World War I Melodrama Is Given The Deluxe Treatment.

A great, overlooked thriller. That's what it is!

Shockingly graphic, stunning even through print deterioration

studio - Thomas H. Ince Studios at the time

Culver Studios - 9336 W. Washington Blvd., Culver City, California, USA

Charles Laughton, Deanna Durbin, and Robert Cummings in It Started with Eve (1941)

Macdonald Carey, Adele Mara, and Teresa Wright in Count the Hours! (1953)

Joseph Cotten and Teresa Wright in The Steel Trap (1952)

Rosalind Russell in The Velvet Touch (1948)

Pat O'Brien, Anne Jeffreys, and Walter Slezak in Riffraff (1947)

Whitney Blake and Robert Bray in My Gun Is Quick (1957)

The Four Horsemen of the Apocalypse (1921)

Greta Garbo and Antonio Moreno in The Temptress (1926)

Hobart Bosworth, James Gordon, Gibson Gowland, Otto Hoffman, Fred Kohler, and J.P. Lockney in Behind the Door (1919)

Look at me. Do you know who I am? Remember me now?

Wallace Beery and Hobart Bosworth in Behind the Door (1919)

Hobart Bosworth in Behind the Door (1919)

Hobart Bosworth and Jane Novak in Behind the Door (1919)

Hobart Bosworth

Jane Novak

James Gordon

Gouverneur Morris

Luther Reed

A German-American naval officer takes revenge against the German submarine commander who brutalized his wife.

Irvin Willat

Behind the Door

Seriously macabre

I&apos;m so happy this film was (nearly) fully restored in 2016, because it&apos;s such a little gem. I thought my interest might be strongest in how it showed how wrong it was for a German-American man to be assailed by a mob when America entered WWI, but as it turned out, the absolutely macabre events towards the end topped that, bringing to mind Edgar Allen Poe, Tod Browning, or hell, maybe even Quentin Tarantino given his love for cinematic vengeance.

To get there you&apos;ll have to swallow a ridiculous premise, that a woman could stow away aboard a naval vessel before it embarked for the war, and that she would be kidnapped by the Germans, but I didn&apos;t mind. The film meanders through themes of forbidden romance, what it means to be &quot;American,&quot; and warfare, but it moves well (especially for a film from 1919) and has a strong cast. I was then floored by just how dark it got, and not once, but twice. Finishes strong too.

Blu-ray Trailer

https://m.media-amazon.com/images/M/MV5BNmZiNGU0NjktYzFjMy00NGRmLWI4YTMtOWQ3ZGY3OWZmNDVhXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg

I'm so happy this film was (nearly) fully restored in 2016, because it's such a little gem. I thought my interest might be strongest in how it showed how wrong it was for a German-American man to be assailed by a mob when America entered WWI, but as it turned out, the absolutely macabre events towards the end topped that, bringing to mind Edgar Allen Poe, Tod Browning, or hell, maybe even Quentin Tarantino given his love for cinematic vengeance.

To get there you'll have to swallow a ridiculous premise, that a woman could stow away aboard a naval vessel before it embarked for the war, and that she would be kidnapped by the Germans, but I didn't mind. The film meanders through themes of forbidden romance, what it means to be "American," and warfare, but it moves well (especially for a film from 1919) and has a strong cast. I was then floored by just how dark it got, and not once, but twice. Finishes strong too.

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Behind the Door

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