Foolish Wives

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

Normally I enjoy watching old movies from the '20's, even the more slower paced one's but this movie just didn't do it for me, although it also is of course far from the worst I have ever seen.

The movie has a good enough story but it isn't exactly the most intriguing or tense stories to follow. Lots of sequences don't seem to have a relevant enough importance. It might have to do with the fact that the original length of the movie was over 6 hours long, which might had shown some of the relevance of certain sequences and characters but there is really no way I'm ever going to watch this longer version. The movie was already overlong as it was. The movie didn't had very much interesting drama in it and although the main character seemed intriguing, it just didn't worked out powerful enough in the movie.

The movie also isn't as technically advanced as some of the other movies from the same time period, clearly directed by more talented and more experimental directors such as F.W. Murnau, Fritz Lang, Victor Sjöström and D.W. Griffith, among others.

But this all of course doesn't mean that the movie is a bad one to watch. The story of a fake Russian aristocratic lady-killer in Monte Carlo trying to get money from rich ladies as on its own quite a good story and in a way for movie standards also ahead of its time. Many more movies like this one, in many different forms were made and are still being made, many years later now. In this particular case this is a movie I wouldn't mind seeing remade, perhaps also with some more humor in it and a more clear message. The movie also uses some quite good camera positions, on a positive note.

Also the acting is good enough, though Miss DuPont seems heavily miscast as a pretty 21 year young girl. She is too old looking for her role and she also most certainly wasn't pretty enough to find the story very convincing. Same perhaps goes for Dale Fuller. Erich von Stroheim plays the real main part of the movie and he does this with lots of flair. He also wrote and directed the movie. Laurel & Hardy regular Mae Busch shows up in a serious role for a change and it was refreshing to see her like that for a change.

Certainly a watchable movie but really no essential viewing in my opinion.

6/10

http://bobafett1138.blogspot.com/

Lots has been written on the subject and like many others I highly enjoyed the beautiful cinematography, the reconstitution ( both impressive and accurate to the minutest details ), the wit of the titles. However, what actually carried me away is the recurrence of weird finds. In what other movie indeed can you find details like these : - a countess pinching the arm of her maid - a man drinking a calf's blood cocktail first thing in the morning - a US special envoy having trouble in taking off his gloves in front of a prince - a disaster-movie summer storm preventing two would-be sinners from going beyond the point of no return - a wicked hypocrite shedding tears of...TEA ?

Stroheim is really the prince of eccentrics ( and not a bogus one ! ) and we love him for that

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.

Three Russian aristocrats lease a villa from which they can luxuriously enjoy Monte Carlo. They are: maid-pinching Maude George (as Princess Olga Petchnikoff), blonde-wigged Mae Busch (as Princess Vera Petchnikoff), and monocled lady-killer Erich von Stroheim (as Count Wladislaw Sergius Karamzin). You should also keep an eye on their foolish maid, Dale Fuller (as Maruschka). Mr. von Stroheim is the film's star, director, and writer. It becomes obvious the trio are really counterfeiting con artists. The gang of three are intrigued by the notice of the arrival of American Envoy Rudolph Christians (as Andrew J. Hughes) and his wife Miss DuPont (as Helen); they decide to strike up a societal acquaintanceship with the Americans, to help provide cover for their swindling. Then, von Stroheim shows Ms. DuPont his stiff cane, and give her bare legs a leer…

Have a great laugh when Ms. DuPont, while applying her face cream, declares she is twenty-one years old; husband's reply he that is a sun-burned forty-one shows he can shave off years with the best of them. Mr. Christians died during the production, and his white-haired replacement, back to the camera, is obvious; with all the expense obviously spent on "Foolish Wives", it's difficult to understand why von Stroheim could not add a little bit of cheap shoe polish to Robert Edeson's head. There are other problems with the story, which was brutally cut down from a multi-hour epic. Still, the studio heads could not cut the neither the length of von Stroheim's cigarettes, nor the fact that his (vanity) production of "Foolish Wives" retains its spectacle.