On New Year's Eve, convicted murderer Strong Henry escapes from prison and collects his son from the orphanage. When he breaks into a local manor to get some milk for his child, he's surprised by a young woman, Eva. Out of pity, she decides to help the stranger, but unfortunately some of the other occupants contact the police. Fourteen years later, Henry is released from prison. Convinced that Eva betrayed him, he sets out to take revenge and find his son.
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This was a pretty descent silent horror movie i enjoyed it for the most part. It's been a very long time since i've seen a silent horror movie so i was excited to check this one out. I liked the acting in this movie it was amazing and the story was pretty interesting in my opinion but it's been done over the years. But i found it to be a little bit too long and i could have been shorter. Overall if you like silent horror i would suggest it to you, it's on internet archive.
2nd Benjamin Christensen (after Häxan)Christensen once again proves his status as maybe Denmark’s greatest silent filmmaker (Dreyer doesn’t get to GOAT status until he hops over to France and finds sound), mixing a real sense of drama with an excellent understanding of the mechanics of cinema. Playing a simple-minded circus strongman devoted to his little son, he seeks revenge after fourteen years in prison on the woman who fingered him to the police. It’s a very expressive and in some places genuinely quite scary performance, especially at the climax, though his performance does seem to dominate over the other, more tepid acting. The plot is, to be frank, also quite hoary, sentimental in that way the Scandinavians really enjoyed and mixing in a slightly lumpy crime/circus subplot that doesn’t quite gel. What makes it all worthwhile is Christensen’s brilliant way with direction and staging. The manor at the start and end of the film are superb sets that are shot in a way that resembles The Shining at points. As someone on here pointed out, Christensen is like Orson Welles in his relentless energy and experimentation, and also his desire to place himself at the centre of the action, and the opening of Blind Justice is no exception. It begins with him opening up a spinning model of the house, lights shining from inside it, as close to the closing credits of The Magnificent Ambersons as I’ve seen for its bravura eschewing of the fourth wall. Christensen is the master of ceremonies for Blind Justice, and the film bends around him. If you like that, this is a really good little film, and I happened to very muchChristensen in Order:1. Häxan2. Blind Justice
A tightly woven tragedy that tries to sell a message of compassion but ends up feeling a little moralizing. But it looks lovely and there's a fun sequence involving breaking out of a closet.
An escaped convict seeks revenge fourteen years later against a woman he believes betrayed him during his initial flight.
It was directed by filmmaker Benjamin Christensen in 1916 as a Danish silent feature.
