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... www.cinefiches.com
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.
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+
Possibly the best American movie of the 1910s. Okay, the ending is a laugh (the bird! that summit!), and there are many spelling mistakes on props and intertitles. But the acting & directing are unusually interesting for the time. Stroheim's a reptile here.* Seen w. brilliant Jolonque soundtrack, aptly compiling orchestr. music by Mahler, Dvořak, R. Strauss, J. Strauss II. NB: Could be seen as a "Bergfilm" precursor!
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.
I haven’t seen enough films from the era to talk about this one with any sense of authority. It mostly held my attention, it was super creepy about women, and it had a couple good effects shots. Apparently, the tradition of men making movies for men and about men, with women existing only in relation to those men, goes back at least a century; it was as boring then as it is now.
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
Lust swarms and develops via symbols of nature: vines wrap around surfaces as possibilities of growth posit themselves in the open until the rocky terrain of sinful pride and guilt thwart the possibilities of fruit. Via these weighted images of nature, Von Stroheim and Ben F. Reynolds start to imply that royal military have less a natural home within domestic arenas than that of science and medicine.
Von Stoheim's directorial debut was this strong melodrama concerning an Austrian officer wooing an American doctor's wife under his nose at an alpine village. Performances are somewhat standard for the time period with Billington capturing the role of neglected wife quite well. Mountain climbing finale well executed. Worth a watch to see the genesis of his further career.