blind husbands
universal blogathon: blind husbands (dir. erich von stroheim, 1919) | nitrateglow
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this blind item has been revealed by blind gossip. once again, a famous man has been caught cheating on his wife .
husbands are like fires. they go out when unattended. ~ zsa zsa gabor
lmbao stop sandy. you know damn well this blind item is not kerry .
blind faith 1990 (full movie including commercials .) starring robert urich, joanna kerns
i don thave blind faith. . don' t make silly accusations. . thanks
historian william k. everson said
blind husbands
was strong material with an inherently sexual theme, yet also with a framework of melodrama that appealed to popular tastes .
i prefer fw myself for its amoral hero and audacity, but blind husbands is probably the better movie all around. as you said, the script is taut and focused, a rarity in any era .
the majority of husbands remind me of an orangutan trying to play the violin. ~ honoré de balzac ,
i did not write the following blind item. please direct your inquiries and complaints to the original source .
and while the official age of consent is 16 for girls, the pakistan government turns a blind eye .
there is so little difference between husbands you might as well keep the first. ~ adela rogers st. johns
most wives think of their husbands as bumbling braggarts with whom they happen to be in love. ~ jackie gleason
kermit... you have complete blind faith. and a tad bit insane if you are hearing voices .
it ought to be added that mr. stroheim originally named his production
the pinnacle ,
and, according to report, seriously objected when the cheapening title ,
blind husbands ,
was plastered on it by the proprietary company .
we dont know that for sure this is a blind item. . dont get ya panties in a bunch over # clickandbait
nonetheless, blind husbands is an assured and elegant debut feature. it’s stroheim without any of his indulgences, which may be a good thing for some. even as one who loves the stroheim excess, i can tell you this is one of his finest .
via blind gossip — last week this actor and actress were in paris, holding hands and strolling along in the 6th arrondissement .
nigerian artist flavour features semah g. weifur in most high gets accolades over blind boy | saharacable | pinterest | liberia and artist
i know that blind deaf and dumb happen to people through no fault of their own, but stupid is preventable ...
blind husbands is a silent mountain movie, a genre that was quite popular in silent european cinema, by erich von stroheim, who brings a european sensibility to the american silent film - much like numerous emigrating directors did (which arguably made hollywood so great) .
this rumor has been going on since her first child on other blind items sites, in addition to kw / tg longtime affair. ijs
they are the tragic faces of child marriage; expected to cook, clean, engage in sexual activity and perform any other duty their husbands want .
stroheim’s the wedding march was one my first silent film viewings and i’m eager to watch one of his more kinky pictures. just the idea of seeing a silent set in the alps is a great lure, so i’ll be checking out blind husbands. thanks for participating in the universal blogathon !
…played the leading role in blind husbands (1919), his first independently directed picture. as an early exemplar of the changing postwar morality, it intimated that a woman had the right to seek love outside of an unsatisfying marriage. stroheim’s growing obsession with painstaking detail was reflected in the devil’s passkey …
i think the merry widow is very accessible, but i haven’t seen blind husbands to compare. and i had never heard of francelia billington until now! well, i think i need to work in my stroheim knowledge 🙂 don’t forget to read my contribution to the blogathon! 🙂 kisses! le urltoken
this was such a well thought out post, makes me want to see it again and analyze to my heart’s content! (ah, analyzing .) i’ve always preferred blind husbands over foolish wives, its story has always seemed a little tighter and little more interesting to me. the setting is nice, too .
the concern that some women show at the absence of their husbands, does not arise from their not seeing them and being with them, but from their apprehension that their husbands are enjoying pleasures in which they do not participate, and which, from their being at a distance, they have not the power of interrupting. ~ michel de montaigne
while most australian girls this age are busy being children, child brides aisha and zainub (not their real names) were used as a commodity by their husbands and families .
what' s for dinner ?
is the only question many husbands ask their wives, and the only one to which they care about the answer. ~ mignon mclaughlin ,
urltoken — most husbands in this situation would want a paternity test, but the husband of this a - list television actress knows the real story and stays quiet to collect a paycheck .
he was doubtless an understanding fellow that said, there was no happy marriage but betwixt a blind wife and a deaf husband. ~ michel de montaigne ,
upon some verses of virgil
being for the most part unfamiliar with films of this vintage, i' m glad that mubi puts them in the rotation. it' s probably pretty much impossible for a modern viewer to really connect with the simplistic, melodramatic narrative of blind husbands, but it was fascinating to see how, in this period, suspense, in an alpine setting no less, was handled. enjoyable, overall .
unfortunately, this gem does have one major flaw and that’s the last quarter of the picture. while the marital woes of the armstrongs and the attempted seduction of margaret felt genuine, the plot descends into melodrama once the lieutenant and husband face off on a mountaintop. had blind husbands been corn from the start this would be no issue, but stroheim gives us a heaping of maturity only to finish it off with fluff .
photos used in blind item posts are for illustration purposes only and are not intended to identify any particular individual as the subject of this post. we take no responsibility or liability for the assumptions made by our readers .
by its pictorial quality, therefore ,
blind husbands ,
not especially original in plot, and weakened somewhat by its resort to the well - worn theatrical trick of withholding important information from the spectators, is interesting throughout and at times supremely compelling. some of its scenes are continentally frank, they are not offensive nor more suggestive than is necessary to present the triangle of the self - absorbed husband, the neglected wife, and the human bird of prey .
well - shot and well - written, what really stands out from blind husbands is its narrative subtext. however, if you' ve not seen this film, i would advise seeing it without spoilers. so, with that said, this is a simple yet poignant poignant film with one clear message: be good to your wife and trust her. we see this message constructed through a couple who are on holiday; the husband about to climb a mountain in the dolomites. however, this…
“here is a photoplay which excels because it is built on the solid foundation of a real idea, namely, the universal carelessness and inattention of husbands to their wives after, in common parlance, they have them securely bound by the gold or platinum band of domestic slavery. just so long as husbands allow themselves to take their wives for granted, to forget the little attentions and kindnesses after the honeymoon is ended, just so long will pretty young wives be the prey of don juans who appease them with pretty sayings and suave signs of devotion. ” motion picture magazine, 1920
maseru, lesotho— “that’s how african men are, ” the woman said. she and two others laughed aloud at the infidelity of their husbands. their hearty, free - spirited laughter resonated in the hotel lobby, attracting disapproving stares from the men in business suits who occupied most of the other coffee tables .
neither man nor woman is perfect or complete without the other. thus, no marriage or family, no ward or stake is likely to reach its full potential until husbands and wives, mothers and fathers, men and women work together in unity of purpose, respecting and relying upon each other' s strengths .
many who saw eric stroheim as a prussian villain in
the heart of humanity
and other war films may have wondered, because he seemed so completely designed for his part and nothing else what he would do when the public no longer demanded a hun to hiss. if they will go to the capitol theatre this week and see
blind husbands
they will know that whenever mr. stroheim desires to give up acting, or is not required, in pictures, he can devote all of his time to directing - and if the promise that is borne of his first performance as a director is fulfilled, the screen will be greatly enriched .
yet while the government can seemingly ignore gender violence issues, it cannot turn a blind eye to aids. international attention to the high prevalence rate in lesotho and sub - saharan africa has increased. billboards, posters, and fliers on safe sex are almost everywhere, and free condom dispensers abound in public places and toilets .
the most interesting element of blind husbands comes from that it blames no one in this bizarre love triangle. there’s no simple categorization of the characters, no assertions that armstrong is good and steuben is bad. steuben is a horny louse to be sure, but he also seems lonely and insecure, giving us some sympathy for him. armstrong is noble and good - hearted, but his coldness towards his wife, which appears to stem from her unwillingness to start a family, does stain his image as the perfect man. margaret is not some simpering ingénue or thoughtless flirt, but a flesh - and - blood woman facing temptation in a moment of isolation .
together, these three women are fighting two of the gravest problems that plague lesotho and sub - saharan africa today—gender - based violence and hiv / aids—and they’re not entirely disparate plagues. “there is a strong connection between the two, ” mamakhete says. “women have no agency and sexual rights. they are forced to have unprotected sex with their husbands even if the men have aids. ”
at age 9, she was writing poetry. by 17, she was a single mother. in her early 20s, she danced at a strip joint, ran a brothel, was married (to enistasious tosh angelos, her first of three husbands) and then divorced. by her mid - 20s, she was performing at the purple onion in san francisco, where she shared billing with another future star, phyllis diller .
staying with the person you love if they become disabled shouldn’t require gratitude. the important parts of a person don’t change; what’s in their heart remains the same. my husband is not a martyr. he’s not a saint. he’s simply a man who honored his commitment to our relationship. he doesn’t need nor would he want my gratitude for staying, but he will always have my utmost respect for being the kind of man he is. blind or not, i know we will never lose sight of our love for one another .
my daughter’s christening was a monumental debut for both of us. she was being introduced as the newest member of our family, and i was coming out as her newly blind mother. after surviving the ceremony unscathed, my husband and i proudly carried our precious bundle into the celebration venue and handed her over to her godparents while we assumed our roles as hosts. he went one way and i went the other, bouncing from table to table knowing that if we finished quickly, we might actually get to enjoy the hot meal we were paying for .
kermit... you are a d - ick. you have proven it time after time with your senseless, ridiculously worded posts. i take absolutely nothing you have to say seriously. it' s not pompous or arrogant to expose people' s failings. i have many of my own, but fortunately for me, blind faith is not one of them. i have no idea how you could take that i was a liar based on that post... . i am a - ssuming that you are just lashing out because you have nothing else .
so here’s what i am grateful for: i’m grateful i chose to marry a man who’s in it for the long haul and meant the vows he said when he married me. i’m grateful for a husband who loves all of me, not just parts, but all. i’m grateful i chose a man who’s a good role model to his daughter. hopefully, she will look for a partner in life who possesses the huge heart and strength of character of her daddy. i’m grateful for a husband who has never, not once, doubted my ability to be a good mother to our child despite being blind. i’m grateful for a man who’s intelligent enough to know my disability doesn’t define the woman i am .
to the outsider, it no doubt seems that iran has fallen to paranoid fanatics, blind perhaps even to their own best interests. the evidence is persuasive, however, that the group of ecclesiastics who control the levers of political power in iran, although bent on pursuing their savage experiment, retain a keen appreciation of practical necessities. the economic, political, and military storms beating upon them have their own imperatives. appreciating these circumstances, the international baha' i community has intensified its efforts to bring the suffering of the iranian baha' is before the nations of the world and to generate international pressure on the regime. national baha' i communities in 135 sovereign states act in concert through an international agency, the baha' i international community in new york city, which has consultative status as one of ecosoc' s non - governmental organizations .
a growing source of silent era film information. this listing is from the progressive silent film list by carl bennett. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
cast: sam degrasse (sam de grasse) [ doctor robert armstrong, the husband ], francellia billington (francelia billington) [ margaret armstrong, the wife ], erich von stroheim [ lieutenant eric von steuben, the other man ], t. h. gibson - gowland (gibson gowland) [ ‘silent’ sepp, the mountain guide ], fay holderness [ the jealous waitress ], ruby kendrick [ a village blossom ], valerie germonprez [ the honeymooning bride ], jack perrin [ the honeymooning groom ], richard cummings [ doctor brunner, the village physician ], louis fitzroy [ the village priest ], william duvalle [ a man from ‘home’ ], jack mathes [ a man from ‘home’ ], percy challenger [ a man from ‘home’ ]; bob the dog
synopsis: synopses available in afi - f1 n. f1. 0374, hirschhorn - universal p. 32, and in weinberg - stroheim pp. 4 - 6 .
survival status: prints exist in the museum of modern art film archive [ 35mm nitrate positive (1924 rerelease version), 35mm fine - grain preservation negative (1924 rerelease version), 35mm preservation positive (1924 rerelease version) ]; in a european film archive [ 35mm color - toned nitrate positive (circa 1921 - 1922 austrian release version) ]; in the film holdings of cohen media group (raymond rohauer collection) [ 35mm positive ]; in the film holdings of emgee film library [ 16mm reduction positive ]; and in private film collections [ 16mm reduction positives ] .
references: film credits, film viewing: afi - f1 n. f1. 0374; baer - film p. 28; bardèche - history p. 288; barry - griffith p. 30; bohn - light pp. xxi, 86; brownlow - parade p. 417; card - seductive p. 45; edmonds - bigu pp. 9, 105 - 106; everson - american pp. 113, 187, 285, 370; fell - history pp. 113, 114, 116; higashi - virgins pp. 142 - 144, 145, 146; hirschhorn - universal pp. 14, 32, 34; leish - cinema pp. 50 - 51; limbacher - feature p. 26; shipman - cinema pp. 66, 68; sinyard - silent p. 126; sklar - movie p. 96; taylor - hitchcock p. 41; vermilye - twenties p. 74; weaver - twenty p. 282; weinberg - stroheim pp. xi, xii, 3 - 19: website - nfpf .
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the mountain guide, sepp innerkofler (as t. h. gibson gowland )
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 .
- - says the budget was $ 42, 000 and the film went on to be one of the first to make over a million dollars .
in one shot, when the wife walks across her bedroom, a spotlight beam is visible on the ground following her .
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first film directed by erich von stroheim. see review and synopsis at: urltoken
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two differences between this austrian version and the generally available american version are immediately obvious: they differ both in their length and in the language of the intertitles. the american version is only 1, 883 metres long - at 18 frames per second a difference of some 7 minutes to the austrian version with 2, 045 metres. whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the austrian version differs from the american version both in the montage and in the duration of individual scenes. yet how could it happen that the later regional distribution of a canonical us silent film was longer than the
original version
?
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traveling with her husband in the swiss alps, a doctor' s wife finds what she needs in the person of a charming, seductive military officer, who comes to final terms with her jealous mate atop a perilous mountain peak. erich von stroheim' s first directorial work is cinematically and dramatically impressive .
it' s now noteworthy as a curio, but when first released it splashed von stroheim' s name onto the international spotlight as a brilliant filmmaker .
m ovie historians call erich von stroheim a realist because of his attention to authentic detail. stroheim rehearsed actors only less thoroughly than he designed sets and selected objects for them. but the most important element of his art is visual style, for its give us a sense that the objects and spaces he shows are real. without this sense, all the correct detail in the world would be useless .
stroheim presents the characters and settings of each shot as directly as possible. actors rarely overlap one another; all are fully visible; yet he saves his shots from being flat tableaux by placing his actors at different distances from the camera and by enhancing their different depths with lighting. the way he places his
realistic
objects similarly use depth. prominent natural objects in the foreground play off objects in the background to make the space of each shot real and three - dimensional .
in a seduction scene, for example, the foreground figures are backed up by cows and by trees and mountains in the far distance. for a hiking scene in the mist - - the most illusory of conditions - - rock outcrops in right foreground key the shot by giving us an immediate material object. contrasting with the figures in medium distance against the far rock - ledge, all the objects together establish real space between them. for stroheim there is no such thing as a general form or formal similarity between different objects. each object it its material self, nor is there one kind of object is its material self, no is there one kind of object .
his films establish a distinction between things as essences and things as symbols
( sarris), and treat only the latter. there is not general motion; action is local and concretely tied to the actor. the only universal is light .
lighting and composition now join the themes to establish the mountain - peak as a place of purity and to contrast it with the lower world. a sampler in the officer' s bedroom reads ,
in the alps there is no sin .
though he takes it to mean
all is permitted ,
its meaning is that sin will be obliterated. as the officer and husband begin the ascent, a guide tells the wife they will be safe, if they only will eave their worldly attachments behind .
s troheim shows the same tension between his characters' aspiration to virtue and their weaknesses in greed (1923). its plot follows a young dentist and his wife as they decline from security to poverty. stroheim, directly equating their material situation with their moral states, places them in real settings. at the same time he floods the early scenes with light, expressing in extraordinary art their wish for purity .
when the dentist' s practice fails, their basic greed - - attachment to material goods - - begins to tun them against each other, and the film becomes darker and darker as they and their material situation decline. white, recalling their former virtuousness, is now a mockery - - certainly in the scene where the dentist murders his wife next to a christmas tree in the dark. he then flees, but he is pursued by a rival. the film ends with their meeting in death valley .
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zambrero opens in harvard square and warwick, rhode island, donating a meal to someone in need for every burrito or bowl sold .
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he needed, of course, competent actors, and found them in himself as the austrian lieutenant, in sam de grasse as the surgeon, and in francelia billington as the woman. h. gibson gowland, as an alpine guide, and others in supplemental roles, met all requirements for background and atmosphere .
tom' s little star ,
one of the stage women' s war relief films, in which a number of theatrical celebrities are displayed, is also at the capitol .
what stroheim has done is to state a problem all too frequent in american married life. he proceeds next to tell it artfully .
dr. armstrong arrives at a small alpine village with his pretty wife. engrossed in his work, he is kind to her but forgetful of those little attentions. an austrian lieutenant, riding up in the bus with them notices this and begins his work. he is soon, thanks to his perseverance, acquainted with the young woman. while her husband is away, he buys her a beautiful box she has admired and comes to her door with it. on the pretext that someone is coming down the hall, she lets him in, though she is not yet fully dressed .
here is a pretty scene. she gets rid of him as soon as she can by promising that she will yield to him completely later. this later is while they are at a mountain lodge preparing to climb the pinnacle. while her husband and the lieutenant are still downstairs, we see her slip across the hall and put a note under the austrian' s door. we see the lieutenant read the note, put it in his pocket and prepare for bed. the guide, a man under deep obligations to dr. armstrong, has lighted his wife to her room and when the lieutenant leaves his chamber to go to hers, he opens the door on the guide who smilingly shows him the way back to his own apartment .
what the guide has done is to take the wife to the wrong room. she and her husband are sleeping apart, so he won' t disturb her when he rises early to climb the peak. the impression is left that she was prepared to receive the lieutenant, but on the mountain top the austrian, alone with her husband, draws the letter by mistake from his pocket, only to throw it away before the husband can take it and read it .
in the picture itself there is some amazing mountain climbing and falls and perfect photography, but the story, acting and directing are superior even to these effects. the flirtation scenes have a sex appeal that is at once charming and arousing. francelia billington, as the wife, is pretty and dainty to a degree, but we think stroheim made his one mistake in his own exceedingly sharp cut impersonation. it' s bad business to make a lover ridiculous .
the picture itself never really skirts the rough edges. it does not offend. it is a safe bet for any exhibitor and every exhibitor should show it or consider himself at once the manager of a second grade house .
von stroheim himself plays the part of a lustful army officer, a serial seducer who sets his cap at the dreamy wife of a rich american whilst they on holiday in the south tyrol .
in a remarkably assured debut von stroheim displays a nascent virtuosity as he unpacks a morally ambiguous tale of sexual obsession told with what became his trademark sumptuous visual sensibility .
more than this though, it is a phenomenally visually and narratively complex film, and beyond its historical interest, an engrossing and poignant melodrama .
the ico is touring this recently rediscovered and restored first film from director erich von stroheim with the kind permission of the austrian film museum .
the austrian film museum have allowed the ico a temporary sub - distribution license on ‘dvd facsimile’ taken from the austrian film museum’s analog 35mm preservation of the film. the film museum have found an extra 8 minutes of footage from previous versions and have re - established the film with a new score, as an authentic masterpiece of silent cinema .
it’s a moral tale, as simplistic as it sounds, but what makes it distinctive is the use of design and the characters’ personal mannerisms as fully functional elements of the director’s overall moral purpose .
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on vacation with her surgeon husband, dr. armstrong (sam de grasse), margaret (francilia billington) feels neglected and flirts with austrian lt. erich von steuben (erich von stroheim). when the doctor is called away for an emergency, the lieutenant tries to enter margaret' s room but is stopped by silent sepp (gibson gowland), the couple' s mountain guide. the doctor returns and goes hiking with the lieutenant but grows furious when he sees a note from his wife in the austrian' s pocket .
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a lecherous gaze drawn out into a feature - length parable about desire and power. the monstrosity of wanting and to be wanted .
imagine just picking up a camera and making this. what a debut. fuck me up, von stroheim .
great debut directing for stroheim. the story was a dusty but very well told with a lot of feet visual touches along the way .
let me be honest with you. me being a simple man, i always thought of this as the lesser version of foolish wives - which is true - but is also very wrong. so deciding to be a less simple man i actually went ahead and finally watched it and now i have to produce notes :
on location stroheim attempts something here which was rare in early cinema (but came to be an even more prominent feature in his later films), world - building. the setting is an austrian mountain resort at the foot of the monte cristallo which features prominently in the opening shot. stroheim manages to breath life into this setting by a) building a very convincing set of an…
my first stroheim. it' s really quite good, especially the party sequence early on .
this wonderful night is ours, yours and mine !
even the good old moon seems to give us her blessing .
stoheim says this first to the hotel waitress on lovers lane, then a shot of the clouds rushing like a river across the moon. she smiles totally enamored and consumed with lust in an almost dangerous kind of way, they kiss .
i love you
. at the party a series of glances centered around the neglected wife that evoke an indescribable loneliness, overwhelmed she flees and stroheim follows. and then again
this wonderful night is ours, yours and mine !
even the good old moon seems to give us her…
use of realism to undermine the hollywood fantasy. eric von stroheim was one of the few legitimate geniuses of the early silent days. he was a man of such vision and he was so great a poet and an artist that he found nothing but trouble in hollywood .
personagens aqui podem até parecer, em um primeiro momento, moralmente bastante definidos, mas existe uma ambiguidade muito inteligente por parte do von stroheim em ir reiterando um certo arquétipo americano na figura do casal, especialmente no que diz respeito a uma condescendência por parte dos dois. o próprio vilão vivido pelo diretor veste uma aparência icônica de tentação (o amor fácil, a frieza perante o mundo) que se por um lado se opõe ao humanismo do casal, em um sentido implícito também o ironiza .
this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
directorial debuts so assured and well - made you can' t believe they' re only the director' s first film. suggestions welcome .
about armstrong: my reading of the his relationship with his wife is a little different. for me, armstrong’s unhappiness about margaret’s (assumed) unwillingness to have children actually makes me feel for him a bit, and feel for margaret a bit less–especially after the cute scene of him playing with a baby. after all, if one partner has always longed for kids but the other isn’t willing to have them, well, that’s a pretty big thing. (maybe these fictional characters should’ve talked over such a huge life issue before getting married… 😉 )
about armstrong: i do feel for armstrong, but i do feel a great deal for margaret since i too am a person who does not want kids. plus in the 1910s / 1920s society, who’s going to be the one watching those kids the most of the time? margaret. you do wonder why they didn’t settle that one though huh? especially since it’s such a big deal for the two of them that it’s put their union on the rocks. xd
anti - damsel blogathon: hilda of horus, prince of the sun (dir. isao takahata, 1968 )
see you in the fall blogathon: the motorcycle chase in sherlock jr. (dir. buster keaton, 1924 )
the wonderful world of puss' n boots (dir. kimio yabuki, 1969 )
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synopsis: 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 .
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an austrian military officer and rogue attempts to seduce the wife of a surgeon. the two men confront each other in a test of abilities that ends surprisingly .
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
a suspenseful struggle between devotion & betrayal, forgiveness & revenge, lust & love; in the time when dailiness made path for the immoral men, lurking the married women on the pretext of saving them from their unsatisfactory marriages. in the meantime the devotion of one woman astonished an ill - sighted lieutenant, as well as her own over - occupied physician husband. guileless melodrama with a simplistic plot. / b +
if you enter the rythm of the movie, if you trespass our contemporary add, our hurry, and stress, if you look closely to the scenes and characters, you will be amazed. there are moments in the movies, when the characters are complete and exposed feelings, or fears, or thoughts. there are moments in which the scene sucks you inside and you cannot stop sharing the life ans shivers of those moments. - - lorenzo canina
une extraordinaire interprétation d' erich von stroheim en lascif séducteur galonné, aux mimiques suggestives, salaces et concupiscents, maîtrisant parfaitement son personnage et sa réalisation, pour nous offrir un vrai bonheur cinématographique, d' une prodigieuse et constante acuité psychologique... urltoken
conținutul stă în picioare; ingratitudinea generală declanșează conflictul. doctorul îmi pare ca omul care cunoaște legile naturii; locotenentul îl contrastează pe doctor, fiind atras de plăcerile lumești. obiectivul reprezentat de natural, de copii, cuplul 2 și sepp reglează conflictul. personajele principale, bărbații și femeia, sunt „judecați după merite”. filmul trece puțin de „decent”, deci 2 - 3 .
von stroheim' s films stand out for me in the silent era for being very perverse and earthy. his debut established this quality and it makes him unique in what i' ve always viewed as a very pure era for cinema .
not one of stroheim' s best. the subject matter is similar to
foolish wives
, but this plays like a fairly routine melodrama when compared to that grand epic .
writing elaborate scripts and unfilmed backstories, von stroheim became known for an exacting, at times totalitarian, directorship with long, rigorous shoots and obsessive attention to detail – down to the type of wristwatch an actor wore. nevertheless, he accrued a legion of loyal cast and crew who followed him from picture to picture. not so generous, however, were the hollywood executives whom he exasperated with his unhappy, complicated and often, peculiar visions which took longer and longer form .
special thanks: bruce goldstein – film forum; alexander horwath, markus wessolowski – austrian film museum; rob stone – library of congress; caitlin robertson – fox .
the hfa will also be showing the recently restored grand illusion from august 10 to august 19 .
directed by erich von stroheim. with gibson gowland, zasu pitts, jean hersholt us 1925, 35mm, b / w, silent, 140 min
directed by erich von stroheim. with erich von stroheim, sam de grasse, francelia billington us 1919, 35mm, b / w, silent, 93 min
directed by billy wilder. with gloria swanson, william holden, erich von stroheim us 1950, 35mm, b / w, 110 min
directed by erich von stroheim. with erich von stroheim, miss dupont, maude george us 1922, 35mm, b / w, silent, 143 min
directed by erich von stroheim. with gloria swanson, walter byron, tully marshall
directed by erich von stroheim. with erich von stroheim, fay wray, matthew betz
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leonard maltin classic movie guide, copyright 2005, 2010. used by arrangement with penguin group (usa) inc .
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samuel alfred de grasse (june 12, 1875 – november 29, 1953) was a canadian actor. more »
francelia billington (1 february 1895 – 24 november 1934) was an early american silent - screen actress, and an accomplished camera operator. more »
director, producer, producer, producer, editor, art director, lt. erich von steuben
erich von stroheim (born erich oswald stroheim; september 22, 1885 – may 12, 1957) was an austrian - american director, actor and producer, most notable as being a film star of the silent era, subsequently noted as an auteur for his directorial work. more »
gibson gowland (4 january 1877, spennymoor, county durham – 9 september 1951, london) was an english film actor. more »
fay holderness (april 16, 1881 – may 13, 1963) was a vaudeville performer and film actress from oconto, wisconsin. more »
jack perrin (july 25, 1896 – december 17, 1967) was an american actor specializing in westerns. more »
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cast: erich von stroheim (lt. eric von steuben), sam de grasse (dr. armstrong), francelia billington (mrs. armstrong), t. h. gibson - gowland (silent sepp, the mountain guide), fay holderness (the waitress), ruby kendrick (a village blossom), valerie germonprez and jack perrin (honeymooners), richard cummings (the village physician), louis fitzroy (the village priest), william duvalle, jack mathes and percy challenger (three men from
home
)
there is real emotion to the script, and, certainly, as the author of this story, von stroheim deserves credit .
the copy reviewed is kino' s dvd with original piano score by donald sosin. the print quality is superb, and sosin' s score, derived from the original 1919 cue sheets, is excellent. as an added bonus, the dvd also include' s von stroheim' s 1929 film
the great gabbo .
“yes we know the babies are both tony g thus the reason she’s never allowed kneepads or anyone to photograph her noticeably half white babies. she would have a hard time trying to explain their lack of melanin with her “husband” being on the darker side. which is dumb i say since genetics work in mysterious ways anyway .
whatever! if she’s never allowed her babies to be photographed, then how would this person know what her babies look like? gohwtbs .
so you are saying he is trying to be like mary j. blige husband to stay in a marriage for a number of years to get a paycheck as if you were a stay at home wife. kerry is smart not to make him her manager. he doesn’t know about all of her finances. mary learned the hard way can’t mix money / honey and you don’t have a job until i hire you. he knows when the money comes in and out so when he leaves he knows how much money to ask for so you can take care of him and his other women .
tony g…tony goldwyn her co - star? stop this ish. olivia and fitz aint real. foh
mmmph…stop. like i need to see these babies. they are both fair…unless we are discussing hair…………. .
i want to know one thing. did mary’s husband manage anyone besides her? and she already paid his a $ $ as her manager. he sounds like sherry sheppard’s ex husband.
blind husbands is a 1919 american drama film directed by erich von stroheim . the film is an adaptation of the story the pinnacle by stroheim . 
blind husbands is a 1919 american drama film directed by erich von stroheim. the film is an adaptation of the story the pinnacle by stroheim.
blind husbands is a 1919 american drama film directed by erich von stroheim. the film is an adaptation of the story the pinnacle by stroheim.