Maridos Cegos

Erich Von Stroheim's first film as writer/director stands as one of his most satisfying works. Not so coincidentally, it is one of only two films he directed that was left largely intact by the 'Front Office' executives of his studio, Universal, at least on its initial release. (The other would be his 1925 version of The Merry Widow, made for MGM.) Surviving prints of Blind Husbands lack some material cut for a 1924 reissue but are otherwise substantially complete. After this successful debut Von Stroheim's productions became more elaborate, his off-camera behavior more outrageous, and his relationships with studio chiefs and money men behind the scenes more contentious, almost always resulting in the films being taken out of his hands and re-edited by others. (The movie career of Orson Welles would follow a sadly similar trajectory.) But the trouble and notoriety came later. In 1919 Erich Von Stroheim was still a little known character actor noted 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 often 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 title cards.

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 frumpy 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 holds 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; 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, 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 yet 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 arm waving is necessary. It is clear to the viewer that Margaret is startled and then 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. Von Stroheim's own performance as (his alter ego?) 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 sympathetic supporting role is Gibson Gowland, who would later embody the dentist MacTeague in Von Stroheim's masterpiece Greed.

The plotting of Blind Husbands turns hokey at the climax, when the doctor confronts his rival face-to-face on a mountain top. (The original title of the screenplay 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 line, verbatim, on each of them. That device is still amusing today. And this movie stands as one of Erich Von Stroheim's strongest achievements in his all-too-brief, star-crossed career as a filmmaker.

The story is seemingly simple and straightforward. For modern audiences, it probably feels like a cliche, but I'm sure that at the time of its release, 'Blind Husbands' might have been considered quite a raunchy movie - there is a scene where a married woman is kissing the strange man. There are more than enough written about Erich von Storheim's work ethics as a film director, so I will not go into that again.

'Blind Husbands' tells a story about a renowned surgeon and his wife who travel into the Dolomites, a mountain range in Italian Alps. With them travels Lieutenant Eric von Steuben (perfectly sly and vile performance by Erich von Stroheim) who notices that the beautiful wife is somewhat neglected by her husband. A womanizing lieutenant doesn't waste a minute and starts to make advances towards the wife every possible way.

The story is simple, especially more than a hundred years later, when the love triangle has become one of the most overused plot devices in all forms of storytelling. Taking that into the consideration, that the story might seem nothing special, the more special is the way it is brought to the screen. Von Stroheim gives us the three main players and the coming relationship right away. I like how the surgeon and his wife constantly meet with newlyweds (fresh wife asks from her husband - you'll never neglect me like that?). It is not perfectly explained why the doctor ignores his wife so much - yes, he is a good man, he even goes to help the needy while on the vacation; the mountain guide Sepp (Gibson Gowland is just awesome in this role) is the doctor's good old friend whom he hadn't seen years. Still, it wasn't quite clear why the good old doctor Armstrong ignored his gorgeous wife (rich performance by Francelia Billington) between. There is not only (melo)drama, but also nice touches of comedy - when we see von Steuben hit on one girl using a mawkish line about the moon, and later he tries to seduce our main heroine with the exact line.

I can't go without mentioning the exciting mountain climbing scene as the grande finale. Altogether 'Blind Husbands' might not compare to the greatest works of silent cinema, but it is a very good movie that is more nuanced than its simple plot might suggest.

"Blind Husbands" is a film in which Von Stroheim both directed and acted. The story seems somewhat routine now, but was considered racy for its day. It concerns a rather bland American doctor and his neglected wife on vacation in the Alps who cross paths with Lieutenant Erich Von Steuben (Von Stroheim), a military man with an eye for the ladies. He pursues the doctor's wife while the doctor is preoccupied with climbing the local mountains. Its main features are that the characters are well-developed compared with other films of the 1910's and also that the running time is a mere 90 minutes compared with later Von Stroheim efforts where he wound up going wild and shooting hours of film.

Blind Husbands (1919) : Brief Review -

Erich von Stroheim's extremist tale of masculine mistakes before he showed feminine faults in Foolish Wives (1922). Erich von Stroheim was an extremist when it came to films that showed feminine and masculine stuff from the perspective of married couples. Of course, that extramarital relationship thing drew a thin line between the acidic forms of female and male. When I saw Foolish Wives, I was stunned by his vision. I just couldn't believe that he made such an erotic film in 1922. Today, when I am just done watching Blind Husbands, I'm even more impressed. And believe me, it hasn't got anything to do with my male ego. At first I thought that this would hurt my male ego or satisfy that feminine anger, but I had no further thoughts of hating anything while watching it. I also realised that this film has given birth to the idea of an ignored wife - with different theories and conclusions, of course. Like, I remember David Lean's "Brief Encounter" (1945), Satyajit Ray's "Charulata" (1964) and "Ghare Baire" (1989), which all had the same idea of an ignored wife falling for the third man. And in the beginning credits, this film makes an extreme speech by saying, "People always blame the third man, but what about the husband?" That's so true. We never really thought that way. With that topic, Blind Husbands has that power to spark a debate even after 103 years, today in 2022. Stroheim excels as an actor and also as a director. Sam De Grasse and Francelia Billington looked great together even though they didn't have many scenes together. The intertitles and screenplay keep you intrigued, and the cinematography is decent. A bit too simple a film, but for 1919, I guess it was too much, especially when you learn the fact that many marriages were actually broken by 'the third man', just like this film says. Overall, a great effort for contemporary filmmaking, if not a great fllm.

RATING - 7/10*

By - #samthebestest.

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.