ... The Newlywed
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'
Tiny Sandford ... (uncredited)

Produced by
Erich von Stroheim .... producer

Cinematography by
Ben F. Reynolds

Film Editing by
Eleanor Fried
Frank Lawrence
Viola Mallory (uncredited)
Erich von Stroheim (uncredited)
Grant Whytock (uncredited)

Art Direction by
Erich von Stroheim (uncredited)

Set Decoration by
Richard Day

Second Unit Director or Assistant Director
Edward Sowders .... assistant director (as Eddy Sowders)
K.C. Stewart .... assistant director

Camera and Electrical Department
William H. Daniels .... camera operator (uncredited)

Other crew
Carl Laemmle .... presenter

Genre:Drama | Romance

User Comments (Comment on this title)
15 out of 15 people found the following comment useful :-
The remarkable debut of a cinematic icon, 23 May 2004
Author: wm from Westchester County, NY

Erich von Stroheim's first film as writer/director stands as one of his most satisfying works. Not so coincidentally, it is the only film he directed that was left largely intact by the 'Front Office' executives of his studio, at least on its initial release; surviving prints of BLIND HUSBANDS lack some material cut for a 1924 reissue. After this successful debut Von Stroheim's productions became more elaborate, his off-camera behavior more outrageous, and his relationships with the studio chiefs and money men behind the scenes more contentious, always resulting in the films being taken out of his hands and re-edited by others. [Orson Welles' movie career would follow a sadly similar trajectory.] But the trouble and notoriety came later. In 1919 Erich von Stroheim was still a semi-obscure character actor best known for playing sadistic Huns in war movies, and this maiden effort as screenwriter, director and star took Hollywood by surprise.

In comparison with Von Stroheim's later, more elaborate (and occasionally bizarre) works, BLIND HUSBANDS is simple and straightforward. The story concerns an unhappy romantic triangle involving an upper class American couple, Dr. Robert Armstrong and his wife Margaret, and a Lieutenant Eric von Steuben, whom they encounter while vacationing at a resort in the Austrian Alps. The tension between the three is apparent from the beginning, as they share a carriage ride uphill to the resort. The husband is inattentive to his wife; she is frustrated; and the lieutenant, having quickly analyzed the situation (and Margaret's legs) begins a determined campaign to seduce her away from her seemingly indifferent husband. This opening sequence gives us the essence of the plot in a matter of moments, primarily through visuals instead of wordy intertitles.

We soon learn that Lieutenant von Steuben has other irons in the fire, so to speak: he is a 'serial seducer' with a number of lady friends at the resort, including a blowsy middle-aged chambermaid and a young local girl who pathetically takes his protestations of love at face value. Dr. Armstrong, on the other hand, treats his wife coldly, and the only clue we're given as to why this is so comes when he cheerfully handles a villager's baby-- then shoots a significant look of unhappiness at his wife, who is shopping and doesn't notice. Clearly, this man wants to have a child, and his wife is either unwilling or unable to accommodate him. We have to assume that the former is the case, because as the story develops we learn that although the doctor is something of a cold fish he is also a basically decent guy, and not someone who would resent his wife for a medical condition beyond her control. Margaret appears to be considerably younger than her husband, and presumably doesn't feel ready to settle down to child-rearing.

Whatever the reasons for the friction in the Armstrong marriage, the plot turns on Margaret's response to Lieutenant von Steuben's brazen advances, and this is the crux of the film and what makes it worth watching today. Viewers unaccustomed to silent drama might expect a great deal of arm-waving, eyebrow-waggling, plate hurling, and other histrionics associated (with some justification) with the early days of cinema, but here is where BLIND HUSBANDS made its mark in 1919, and why it's still surprisingly watchable today: director Von Stroheim, a one-time assistant to D.W. Griffith, inspired his actors to give intensely felt but remarkably restrained performances which for latter-day viewers might suggest Ingmar Bergman's ensemble company, or, more specifically where this material is concerned, the triangle at the center of Roman Polanski's A KNIFE IN THE WATER. Thanks especially to the understated work of Francellia Billington as Margaret Armstrong, a great deal of information is conveyed with glances, shrugs, half-smiles, and frowns; no plate smashing is necessary. It is plain to the viewer that Margaret is startled and somewhat flattered by the lieutenant's audacity, at least at first, but also that she soon feels he has overstepped his bounds and is more upset than pleased about the situation. Erich von Stroheim's own performance as [his alter ego?] Eric von Steuben is highly enjoyable and set the standard for some of his later screen scoundrels, although the character is rather limited in scope in this early incarnation. Also notable in a supporting role is Gibson Gowland, who would later embody the dentist MacTeague in Von Stroheim's masterpiece GREED.

Unfortunately, the plotting of BLIND HUSBANDS turns corny at the climax, when the doctor confronts his rival face-to-face on a mountain top (the screenplay's original title was "The Pinnacle"). There is some melodramatic hokum over a letter Margaret wrote to Von Steuben, but after all that understatement a little melodrama is forgivable --and, frankly, rather fun.

An earlier posting concerning this film suggests it's a comedy, which it's not, but there are nice comic touches throughout. I first saw it at a museum screening a long time ago, and still remember the laughter when Von Steuben approaches two different women at a party and uses the same pick-up lines, verbatim, on each of them. Now that's funny! And this movie stands as one of Erich von Stroheim's strongest achievements in his all-too-brief, bizarre career as a filmmaker.

5 out of 6 people found the following comment useful :-
Von Stroheim's first and seminal directorial effort, 15 August 2001
Author: AA from Putney, VT

BLIND HUSBANDS was Von Stroheim's first directorial effort. It is separated from his third (FOOLISH WIVES)by the lost DEVIL'S PASSKEY and seems a seminal work re themes he was to use later in FOOLISH WIVES and indeed which were to have an influence on many of his films. Here he cuts the same figure he does in FOOLISH WIVES and THE WEDDING MARCH - the Austrian military man with shaved head, high boots, monacle and high military cap. He has a dapper air with cigarette and either riding strap or walking stick. He essentially always plays the same character in these films - the roue, out to seduce a married woman with the goal of obtaining either sex (BLIND HUSBANDS) or money (FOOLISH WIVES). In one of his two masterpieces, THE WEDDING MARCH, this character was to be softened by actually falling in love with an unobtainable woman, while pursuing a marriage of title. In BLIND HUSBANDS he is also two-timing a jealous woman of the lower classes (here an inn maid). Although this sub-plot does not advance here, it does in FOOLISH WIVES to the point of disaster.

Von Stroheim's films were certainly revolutionary for their time, in exposing the vice and duplicity in human nature that other film makers were avoiding. BLIND HUSBANDS is rather crude in its acting, cinematography and editing - it was, after all, Von Stroheim's first film and the medium was just teetering on the edge of its advancement as a true art form (something which Von Stroheim was to take full advantage of in GREED and THE WEDDING MARCH.) Here then it is the story that fascinates, not the production values.

Von Stroheim's character latches onto the neglected wife of an American surgeon, vacationing in Austria. He makes love to her behind her husband's back but observed by the husband's mountain-climbing guide friend. Eventually the two men are alone on a summit. Von Stroheim is the weaker men, having had to be helped considerably by the husband to reach the peak. There the latter finds a letter in Von Stroheim's jacket pocket in his wife's handwriting. Before being able to read it, Von Stroheim knocks it from his hand and it falls down the mountainside. Did the letter prove his wife's unfaithfulness? Von Stroheim says yes and the husband leaves him to rot on the summit (We see shadows of vultures on the rocks - obviously and badly originating in someone offscreen whirling a fake bird on a string). During the descent, the husband finds the letter and reading it, learns of his wife's innocence. Why did Von Stroheim lie and should the husband now return to save him or let him rot? I won't spoil the ending.

This is certainly a triangle with more thought involved in its writing and character development than is to be found in most product of 1919.

The film is interesting and might be worth pairing with FOOLISH WIVES. It is no great achievement on its own, but does gain significance when studying the developing writing and diectorial career of Herr Von Stroheim and is recommended more for study than entertainment.


2 out of 2 people found the following comment useful.
Restraint, 16 July 2005

Author: C

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.


1 out of 1 people found the following comment useful :-
Delightful alpine movie - review of the Austrian version, 30 May 2009

Author: ms from United Kingdom

This is a review of the Austrian version of the film, which is available on the R2 Edition Filmmuseum DVD. I believe it is also available in the States on Kino DVD in the truncated American version that has a different sentiment.

Blind Husbands is a story about folks holidaying in the alps (Cortina specifically). The main characters are a famous American surgeon, his wife Maguerite, and Leutnant von Steuben, a German military man (the filmmuseum English subtitles are a bit misleading here because they translate the intertitles referring to him as an impostor, whereas I believe von Stroheim's intention was to portray him as someone unfit to wear the uniform rather than literally not allowed to wear it). Von Steuben is played by von Stroheim himself.

He's meant to be a philanderer of married women. He looks the part, excepting that he is actually very short, shorter in fact than Maguerite. The world may have changed a lot in ninety years, but I doubt the women back then were too different from women today who are generally unable to take the advances of men shorter than themselves seriously.

I'll give the world and the female race the benefit of the doubt for the movie's sake. Von Steuben is after a clinch with Maguerite, but he's already had a squeeze with two of the hotel serving girls by the time he gets round to her. He's got a soft target really, because the husband is much too self-involved to notice that his wife is feeling lonely and in need of rekindling. Obviously where the title "Blind Husbands" arises from.

There's quite a lovely dinner scene outside the hotel in Cortina at night, there's all these paper lanterns in lines interspersed with the permanent hotel lanterns, very pretty really. Maguerite excuses herself from the hubbub and goes inside to play the piano. Whilst sat at the piano we see her head shot against a totally black background, quite an unusual shot for a film of any era. It's at this point that she appears totally alone, not just lonely, but alone. Back to the normal shot and Steuben has sidled in. He picks up a violin and starts to play a duet. What a powerful thing to do to one in such a suggestive frame of mind! Part two of the plan is to buy her the marquetry box that hubby was too busy to notice that she wanted. It's apparently two hundred years old, the design on the lid is all lozenges and grains, really reminded me very much of a Matisse type pattern, we get a lovely close up of it.

As it happens there are another two shots against a dark background, one of a bell ringing in the bell tower (to mourn the dead) and one of von Steuben pointing his grubby finger at Maguerite.

Most of the film basically concerns the von Steuben/Maguerite cat and mouse game. Can't blame him for chasing Maguerite really, my favourite shot of her was her wearing these lovely antique sunglasses with wildflowers in the back of her alpinist hat band. The movie is all shot really quite sympathetically, I'd almost call it realism, a surprising term for a 1919 film! According to others the level of mise en scene is apparently not up to Foolish Wives or Greed standard, but I'll go with it on an absolute basis.

If you see the movie as containing realism, then the ending is a bit of a cop-out, a sop to dramatic cliché. However we'll let Erich off as it still kind of works. The movie turns into a bit of a bergfilm at the end, American superman, surgeon, strong, weakling German braggart, this being totally exposed as they climb the mountain, having been rather sotto voce before.

The only silly part of the film concerns the shadow of an eagle, which is blatantly produced by a crude silhouette hanging on the end of a wire (unless eagles can fly backwards), yikes! Other than that though I thought the movie was brilliant.


Interesting Early Stroheim, 27 August 2006

Author: e from United Kingdom

A basic marital morality tale, enthused with Stroheim's lust for self-loathing. He plays an over-sexed, effete, lizard of a Prussian Officer, named Von Steubens, who zealously seeks to dishonour the wife of an American doctor holidaying in an Alpine retreat.

Interestingly, Stroheim is said to have virtually stalked Carl Laemmle, the head of Universal, in order to get his story, The Pinnacle, made into what would become Blind Husbands. Not the least hint or sign, then, of the crazy, obsessive auteur, a part that Stroheim would pioneer! As a director, Stroheim does have a wonderful visual eye (scenes of men climbing mountains etc.). There are also some very inventive shots, such as when the wife is looking at her practically impotent husband, the doctor, sleeping in bed, via a mirror, and then sees a young couple at the lodge in place of him, completely in love, before going back to the snoring doctor.

Moreover, the English actor who would go on to play McTeague in Stroheim's much greater, later, work: Greed, here plays a mountain guide. He is a symbol of the people of the mountains, strong, pious and devout, a complete opposite to Von Steubens' decadent Officer, who uses his cultural refinement only to guarantee his baser purposes, wooing the local peasant girls with poetry for instance, and wooing the doctor's wife with a violin.

But that's the problem with film. Although the characterisation isn't completely two-dimensional, the esteemed doctor, for instance, shows envy and hatred. His wife also admits an ambivalent interest in Von Steubens unwholesome charm. But Stroheim seems to idealise these mountain people from the get go, which is stupid romanticism. Anyone who has such romanticism should read An Alpine Idyll, a short story by Hemingway.

Still, an interesting early Stroheim.


Amazingly simple film, 29 July 2006

Author: ps from Bradenton, Florida

Wow--is this the SAME director that was known for his obsessive need to film and re-film and re-film ad nauseum? Is this this the director who made GREED at over nine hours and insisted it not be cut any further? Is this the same director whose work was severely limited because the studios grew tired of his inflexibility and excessive spending? None of this appears to be the case when you watch this simple film, but all are amazingly true--just not evident in this film. Somehow, von Stroheim was able to complete a film that is simple, a reasonable length and well worth seeing. In fact, he also co-stars in this movie and does a fine job playing an adventurous cad.

The plot is pretty simple. A husband has a tendency to take his wife for granted while on vacation to the Dolemites (a mountain range in Northern Italy). A soldier and adventurer, von Stroheim, sees this and slowly tries to seduce the lonely wife. How all this works out as well as the beautifully filmed conclusion I'll leave to you to figure out on your own. This is a morality play that for its day isn't too preachy and is sure to entertain.


Strong Early Stroheim, 4 July 2006

Author: cb from United States

This is really a bookend with "Foolish Wives" for me. The later film was perhaps more melodramatic but they both share the Euro-womanizer and gullible wife angle. In "Husbands," Stroheim casts himself unsympathetically (and rather courageously, if you think about it) and seems to relish the villainy and cowardice of the role. The cast is excellent with particular credit due the off-balance wife for her uncomfortable acceptance of the Leutenant's attention.

Stroheim's strength as a director always pivoted on his ability to move a story forward, however, and that's the very quality that makes this film work; one is always interested to follow along and see what happens.

It's a real shame that the world of cinema was denied the complete development of Stroheim's directorial skills as it would have been fascinating to see how he developed full-formed in the sound era.

Format : AVI
Format/Info : Audio Video Interleave
Format profile : OpenDML
File size : 1.61 GiB
Duration : 1h 32mn
Overall bit rate : 2 496 Kbps

Format : MPEG-4 Visual
Format profile : [email protected]
Format settings, BVOP : No
Format settings, QPel : No
Format settings, GMC : No warppoints
Format settings, Matrix : Default
Codec ID : XVID
Codec ID/Hint : XviD
Duration : 1h 32mn
Bit rate : 2 361 Kbps
Width : 720 pixels
Height : 480 pixels
Display aspect ratio : 1.500
Frame rate : 29.970 fps
Standard : NTSC
Resolution : 24 bits
Colorimetry : 4:2:0
Scan type : Progressive
Bits/(Pixel*Frame) : 0.228
Stream size : 1.52 GiB (95%)
Writing library : ZJMedia MPEG Encoder

Format : MPEG Audio
Format version : Version 1
Format profile : Layer 3
Codec ID : 55
Codec ID/Hint : MP3
Duration : 1h 32mn
Bit rate mode : Constant
Bit rate : 128 Kbps
Channel(s) : 2 channels
Sampling rate : 44.1 KHz
Resolution : 16 bits
Stream size : 84.6 MiB (5%)
Alignment : Split accross interleaves
Interleave, duration : 968 ms (29.00 video frames)

related torrents

Torrent name

health leech seeds Size
 


comments (0)

Main Menu