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Foolish Wives (1922)

 -  Drama  -  11 January 1922 (USA)
7.4
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Ratings: 7.4/10 from 1,566 users  
Reviews: 15 user | 30 critic

A con artist masquerades a Russian nobility and attempts to seduce the wife of an American diplomat.

Director:

(as Erich Von Stroheim)

Writers:

(story), (titles), 2 more credits »
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Cast

Complete credited cast:
Rudolph Christians ...
Andrew J. Hughes - U.S. Special-Envoy to Monaco
Miss DuPont ...
Helen - His Wife (as Miss Dupont)
Maude George ...
Her Highness - Princess Olga Petchnikoff
...
Her Cousin - Princess Vera Petchnikoff
...
Their Cousin - Count Sergius Karamzin - Capt. 3rd Hussars Imper. Russian Army (as Erich Von Stroheim)
Dale Fuller ...
Maruschka - a Maid
Albert Edmondson ...
Pavel Pavlich - a Butler (as Al Edmondson)
Cesare Gravina ...
Cesare Ventucci - a Counterfeiter
Malvina Polo ...
Marietta - His Half-witted Daughter (as Malvine Polo)
C.J. Allen ...
Albert 1 - Prince of Monaco
Edit

Storyline

"Count" Karanzim, a Don Juan is with his cousins in Monte Carlo, living from faked money and the money he gets from rich ladies, who are attracted by his charmes and his title or his militaristic and aristocratic behaviour. He tries to have success with Mrs Hughes, the wife of the new US ambassador. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Add Synopsis

Taglines:

The first real MILLION DOLLAR PICTURE

Genres:

Drama

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Details

Country:

Language:

Release Date:

11 January 1922 (USA)  »

Also Known As:

Esposas Ingênuas  »

Box Office

Budget:

$1,100,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (original) | (Ontario) | (TCM print)

Sound Mix:

Aspect Ratio:

1.33 : 1
See  »
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Did You Know?

Trivia

Initially budgeted at $250,000, the film's production soared above $1 million, thanks to Erich von Stroheim's excesses. He started shooting in July 1920 and kept going for 11 months, until he was taken off the picture in June 1921. Afraid that the movie might bankrupt Universal, studio chief Carl Laemmle sent his assistant, 21-year-old Irving Thalberg, from New York to Hollywood to try to get von Stroheim to finish the film. When Thalberg threatened to replace him with another director, von Stroheim laughed in his face, pointing out that he was the star of the movie as well as the director; if he were replaced, the movie would never be finished. However, Thalberg outsmarted him. He carefully watched production on the picture and, when he thought enough footage had been shot to make up a story, took von Stroheim's cameras away, reminding the director that they were studio property. For proving his mettle against von Stroheim, Laemmle made Thalberg the new head of production at Universal Pictures. See more »

Goofs

When the original actor playing Mr. Hughes died in the middle of filming, he was replaced by a double, who completed his scenes with his back mostly to the camera. Apparently, however, nobody noticed that the original actor had significantly darker hair than his replacement. Therefore, Mr. Hughes's hair turns white in several scenes, including the sequence where his wife says goodbye to him in the casino, and his confrontation with the count at the villa. See more »

Connections

Edited into The Moving Picture Boys in the Great War (1975) See more »

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User Reviews

 
The Construction of Reality
20 April 2007 | by (United States) – See all my reviews

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.


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