
To me the greatest of the silent films are evidenced by the fact that shortly into the film the viewer has no problem with the lack of dialogue. The story and the way in which it is interpreted alone immerse the audience. Such it is with "Behind the Door" (1919). This is a great film in that it makes its points succinctly and in rapid succession, building up to climaxes and never flagging for one minute. Combining that with fine acting performances from nearly all concerned, careful and artful photography, concise care to everything including the art titles; lends to a whole that is a totally satisfactory experience.
Hobart Bosworth, a name long since forgotten, is the leading man even though he was 52 when this film was photographed. He was a well experienced stage actor (as his later talkies will attest) long before cameras started cranking.
He steers this film well as a German-American, who lives a relatively peaceful life as a taxidermist in a sleepy village. He has his eyes set on marrying a young filly (Jane Novak), but she is the daughter of a rich man (J.P. Lockney) who wants her married off to one of his cronies . Soon Bosworth has to contend with mob ill-feeling when America declares war on Germany in 1917. He secretly marries the love of his life and then enlists in the Navy. Her father, on learning of the marriage kicks his daughter out of the family abode and she comes aboard her husband's ship for refuge. He hides her in amongst the nurses he is transporting. The ship is then torpedoed by a German submarine and sunk. Husband and wife are adrift in a lifeboat until the U-boat's captain (Wallace Beery) picks up the wife but not the husband. The husband makes it known that he will seek revenge. He doesn't have all that long to wait for he is soon in charge of another ship and manages to sink Beery's sub. He takes him prisoner and revenge ensues.
Made shortly after the end of the horrid Great War when awful memories would still be raw, it is surprising then that in this picture, it at times it softens the approach towards Germans - especially in the scenes where mob rule is inciting hatred against anything German - even against native born Americans of German descent. Yes, Beery does portray a loathsome individual but we are asked to comment whether the revenge undertaken by a wronged Bosworth was not equally loathsome?
This film has recently been restored and is made up of a number of elements, a lot found in Russia. Although there is a little decomposition damage here and there - it is not so much as to distract and the few brief missing sections of film have been cleverly compensated for by the use of carefully constructed explanatory titles. In the most part, the picture is wonderfully crisp and clear with re-vitalised tonal renderings. Stephen Horne provides a very sympathetic accompaniment - mainly from piano in a score he has written especially.
There may be a few moments in the film where the pantomime is overly-extended as was generally rife in this period, but, for the main part, director, Irvin V. Willat has managed to gain restrained and realistic performances.
I am continually astonished at the continuing availability of films once thought never to be available and the wonderful quality of the restoration work done on the majority of them. I consider myself extremely lucky and thank all those involved in the project who have enabled me to enjoy this film so much.
Hobart Bosworth, a name long since forgotten, is the leading man even though he was 52 when this film was photographed. He was a well experienced stage actor (as his later talkies will attest) long before cameras started cranking.
He steers this film well as a German-American, who lives a relatively peaceful life as a taxidermist in a sleepy village. He has his eyes set on marrying a young filly (Jane Novak), but she is the daughter of a rich man (J.P. Lockney) who wants her married off to one of his cronies . Soon Bosworth has to contend with mob ill-feeling when America declares war on Germany in 1917. He secretly marries the love of his life and then enlists in the Navy. Her father, on learning of the marriage kicks his daughter out of the family abode and she comes aboard her husband's ship for refuge. He hides her in amongst the nurses he is transporting. The ship is then torpedoed by a German submarine and sunk. Husband and wife are adrift in a lifeboat until the U-boat's captain (Wallace Beery) picks up the wife but not the husband. The husband makes it known that he will seek revenge. He doesn't have all that long to wait for he is soon in charge of another ship and manages to sink Beery's sub. He takes him prisoner and revenge ensues.
Made shortly after the end of the horrid Great War when awful memories would still be raw, it is surprising then that in this picture, it at times it softens the approach towards Germans - especially in the scenes where mob rule is inciting hatred against anything German - even against native born Americans of German descent. Yes, Beery does portray a loathsome individual but we are asked to comment whether the revenge undertaken by a wronged Bosworth was not equally loathsome?
This film has recently been restored and is made up of a number of elements, a lot found in Russia. Although there is a little decomposition damage here and there - it is not so much as to distract and the few brief missing sections of film have been cleverly compensated for by the use of carefully constructed explanatory titles. In the most part, the picture is wonderfully crisp and clear with re-vitalised tonal renderings. Stephen Horne provides a very sympathetic accompaniment - mainly from piano in a score he has written especially.
There may be a few moments in the film where the pantomime is overly-extended as was generally rife in this period, but, for the main part, director, Irvin V. Willat has managed to gain restrained and realistic performances.
I am continually astonished at the continuing availability of films once thought never to be available and the wonderful quality of the restoration work done on the majority of them. I consider myself extremely lucky and thank all those involved in the project who have enabled me to enjoy this film so much.
Regards from
Donald Binks
"So, she said: "Elly, it's no use letting Lou have the sherry glasses..."She won't appreciate them,
she won't polish them..."You know what she's like." So I said:..."
Donald Binks
"So, she said: "Elly, it's no use letting Lou have the sherry glasses..."She won't appreciate them,
she won't polish them..."You know what she's like." So I said:..."