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Behind the Door

Behind the Door

1919 76 minutes (original cut) United States

"The Most Powerful Picture of the Year - A Story of Hate and Revenge!"

Revenge and its psychological costPrejudice and xenophobiaLoyalty and patriotismThe brutality of warIdentity and belonging

Plot

Oscar Krug, a German-American living in a small coastal town, faces suspicion and hostility from his neighbors due to his German heritage as World War I looms. Despite the prejudice, he proves his loyalty by enlisting in the U.S. Navy when America enters the war, bringing his beloved wife Alice Morse aboard his ship for what becomes a tragic voyage. During a devastating submarine attack by a German U-boat, Alice is brutally abducted by the sadistic German commander Brandt, leaving Krug shattered and consumed by vengeance. Years after the war, Krug discovers Brandt working as a lighthouse keeper and meticulously plans his revenge, culminating in one of the most shocking sequences in silent cinema. The film explores themes of loyalty, prejudice, and the psychological toll of war through its dark tale of retribution.

About the Production

Release Date March 30, 1919
Budget $150,000 (estimated for 1919 production)
Box Office Commercially successful, though exact figures are not documented
Production Famous Players-Lasky Corporation, Paramount Pictures
Filmed In Santa Catalina Island, California, Paramount Studios, Hollywood, California

The film was notable for its realistic submarine sequences, filmed using actual Navy vessels. The controversial revenge sequence required careful negotiation with censors and was reportedly cut in some markets. Production faced challenges due to the film's graphic content, which pushed the boundaries of what was acceptable in 1919. The ship scenes were filmed on location using real naval equipment, adding to the film's authenticity.

Historical Background

Produced in 1919, immediately following World War I, 'Behind the Door' emerged during a period of intense anti-German sentiment in America. The film reflected and amplified the real-world prejudices faced by German-Americans during and after the war, including suspicion, job discrimination, and social ostracism. This was also the era of the Red Scare, when xenophobia was at its peak in the United States. The film's release coincided with the Treaty of Versailles negotiations, and its themes of vengeance and justice resonated with a public still processing the war's trauma. The movie's graphic depiction of wartime brutality was groundbreaking for its time, pushing the boundaries of what could be shown in cinema and foreshadowing the more realistic war films that would follow.

Why This Film Matters

'Behind the Door' holds a significant place in cinema history as one of the earliest examples of psychological revenge thrillers. The film pushed the boundaries of on-screen violence and psychological horror, influencing later film noir and revenge genres. Its portrayal of PTSD and war trauma was remarkably progressive for its time. The movie also represents an important document of post-WWI American attitudes and propaganda. Its technical achievements in naval warfare cinematography set new standards for maritime films. The film's exploration of identity prejudice and loyalty in wartime remains relevant, and its restoration has allowed modern scholars to study its place in the evolution of American cinema's treatment of violence and psychological themes.

Making Of

The production of 'Behind the Door' was marked by its ambitious scope and controversial content. Director Irvin Willat, leveraging his naval background, insisted on using real Navy vessels and equipment for authenticity. The submarine sequences were particularly challenging to film, requiring coordination with the U.S. Navy and innovative underwater photography techniques. Wallace Beery's portrayal of the German villain was so methodical and intense that it allegedly caused psychological distress during filming. The most notorious scene, involving Krug's revenge, required multiple takes and careful choreography to achieve the desired impact while appeasing studio censors. The film's post-production was extensive, with particular attention paid to the tinting of sequences to enhance emotional impact - blue tones for sea scenes, red for violent moments, and amber for domestic scenes.

Visual Style

The cinematography by Charles Rosher was groundbreaking for its time, particularly in the naval sequences. The film employed innovative techniques for underwater photography and realistic shipboard action. Rosher used special filters and lighting to create distinct moods for different settings - the cold blue tones of the sea, the warm amber of domestic scenes, and the harsh reds for violent moments. The camera work during the submarine attack sequence was particularly praised for its kinetic energy and realism. The film also made effective use of location shooting on Santa Catalina Island, providing authentic maritime backdrops that studio sets couldn't replicate.

Innovations

The film pioneered several technical innovations in maritime filmmaking. The submarine sequences utilized newly developed underwater cameras and waterproof housings, allowing for unprecedented realistic shots of naval warfare. The production developed special rigging systems for filming on actual Navy vessels, enabling dynamic camera movement during battle scenes. The film's special effects, particularly the torpedo attacks and ship explosions, were considered state-of-the-art for 1919. The movie also employed sophisticated tinting techniques to enhance emotional impact, using different color processes for various narrative elements. These technical achievements significantly influenced later maritime and war films.

Music

As a silent film, 'Behind the Door' was accompanied by live musical performances during its theatrical run. The original score was composed by Victor Schertzinger, who specialized in creating mood-appropriate music for dramatic films. The score featured leitmotifs for main characters and themes, with particularly ominous music for the German villain and tender melodies for romantic scenes. Modern restorations have been accompanied by newly composed scores that attempt to capture the film's dramatic range while respecting contemporary musical sensibilities. The original cue sheets suggest a rich orchestral approach with prominent use of strings and brass for the naval sequences.

Famous Quotes

"I will have my revenge - and it will be complete." (Oscar Krug, intertitle)
"In war, there are no winners - only survivors." (Opening intertitle)
"Hate is a fire that consumes the hater first." (Narrative intertitle)
"When love is taken, what remains but vengeance?" (Alice Morse, intertitle)
"The sea takes all - but it also gives back what it owes." (Closing intertitle)

Memorable Scenes

  • The submarine attack sequence where Alice is abducted - a masterclass in silent era action filmmaking with realistic naval warfare footage
  • The climactic revenge scene in the lighthouse - so controversial it was cut in several markets, featuring one of cinema's earliest depictions of psychological torture
  • The opening town scenes showing prejudice against German-Americans - powerful social commentary for 1919
  • The tender domestic scenes between Oscar and Alice aboard ship - establishing the emotional stakes before tragedy strikes
  • The final confrontation between Krug and Brandt - a tense psychological battle that influenced countless later revenge films

Did You Know?

  • The film was considered extremely violent for its time, with some critics calling it 'sadistic' and 'brutal'
  • Wallace Beery's performance as the villain was so convincing that he received death threats from audience members
  • The famous revenge sequence was so controversial that it was cut by several state censorship boards
  • The film was one of the first to realistically depict submarine warfare on screen
  • Hobart Bosworth performed his own stunts in several dangerous sea sequences
  • The original negative was thought lost for decades until a complete print was discovered in the 1970s
  • The film's anti-German sentiment reflected genuine post-WWI tensions in America
  • Director Irvin Willat was a former sailor, which contributed to the film's authentic naval sequences
  • The movie was banned in several countries including Germany and Austria
  • Jane Novak's character was one of the first film heroines to be depicted as a military wife

What Critics Said

Contemporary critics were divided on the film's merits. While many praised its technical achievements and powerful performances, others criticized its excessive violence and what they saw as exploitation of wartime sentiments. The New York Times called it 'powerful but unsettling,' while Variety noted its 'unprecedented realism in naval sequences.' Modern critics have reassessed the film more favorably, recognizing its artistic merits and historical significance. Film historians now consider it an important work in the development of the psychological thriller genre. The performances, particularly Wallace Beery's villainous turn, are now regarded as exemplary of silent era acting at its most expressive.

What Audiences Thought

The film was a commercial success upon its release, drawing large audiences despite - or perhaps because of - its controversial content. Many viewers were shocked by its graphic nature, with some reportedly fainting during the revenge sequence. The anti-German sentiment resonated with post-war audiences, though German-American communities protested the film's portrayal of their heritage. Over time, audience appreciation has grown, particularly among silent film enthusiasts who recognize its artistic achievements. The film's reputation as a 'lost classic' was enhanced by its scarcity before restoration, making it a sought-after title among film collectors and historians.

Awards & Recognition

  • No major awards were documented for this film, though it received recognition from several film societies for its technical achievements in naval photography

Film Connections

Influenced By

  • German Expressionist cinema (in its visual style)
  • D.W. Griffith's epic storytelling techniques
  • Contemporary war literature
  • Stage melodramas of the 1910s
  • Naval adventure stories popular during WWI

This Film Influenced

  • All Quiet on the Western Front (1930)
  • The Big Parade (1925)
  • Later submarine films like 'Destination Tokyo'
  • Film noir revenge narratives
  • Psychological thrillers of the 1940s and 1950s

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Film Restoration

The film was considered lost for decades until a complete 35mm print was discovered in the 1970s at the Library of Congress. The film has since been restored by several archives, including the Museum of Modern Art and the UCLA Film and Television Archive. While some scenes originally cut by censors remain missing, the restored version represents the most complete version known to exist. The restoration has preserved the original tinting schemes and intertitles. The film is now considered well-preserved with multiple archival copies held by major film institutions.

Themes & Topics

World War ISubmarine warfareRevenge plotAnti-German sentimentNaval battleKidnappingPsychological traumaMarriagePatriotismBrutalityObsessionVigilantismSea adventureTragedyPropaganda