Foolish Wives

Plot

Count Wladislaw Sergius Karamzin (Erich von Stroheim) is a fraudulent Russian nobleman living in Monte Carlo with his two female cousins, who are actually his lovers and accomplices in his schemes. The Count preys on wealthy tourists, particularly setting his sights on Helen Hughes (Miss DuPont), the innocent wife of American diplomat Andrew Hughes (Rudolph Christians). Through elaborate deception and seduction, Karamzin attempts to compromise Helen while simultaneously running various cons and maintaining his facade of aristocracy. As his schemes unravel and his true nature is exposed, the Count's world of deception collapses, leading to his ultimate downfall and exposure as a common criminal rather than the nobleman he pretends to be.

Historical Background

Released in 1922, 'Foolish Wives' emerged during the post-World War I period when American cinema was establishing itself as the dominant global film industry. The early 1920s saw Hollywood studios investing heavily in lavish productions to demonstrate American cultural superiority and technical prowess. The film's extravagant budget reflected the industry's boom times and the growing influence of directors as creative forces. This period also saw increasing social conservatism in America, leading to the eventual implementation of the Hays Code in 1934. 'Foolish Wives' pushed boundaries with its sexual content and moral ambiguity, representing the more permissive pre-Code era. The film's focus on European decadence and American innocence abroad reflected post-war American attitudes toward Europe and the country's emerging role as a global power.

Making Of

The production of 'Foolish Wives' became legendary in Hollywood for von Stroheim's obsessive attention to detail and extravagant spending. He insisted on building an entire replica of Monte Carlo, complete with working casino, hotel, and surrounding buildings. Von Stroheim demanded that every costume be authentic European period wear, every prop be genuine, and every detail be historically accurate. He would often shoot dozens of takes of the same scene to achieve perfection. During filming, lead actor Rudolph Christians died of pneumonia, requiring von Stroheim to use a double and clever camera angles to complete his scenes. The director's battles with the studio over the film's excessive length and budget became the stuff of Hollywood legend, with von Stroheim reportedly locking himself in the editing room to prevent studio interference. Universal eventually took control and cut the film drastically against von Stroheim's wishes, leading to a bitter feud that would affect the rest of his career.

Visual Style

The cinematography by William H. Daniels and Ben F. Reynolds was revolutionary for its time, employing innovative camera techniques and lighting to create a sophisticated visual narrative. The film used extensive location-style shooting on the elaborate Monte Carlo sets, creating a sense of realism rarely seen in 1922. The cinematographers employed complex tracking shots, deep focus compositions, and dramatic lighting to enhance the psychological tension. The casino scenes featured elaborate lighting designs that captured the glamour and danger of gambling establishments. Von Stroheim insisted on naturalistic lighting whenever possible, avoiding the flat lighting common in many studio films of the era. The camera work often emphasized the contrast between surface elegance and underlying corruption, using shadows and reflections to create visual metaphors for the characters' duplicity.

Innovations

'Foolish Wives' was groundbreaking in its technical achievements, particularly in set design and production values. The Monte Carlo sets represented the most ambitious construction project in Hollywood up to that time, featuring full-scale buildings with working elevators, electricity, and plumbing. The film pioneered techniques in creating realistic urban environments on studio backlots. Von Stroheim's insistence on authenticity led to innovations in prop acquisition and costume design. The casino sequences featured sophisticated special effects for the gambling scenes. The film's editing techniques, particularly in the truncated version, influenced how complex narratives could be condensed while maintaining coherence. The production's scale demonstrated what was possible in American cinema and set new standards for Hollywood productions throughout the 1920s.

Music

As a silent film, 'Foolish Wives' was accompanied by live musical scores during its original theatrical run. Theaters typically used compiled scores featuring classical pieces by composers like Debussy, Ravel, and Tchaikovsky to evoke the European setting. Some larger theaters commissioned original compositions. The film's themes of deception and decadence were often underscored with waltzes and other European dance music. Modern restorations have been accompanied by newly commissioned scores from composers who specialize in silent film music, typically using orchestral arrangements that reflect the film's sophisticated European setting while incorporating contemporary musical sensibilities. The music plays a crucial role in establishing the film's mood of elegance masking corruption.

What Critics Said

Contemporary critics praised 'Foolish Wives' for its artistic ambition, technical achievement, and von Stroheim's performance, though some found it morally questionable. The New York Times called it 'a remarkable picture' and praised its 'extraordinary realism and attention to detail.' Variety noted its 'unusual strength and power' while warning about its 'questionable morality.' Modern critics view the film as a masterpiece of silent cinema, with the American Film Institute ranking it among the most important American films. Critics today celebrate von Stroheim's meticulous direction, the film's psychological depth, and its critique of European decadence. The truncated nature of the surviving version is often lamented, with many wondering what von Stroheim's original vision might have been like. The film is now recognized as a crucial work in the development of American cinema's artistic maturity.

What Audiences Thought

Audiences in 1922 were drawn to the film by its sensational marketing as 'the first million-dollar movie' and its scandalous reputation. The film was a box office success, though not enough to fully justify its enormous budget. Contemporary audiences were both shocked and fascinated by its sexual content and moral ambiguity, with many viewing it as a glimpse into the decadent European lifestyle they had only heard about. The film's sophisticated themes appealed to urban, middle-class audiences who were embracing cinema as a legitimate art form. However, more conservative viewers and groups in smaller communities found the content offensive, leading to boycotts and bans in several areas. Modern audiences who discover the film through revivals and home video are often impressed by its technical sophistication and psychological complexity, though some find the pacing slow by contemporary standards.

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