Erich Von Stroheim- One of the great early directors.

Erich Von Stroheim, began working in movies in small parts and as a consultant on German culture and fashion. His first film, in 1915, was The Country Boy in which he was uncredited. His first credited role was in, Old Heidelberg.

He began working with D. W. Griffith, taking uncredited roles in Intolerance. Later, he performed in, Sylvia of the Secret Service, The Hun Within and In The Heart of Humanity.

Following the end of the First World War, Stroheim began to write and direct his own script for Blind Husbands in 1919. He also performed in the film.

His next directorial efforts were the lost film The Devil's Pass Key (1919) and Foolish Wives (1922), in which he also performed.

In 1923, Stroheim began work on Merry-Go-Round. He cast actor Norman Kerry in a part written for himself 'Count Franz Maximilian Von Hohenegg' and Mary Philbin in the lead actress role. Irving Thalberg fired Von Stroheim during filming and replaced him with director Rupert Julian.


Foolish Wives, is Probably Stroheim's best remembered work as a director. Stroheim filmed mostly at the locations San Francisco and Death Valley. After his attempts to cut it to three hours were rejected by the studio, MGM cut the film to a little over two hours, and, in what is considered one of the greatest losses in cinema history. The film was partially reconstructed in 1999 by Producer Rick Schmidlin, using the existing footage mixed with surviving still photographs.

Stroheim followed with the films: The Merry Widow (his most commercially successful film), The Wedding March and The Honeymoon.

In 1929, Stroheim was fired as the director of the film, Queen Kelly, after disagreements with star Gloria Swanson and producer Joseph P. Kennedy over the costs of the film and the indecent subject matter.

After Queen Kelly and Walking Down Broadway, films from which Stroheim was also fired, Stroheim returned as an actor, in both American and French films.

Working in France, Stroheim was going to direct the film La dame blanche from his own story and screenplay. Jean Renoir wrote the dialogue, Jacques Becker was to be assistant director and Stroheim himself, Louis Jouvet and Jean-Louis Barrault were to be the featured actors. The production came to a stop because of the war on September 1, 1939, and Stroheim returned to the United States.

He is perhaps best known as an actor for his role as von Rauffenstein in Jean Renoir's La Grande Illusion (1937) and as Max von Mayerling in Sunset Boulevard(1950). Stroheim was nominated for the Academy Award for Best Supporting Actor. Excerpts from Queen Kelly were used in the film. The character says that he used to be one of the three great directors of the silent era, along with D.W. Griffith and Cecil B. DeMille; many film critics believe that Stroheim was one of the great early directors. After learning about Erich Von Stroheim, watching Sunset Blvd. will not be quite the same for me..


1920's Silent Hollywood "Erich von Stroheim" Part One and Two.

"Blind Husbands" (1919) Erich Von Stroheim

"Blind Husbands" (1919) is a silent romantic drama starring Erich Von Stroheim, Sam De Grasse, and Francelia Billington. Directed by Erich Von Stroheim, this film is about an Austrian military officer who is determined to seduce the neglected wife of an American surgeon. The story begins with Dr. Armstrong, played by Sam De Grasse, and his wife, Margaret Armstrong, played by Francelia Billington, vacationing at an Alpine inn where he plans to climb the Pinnacle with the help of his friend and local mountain guide, Silent Sepp, played by Gibson Gowland. Arriving with the Armstrongs is Austrian officer, Lt. Von Steuben, played by Erich Von Stroheim, who is smitten with Mrs. Armstrong. He constantly appears at her side and attempts to win her favor with his attention while Dr. Armstrong seems to be preoccupied with other matters. One day while Dr. Armstrong is out, Von Steuben wants to present Mrs. Armstrong with an expensive jewelry box that she admired at a shop. Wearing only a flimsy nightgown, she opens the door only enough to receive the gift. However, Von Steuben and Mrs. Armstrong hear someone coming, and she allows him to come in the room to avoid being seen. Once in the room, Von Steuben pursues her aggressively, and the only way she can get him to leave is to promise to give in to him at a later time. Von Steuben's opportunity with Mrs. Armstrong comes at the Pinnacle hut where Dr. and Mrs. Armstrong have separate rooms because of his planned early start to climb the mountain. The next day at the top of the mountain, Dr. Armstrong confronts Von Steuben for the truth about whether his wife consented to go away with him.

Erich Von Stroheim's directorial debut, "Blind Husbands," set a pattern that would be extravagantly expanded throughout his career. It took him only a normal seven weeks of shooting to film his own story of lust and betrayal played out in a pre-World War I romantic setting, the Austrian Alps. Working for Universal Pictures, at that time not considered one of the top American producing companies, Von Stroheim pleased his bosses by putting their company on the map with a sexy and sensational film that caused more comment than earlier Universal productions had generated. "Blind Husbands" had not only been a financial success for Universal but it was also voted one of the three best films of the year. By 1922, with the release of "Foolish Wives," Von Stroheim not only had happily become "the man you love to hate" as an actor, but he was notorious among the film establishment as an extravagant, temperamental director tolerated only because he would garner great amounts of publicity for the studio that hired him. However, credit must be given where credit is due, and "Blind Husbands" is a good film because Von Stroheim keeps an atmosphere of anticipation mixed with suspense throughout its entire duration. The viewer can only wonder if Von Steuben will succeed in seducing Mrs. Armstrong. The viewer also cannot help but wonder if Dr. Armstrong will catch his wife and Von Steuben in a compromising position. The suspense is at times overpowering, especially when Dr. Armstrong and Von Steuben make the ascent of the Pinnacle. Certainly risque for its time, the flirtation scenes are charming even today. One of the things that impressed me the most about the film was that it is so visually beautiful with its lush sets and lots of color tints in different scenes. Even though Von Stroheim had his problems, there were no resemblances between his own personality and the hateful image he presented on the screen. He certainly knew how to inspire fine acting. The high regard Zasu Pitts has always been held is largely due to her performance in Von Stroheim's "Greed" (1924) which many consider, even in its mutilated state, one of the greatest silent films ever made. The performance that Von Stroheim got from Mae Murray in "The Merry Widow" (1925) was probably worth everything else she ever did put together. "Blind Husbands" could have been one of those over the top melodramas that were quite common in the teen years. Instead, it is a film where the lead actors, Von Stroheim, Billington, and De Grasse, never overact, and always maintain a dignified demeanor. With a compelling story and an excellent cast, "Blind Husbands" is one of the most impressive directorial debuts of all time.

SUNSET BOULEVARD (1950)

Sunset Boulevard (1950) Noir. Directed and co-written by Billy Wilder. Cast: William Holden, Gloria Swanson, Erich von Stroheim, Nancy Olson, Fred Clark, Lloyd Gough and Jack Webb. Director Cecil B. DeMille and gossip columnist Hedda Hopper play themselves. Cameo appearances: Buster Keaton, H. B. Warner and Anna Q. Nilsson.

Having trouble finding work as a screenwriter, Joe is served with a court order turn in his car or pay $290 in back payments by the next day.

Joe meets with Paramount studio producer Sheldrake to sell him a picture he has written, but is quickly turned down. Joe decides to head back to Dayton, Ohio, where he worked as a newspaper copy writer.

While driving down Sunset Blvd., he sees the two men who want to reposes his car. He turns into the driveway of a old rundown mansion and hides the car in an empty garage. Joe then enters the house, where strange acting butler (he reminded me of Lurch from the Addams family), orders him upstairs to meet with "madame". Joe soon learns that he has been mistaken for a mortician, who is expected to arrive with a small coffin for the dead pet chimpanzee.

 

Joe recognizes the woman as Norma Desmond, once a famous silent movie star. When Joe tells her that he is a screenwriter. She believes that they are compatible, and hires him on the spot. She has him stay in a room over her garage.

The next day, Joe finds all his things have been moved from his old apartment. At first he is angry with Norma for her taking control of his life. Unfortunately, he desperately needs a job, so he keeps quiet. Joe sits back and watches Norma's fragile/enormous ego go through her ups and downs.

One night, when Norma has her Hollywood friends come over to play bridge. Two men show up and tow away Joe's car. Norma has Max refurbish her expensive Italian sports car for him. In hopes to make Joe happy.

On New Year's Eve, Norma throws a lavish party, Joe goes into a rage because he feels smothered and runs out the door.

Will Joe finally be on his own?

I really enjoyed watching the film Sunset Boulevard. I was surprised by the depth of characters. Especially the outrageous Norma's fragile/enormous ego. The story is dark and twisted with Norma's character coming out at the most surprising moments. Cinematography and lighting are wonderful. A movie I will never forget.

Fun Fact:

The role of Norma Desmond was first offered to Mae West (who rejected the part), Mary Pickford (who demanded too much control), and Pola Negri (who, like Mae West, turned it down), before being accepted by Gloria Swanson.