Hitchcoc Apparently Erich von Stroheim never met a roll of film he didn't like. Apparently, if all the footage he filmed had made it to screens, the movie would have lasted several hours. In this, the striking German is a con man. He works Monte Carlo with two "cousins," women who aid him in counterfeiting and bilking unsuspecting women. He is charming and manages to gain their trust. But the problem is that some of them expect marriage or other favors, and he dumps them. He can't resist a pretty (or not so pretty) face and when one of them gets jealous, his plots began to unravel. There is a scene where one of his lovers sees she is not exclusive and sets a fire, trapping Von Stroheim and his mark. This leads to a stick situation. This is an intriguing film and one I had not heard of. Von Stroheim really commands the screen.

Michael_Elliott Foolish Wives (1922) *** (out of 4) von Stroheim's third feature (his second is now lost) had a budget of $250,000, which was quite high for the time but the "man who love to hate" managed to grow crazy during production and the final cost to Universal was just over $1.2 million. The director also managed to turn in a film running six-and-a-half hour only to have the studio cut it down to three-and-a-half. Still not short enough it was cut down to two-and-a-half and this is what it was originally released to. The studio would cut it again to 73-minutes, which is the version that would be shown for years until a 120-minute cut was discovered. Finally, using prints from five different locations, Kino's DVD restores the film to 142-minutes, which to date is the longest surviving cut. Using so many prints has left the quality quite shaky and poor but it is the film that counts.Set in Monte Carlo, Count Sergius Karamzin (von Stroheim), with the help of his two cousins, lives a luxury life thanks to his ability to seduce married women and then blackmail them for money. His latest target is an American Miss DuPont) who is rather bored with her husband. The story is fairly close to that used in BLIND HUSBANDS and many ways this here seems like an alternate and more epic version of it. I felt BLIND HUSBANDS wondered a bit too long so I was a little nervous watching a longer version of it but this one here turned out to be much better all around. I'm not sure if the story would have worked at over six-hours but I'm going to guess that the longer version probably features more plot built around other characters including a maid as well as the two cousins who are more than likely lovers to the Count. It's impossible to discuss this movie without its budget but you can look at the screen and see where the money went to. von Stroheim actually rebuild the entire Monte Carlo city on the Universal back lot and the attention to details is quite amazing. Not for a second will you feel that you on a lot and it's a rather staggering achievement that the director was able to pull this off but then again it shows what a madman the director was. Apparently even the scenes where they are eating caviar had to use the most expensive caviar because the director wanted everything real. The story here is much better written than the previous film and you can tell that each character has their own bit of story and I think there reasons for doing everything are much better written and explained. The performances by von Stroheim and DuPont are both excellent and they work extremely well together. von Stroheim has no problem slipping into this snake role and he does a great job at playing the seducer as well as the con man. DuPont makes for a great victim as you can actually feel how soft and vulnerable she is. Even though the film is epic in scale, some of the best moments are smaller, quiet ones including a tremendously powerful scene where DuPont reacts to a man who has lost both of his arms in the war. The way this scene plays out is incredibly touching and perhaps the most powerful scene in the film. Another excellent scene happens when the maid, apparently another lover, finally realizes that she's been played all these years. Her breakdown is very effective and heartfelt. The ending has a spectacular fire sequence that contains some nice drama and the ending is pretty funny. The film being chopped down obviously leaves some flow issues but overall this is a much better film than BLIND HUSBANDS and one that really does fit the epic label. We'll never know if the uncut version is a masterpiece or not but what survives is a good indication of what might have been.

hasosch Erich von Stroheim (1885-1957) was a man with many realities. He was born into a poor Jewish family in Vienna, tried to join the Habsburgian army but was rejected, flew to the United States and started as a swimming instructor and boat guide. How he managed to meet David Griffith is unclear, but finally Griffith appointed von Stroheim as assistant director for his "Intolerance" (1916). It is hard to imagine how such different characters like Griffith and von Stroheim could get along with one another, but I assume that the most important feature that they shared was their megalomania. Soon after, von Stroheim started his career as director and actor, although he had no education at all – not in theater, not in film business, not in literature. But this did not prevent him either to write screenplays.After his debut with Griffith, he changed his identity and invented a new one. He added the predicate "von" to his name, told everybody that he is the descendant of a family of Viennese nobles and had made a carrier as an imperial officer in the Habsburgian army. Von Stroheim trained so long, until he could perfectly imitate the behavior of all ranks from a colonel up to a general, from a prince up to a count. And these were the roles that he should play mostly during his whole life: counts, barons, captains, lieutenants, majors, generals. He played them until he believed that he was what he played: the borders between his seeming and his being became more and more fluid. It therefore would be a terrible mistake to assume that Erich von Stroheim was a liar, a cheater and a betrayer. Similar to Don Quixote, he constructed his own reality, including his identity – and believed in it himself.Strangely enough, although von Stroheim directed only about 10 movies, but acted in in 74, he is nowadays known mainly as a director. Once arrived in the United States, the Habsburgian monarchy was broken together already, so nobody could check if Erich von Stroheim was an Austrian noble, an officer or not. In his very personal way, von Stroheim took the famous passage of the Declaration of Independence more seriously than many other Americans or peoples who became Americans: the breaking-up of his own past and scooping out fully his chances in the land of unlimited possibilities. However, in creating his personal reality, he was obliged to maximal authenticity. So von Stroheim for example reconstructed meticulously the Casino of Monte Carlo for his movie "Foolish wives" (1922). Instead of using raspberry jam as imitation for caviar he had imported original Russian Beluga caviar – extremely expensive and hard to get so shortly after World War I. The movie was the hitherto most expensive film, it cost over one million of dollars. Von Stroheim's megalomania – caused by his obsession for authenticity in order to convince not only the public but mostly himself about his creations of reality – leaded finally to the end of his directing career in the United States – and also inaugurated much later his fame as the most extravagant film director ever.Married to Valérie Germonpréz, Erich von Stroheim met already in the United States his secretary and later life-mate Denise Vernac (1916-1984), who was 31 years younger than him. Although he never divorced from his wife, he finally left the U.S. after his failure as a director and lacking film roles. He settled to France in the castle of his girlfriend who enabled von Stroheim to continue his life of self-creation. He always wore his golden watch and bracelet, his stick with silver knob and dressed like a baron. Totally unaware that he could never reestablish himself as a film director, he continued writing screenplays that would never be filmed. His style of writing was so clumsy that he could not even publish the novels that he also wrote. He drew whole film scenarios that never would be put in scene. Meanwhile he appeared in main roles in French and again in American movies in which he played his usual roles in order to forget that he sat, as a director, unnoticed by the world in the castle of his girlfriend, writing letters of love to his wife, but fully depending financially on his girlfriend, his only public performances being his showing-ups in Paris' most expensive high-society restaurant "Maxims" where everybody knew him. In order to get there from Maurepas, where von Stroheim and Denise Vernac lived, they had to drive each evening a long way. Often, von Stroheim presented himself in the restaurant in the costumes of the barons and generals that he played on screen: the borders between reality and fantasy were abolished. However, he did not lack a special kind of self-irony, and this is shown best in "Foolish wives", where a girl is reading a book with the same title, allegedly written by Erich von Stroheim or in another movie where he played a megalomaniac film director. But nevertheless, he acted in real life, and his life of self-creation was doubtless his greatest role. In this context, is seems almost ironical that only a few days before his death the state of France appointed him knight of the honorary legion: Erich von Stroheim's only real award that was not created by himself.

gftbiloxi Today Erich Von Stroheim is best recalled by the general public for his appearances in such films as the 1950 SUNSET BLVD--but fans of silent film know him as one of early cinema's great directors, creator of such films as BLIND HUSBANDS, FOOLISH WIVES, and the legendary masterwork GREED. The film is available in several VHS and DVD releases; perhaps the best, however, is offered by Kino Video, which also includes a profile of Von Stroheim as well.FOOLISH WIVES is generally believed to be the first film made that cost one million dollars. In the modern era, when film budgets often run into many millions of dollars, this may seem slight--but in 1922 Universal Studios was staggered not only by the costs, but by Von Stroheim's seemingly endless shooting schedule; at a time when most movies were made in six weeks or less, FOOLISH WIVES took a year or more to complete and threatened to bankrupt the studio.The circumstances brought Von Stroheim into direct conflict with production manager Irving Thalberg, who threatened to replace him with another director. By most accounts, Von Stroheim laughed in Thalberg's face: not only was he director, he was the star as well, and if he were fired the film would never be completed. Thalberg and Universal had little choice but grin and bear it... but it was something Thalberg would recall several years later, much to Von Stroheim's chagrin.Set in post-World War I Monaco, FOOLISH WIVES presents the story of the ultra-amoral Count Wladislaw Sergius (Von Stroheim) and his two supposed cousins Olga (Maude George) and Vera (Mae Busch) who present themselves as wealthy Russian nobility--but who are in fact a trio of vicious con-artists who generate cash flow by passing counterfeit bills through Monaco's legendary casinos. Eager to deflect suspicion, they scrape acquaintance with an American diplomat and his wife (Rudolph Christians and Helen Hughes)--and in time at all the naive wife is so much putty in the Count's diabolical hands.Von Stroheim recreated a fairly large chunk of Monaco on the Universal back lot, and the sets, costumes, and crowds of extras still put most modern productions to shame. But the film's real fascination are the deadly trio of Maude George, Mae Busch, and most particularly Von Stroheim himself. Within the first few minutes of the film he contemplates advances upon an attractive but mentally deficient young woman--and as the plot unfolds we discover that he has seduced the maid with a promise of marriage he does not intend to keep. This, of course, does not prevent him from taking her life savings for a little gambling money when the need arises! The overall cast is quite good, with Miss DuPont a stand out as the diplomat's wife, and the cast plays without recourse to the broad mannerisms often seen in many silent films. But what drives the film is our curiosity at how far Von Stroheim will take both the film and his own performance. The answer? Plenty far indeed. It's all fascinating stuff, and truly this is the film that gave Von Stroheim the title of "The Man You Love To Hate." FOOLISH WIVES was soundly condemned by the moral authorities of the day, and Universal lost a bundle on the project. In an effort to recoup some of the loss, the studio cut and then recut the film to a more reasonable length for distribution; as a result, great chunks of the film were lost. While a "complete" version is an impossibility, the Kino version seems to restore the film as completely as possible.FOOLISH WIVES inevitably pales in comparison to Stroheim's later GREED, but it is a remarkably fine, remarkably watchable silent--and the two films would have a circular effect. For when Von Stroheim went to Metro to film GREED, he eventually found himself face to face once more with Irving Thalberg... and this time Thalberg, who well recalled the financial disaster of FOOLISH WIVES, would have the upper hand. Strongly recommended, not only for the film itself, but for the backstory involved.GFT, Reviewer