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Erich von Stroheim war ein US-amerikanischer Regisseur, Schauspieler, Drehbuchautor und Schriftsteller österreichischer Herkunft. Als Schauspieler war Stroheim oft in der Rolle des arroganten und skrupellosen Bösewichts zu sehen. Deshalb erfanden. Erich von Stroheim (geboren als Erich Oswald Stroheim; * September in Wien, Österreich-Ungarn; † Mai in Maurepas bei Paris, Frankreich). Erich von Stroheim - Gigant, Exzentriker und Moralist. Ihm widmete das Filmmuseum eine Ausstellung. Sie wurde aus seinem Nachlass, der sich in der Academy. September als Erich Oswald Stroheim in Wien geboren und wuchs gemeinsam mit seinem geborenen jüngeren Bruder Bruno auf. Er stammte aus. Juni. GRATIS Versand für Ihre Erstbestellung und Versand durch Amazon. Nur noch 3 auf Lager. In der Hauptrolle: Erich Stroheim.
Erich von Stroheim (geboren als Erich Oswald Stroheim; * September in Wien, Österreich-Ungarn; † Mai in Maurepas bei Paris, Frankreich). September als Erich Oswald Stroheim in Wien geboren und wuchs gemeinsam mit seinem geborenen jüngeren Bruder Bruno auf. Er stammte aus. Cuoiott hat diesen Pin entdeckt. Entdecke (und sammle) deine eigenen Pins bei Pinterest.
Erich Von Stroheim VideoErich von Stroheim: Greed (1924) Online-Shopping mit großer Auswahl im DVD & Blu-ray Shop. Find high-quality Erich Von Stroheim stock photos and editorial news pictures from Getty Images. Download premium images you can't get anywhere else. Der faszinierende Schauspieler und einzigartige Regisseur Erich von Stroheim schuf die Legende seines Lebens: er dachte sich eine aristokratische. Serien und Filme mit Erich von Stroheim: Detektive · Napoleon · Alraune · Boulevard der Dämmerung · Die große Illusion · Wie du mich willst · Törichte . Der Zauber und die Kunst der Verführung: Erich von Stroheim, ein Visionär des Kinos – Zur Retrospektive auf der Berlinale: Ein freier Mann. Seite 3/6. Inhalt. Auf.
Siegfried Traurig. Quai de Bercy Professeur Kieffer. Franz Mueller. Le professeur Hoffman as Eric Von Stroheim. Agil Walter, prof d'anglais.
Andre Crespi. Russian Army as Erich Von Stroheim. Kurt von Schnieditz. Von Stroheim. Self - Interviewee.
Cinema Under Occupation Documentary. Tycoons Documentary. Self uncredited. Griffith: Father of Film Actor ' Heart of Humanity' uncredited.
Related Videos. Written by Joseph Kesselring. Gloria Swanson fired him from her production of 'Queen Kelly' when with no sign of the film nearing completion the costs had risen to twice the budget partly due to him re-shooting scenes that had already been passed by the Hays office.
It was the end for him as a director, but he made a reasonable success as an actor in the talkies.
Sign In. Edit Erich von Stroheim. Showing all 56 items. Frequently included shots of janitors or cleaning personel in films he directed in order to add realism and demystify the location.
Examples include the janitor removing candle wax from the floor of the cathedral in The Wedding March and a cleaning crew vacuuming the grand staircase in the palace in Queen Kelly Short Prussian military hairstyle which sometimes gave him the appearance of being bald.
His films often explored the nature of human cruelty and greed and the loss of innocence. Juxtapositions of scared and profane imagery in films he directed.
Althugh he claimed to have broken two ribs when he fell from a roof in The Birth of a Nation , there is some question as to whether he actually worked on that film at all.
Joseph Henabery , one of the picture's assistant directors, says that von Stroheim didn't work for director D. Griffith until more than a year after this film was shot.
Prinz Friedrich Wilhelm on 25 November Biography in: John Wakeman, editor. Pages New York: The H.
Wilson Company He fabricated an elaborate backstory for himself as an Austrian aristocrat and imperial officer, while in real life he was from a Jewish family, the son of a lower-middle-class hat maker, and never served in any military.
Brother-in-law of Louis Germonprez. While appearing in French films, he met actress Denise Vernac , who became his secretary and companion for the rest of his life.
He never divorced estranged third wife Valerie Germonprez. Denise also appeared in several films with him over the years. While working at the tavern, he met his first wife, Margaret Knox, and in a daring move for moved in with her.
Knox acted as a sort of mentor to him, teaching him language and literature and encouraging him to write. Score: Victor Schertzinger and Max Steiner.
Costumes: Max Ree. Art Production: Max Ree. Set in Calcutta amid the British Raj. Director, screenwriter, co-producer: von Stroheim.
Joseph P. Kennedy Sr. Silent film. A German prince falls in love with an orphan who inherits an African brothel. It is the film snippet that plays during the home movie scene in Billy Wilder 's Sunset Blvd.
Never released in the U. Directors: George Archainbaud and Paul Sloane. Three World War I flying aces find work in Hollywood as film stunt pilots post-war.
Likely based to some extent on the tragic death of Mary Astor's newly wed husband and Howard Hawks 's brother Kenneth Hawks.
Astor and Kenneth Hawks had been married only two years and were living on Appian Way in Laurel Canyon in a house later owned by Ida Lupino when Kenneth, directing a film about World War I flying aces, crashed into the waves in Santa Monica, California when a stunt plane and his film-crew plane collided mid-air.
As You Desire Me. Director: George Fitzmaurice. Costumes: Adrian. Based on a story by Luigi Pirandello. Also starring Greta Garbo and Melvyn Douglas.
An Italian countess with amnesia post-World War I lives in Budapest with her cruel lover von Stroheim and then reunites with her husband Melvyn Douglas.
Working title: "Strolling Down Broadway. A casual pick-up on Broadway leads to an unplanned pregnancy. Von Stroheim's final official directorial effort he may have co-directed Fugitive Road in Starring role.
Directors: Frank R. Strayer and possibly von Stroheim. Screenplay co-writer: possibly von Stroheim. War comedy. Director: David Howard. A German-American leaves the U.
His best friend accompanies him and also joins the air force. They both fall in love with the same woman, an ambulance driver.
Von Stroheim is a supporting player. The Crime of Dr. Director: John H. Low budget. Director: Tod Browning.
Co-Screenplay adaptation: von Stroheim. Score: Franz Waxman. Wrongly accused banker escapes prison and returns to Paris to wreck revenge through shrunken humans.
This will be Browning's second-to-last film. Between Two Women. Film's theme of a female burn victim echoes the actual experience in of von Stroheim's wife Valerie who was burned in a Hollywood shop located on Sunset Boulevard beauty parlor explosion.
Baron Erich von Ludow: World War I naval attache and spymaster who commits suicide over romantic and national betrayals.
Director: Raymond Bernard. Based on French prostitute, spy, and politician Marthe Richard. French production.
War drama and biopic. Director: Jean Renoir. Co-starring Dita Parlo and Jean Gabin. The cultural importance of this film cannot be overstated.
Nominated for an Academy Award. Set during World War I. Under Secret Orders a. Mademoiselle Docteur. Director: Edmond T.
Co-starring: Dita Parlo and Claire Luce. Based on a Pabst film. British production. Director: Pierre Chenal.
Co-starring: Albert Prejean and Louis Jouvet. Set in Paris. Murder mystery. Boys' School a. Les disparus de St.
Director: Christian-Jaque. Co-starring: Charles Aznavour and Serge Reggiani. Directors: Robert Wiene and Robert Siodmak.
Co-starring: Dita Parlo. Caligari and Raskolnkikow died from a heart attack and the effects of cancer while making this film. His friend director Robert Siodmak took over production.
Marson: supposed hairdresser who is actually a terrorist blowing up UK battleships in Gibraltar. Co-star: Viviane Romance as a flamenco dancer.
Both recently naturalized French citizens. Directors: Georges Lacombe and Yves Mirande. Also featured: Michel Simon and Lucien Baroux.
Ensemble cast featured in vignettes. Comic murder mystery. Personal Column in France known as Pieges.
Director: Robert Siodmak. Co-starring: Maurice Chevalier and Pierre Renoir. I Was an Adventuress. Director: Gregory Ratoff. Score: David Buttolph.
Co-stars: Peter Lorre and Vera Zorina. Set in Europe and Paris. Caper comedy. S Twentieth Century Fox production.
Brenner: Nazi SS officer tries to tempt escaped concentration camp refugee into naming names. Featured role. Director: John Cromwell.
Adapted from a novel by Erich Maria Remarque. Director: Jean Delannoy. France's Vichy government insisted Delannoy and producer Andre Paulve delete all of von Stroheim's scenes and replace him with actor Pierre Renoir.
In , von Stroheim's role was restored in the film. Five Graves to Cairo. Field Marshal Erwin Rommel. Director: Billy Wilder.
Screenplay: Billy Wilder and Charles Brackett. Cinematography: John F. Costumes: Edith Head. Semi-comic approach to the material.
Filmed in the Mojave and Yuma Arizona deserts. War drama and historical film. The North Star.
Director: Lewis Milestone. Original story and screenplay: Lillian Hellman. Cinematography: James Wong Howe. Score: Aaron Copland. The Lady and the Monster.
Franz Mueller: experimental scientist who keeps a dead miser's brain alive. Director: George Sherman. Adapted from Curt Siodmak 's novel Donovan's Brain.
Co-star: Vera Ralston. Cinematography: John Alton. Gothic castle in the Arizona desert. Remade in as Donovan's Brain.
Horror film. Director: Anthony Mann. Score: Alexander Laszlo.
Griffith , but felt that "unlike Griffith, who viewed scenes as though through a fourth wall, Stroheim shot from many sides and from different angles; he also used deep-focus, meaningful foregrounds and effective camera movement.
Examples of this technique include the scene where McTeague begs Trina for money in a pool of moonlight and the merry-go-round scene in which characters alternate between appearing only as dark silhouettes and being fully lit.
Daniels was especially proud of the wedding scene, which has a funeral procession visible through the window and was difficult to light properly.
Schoedsack worked on the picture as a camera operator. Stroheim favored "Soviet-style" montage editing. Greed often uses dramatic close-ups and cuts instead of long takes.
One exception to this is the scene in which Schouler becomes angry with McTeague and breaks his pipe, which was shot in one long, unbroken take.
Stroheim also used symbolic cross-cutting for dramatic effect, such as his use of animals in the film and a shot of a train when McTeague and Trina first kiss.
Take a close look at the world, keep on doing so and in the end it will lay bare for you all its cruelty and ugliness.
Despite Stroheim's reputation as a perfectionist, Greed contains anachronisms. In the scenes on Polk Street, the main characters are clothed in s fashions, but the extras wear s clothing.
Stroheim did his best to avoid such historical mistakes; he shot only those buildings that were from the era Greed was set in, and he kept motor vehicles out of sight while filming.
Daniels stated that, despite his desire for authenticity, Stroheim sometimes had walls knocked out of real locations to achieve a desired camera position.
Sarah Collins worked at the Lest Norris kindergarten, which was financed by Norris's family.
Von Stroheim did not see Greed as political and told a journalist that he considered it to be like a Greek tragedy. Despite the characters' struggles with poverty and class, von Stroheim followed the naturalist technique of portraying characters whose lives are driven by fate and their inner nature.
Von Stroheim employed variations of this theme in his other films, which often involved a commoner falling in love with an aristocrat or royal.
One of the cinematic techniques by which von Stroheim portrayed naturalism was animal symbolism. For example, Trina tugs on her lips and McTeague fiddles with his birdcage.
Throughout his career von Stroheim used grotesque imagery and characters. This is most apparent in the wedding-banquet scene, which includes a midget, a hunchback, a woman with buck teeth and a boy on crutches.
This scene was unlike any other in films of that period, which treated meals with dignity and a sense of communion. As in his other films, von Stroheim used Christian imagery and symbols, such as crosses and churches.
Christmas Eve was often depicted in von Stroheim's films and was close to the date of his father's death. Editing Greed took almost a year and von Stroheim's contract did not include payment for his post-production work.
He felt restricted by his contract's limitation on the length of the film. I can't imagine what they are going to do with it. It is like Les Miserables.
Episodes come along that you think have no bearing on the story, then 12 or 14 reels later it hits you with a crash.
For stark, terrible realism and marvelous artistry, it is the greatest picture I have ever seen.
But I don't know what it will be like when it shrinks to 8 reels. The forty-minute scene depicted what the tenants did on a Saturday afternoon, and established cinematic atmosphere without furthering the plot.
Rosenbaum compared the cut sequence to novels of the 19th century and to the first few hours of Jacques Rivette 's Out 1. Caligari and Dr. Mabuse the Gambler.
Many sources claim that the reel version was only ever intended to be a rough cut,  and that Von Stroheim chose to cut it down to 24 reels by March 18, ,   with the intention of screening it with intermissions over two nights.
That would be child's play. But I can't do it. It would leave gaps that could only be bridged through titles. When you do such a thing you have illustrated subtitles instead of a motion picture.
She ordered even more cuts to be made on January 29, but then left for Rome in early February to oversee the production of Ben-Hur and was uninvolved in the film's editing for several months.
After having completed the reel [c] cut of Greed , von Stroheim told Goldwyn executives that he could not cut another frame.
Von Stroheim then sent the film to his friend, director Rex Ingram, who turned it over to his editor, Grant Whytock.
Whytock initially proposed that it be split in two, with one 8-reel film ending with the wedding and a second 7-reel film ending at Death Valley.
Whytock eventually cut the film down to 18 reels. However, Whytock's version of Greed retained the prologue and other subplots, as well as much of the humor that was later cut out of it.
Whytock and Ingram screened their version of Greed to studio executives, who responded favorably to it but worried that the tragic ending would be hard to sell to the public.
Mayer had a lengthy confrontation over the film's editing, which according to both men ended with von Stroheim claiming that all women were whores and Mayer punching him.
MGM executives screened Greed at full length once to meet contractual obligations. Idwal Jones, a San Francisco critic, attended the all-day screening and wrote that while some of the scenes were compelling, Stroheim's desire that "every comma of the book [be] put in" was ultimately negative.
The studio ordered June Mathis to cut it down further;  she assigned the job to an editor named Joseph W. Farnham was a well-known "titles editor", who patched scenes together using title cards to keep continuity.
His contributions to Greed include the notorious title cards " Such was McTeague " and " Let's go over and sit on the sewer ", which were snickered at for years.
One week before Greed ' s release the New York State Motion Picture Committee which censored films demanded several more cuts on moral grounds.
These cuts included the administration of ether in the dental scenes and certain instances of foul language. Although these cuts were made to prints that were screened in New York State, the footage was kept in many other prints.
The main cuts to Greed were the elimination of its two sub-plots and other entire sequences, while individual scenes were often not touched.
This whole story is about greed—a progressive greed. It is the story of the way greed grew in Trina's heart until it obsessed her.
I found that the junk dealer's greed was so much greater than hers that it almost destroyed the theme. His intense greed drowned out Trina's greed just as a steam whistle drowns out a small street noise.
Instead of hurting the picture, throwing out this junk dealer's story made the picture stronger. Thalberg also stated that he "took no chances in cutting it.
We took it around to different theaters in the suburbs, ran it at its enormous length, and then we took note of the places at which interest seemed to droop.
Individual scenes or sequences that were cut include McTeague and Trina's early, happy years of marriage, the sequence showing McTeague and Trina eventually moving into their shack,  the family life of the Sieppe family before Trina's marriage, the prologue depicting McTeague's mother and father at the Big Dipper mine and McTeague's apprenticeship.
Other cuts included the more suggestive and sexual close-up shots depicting McTeague and Trina's physical attraction to each other, the scenes after McTeague has murdered Trina and roams around San Francisco and Placer County, additional footage of Death Valley, additional footage of Trina with her money, and a more gradual version of Trina's descent into greed and miserly obsession.
Greed received mostly negative reviews. The trade paper Harrison's Report said that "[i]f a contest were to be held to determine which has been the filthiest, vilest, most putrid picture in the history of the motion picture business, I am sure that Greed would win.
There have already been many criticisms of its brutality, its stark realism, its sordidness. But the point is that it was never intended to be a pleasant picture.
John-Brenon wrote that "the persons in the photoplay are not characters, but types—they are well selected, weighed and completely drilled.
But they did not act; they do not come to life. They perform their mission like so many uncouth images of miserliness and repugnant animalism.
Sherwood also defended MGM's cutting of the film and called von Stroheim "a genius A more favorable review came from Richard Watts, Jr.
It is the one picture of the season that can hold its own as a work of dramatic art worthy of comparison with such stage plays as What Price Glory?
Like the novel from which the plot was taken, Greed is a terrible and wonderful thing. Greed was a financial disappointment.
Arthur Lennig asserted that MGM's official budget for Greed was suspiciously high for a film with no stars, no built sets, a small crew and inexpensive film stock.
Lennig suspects that MGM averaged the film's cost with the more expensive The Merry Widow in order to prevent von Stroheim from getting a percentage of the more profitable film.
In his final years, von Stroheim said that "of all my films, only Greed was a fully realized work; only Greed had a total validity.
Von Stroheim said, "It was for me an exhumation. It was like opening a coffin in which there was just dust, giving off a terrible stench, a couple of vertebra and a piece of shoulder bone.
He goes to see her in the morgue. Of course, he still loves her but it's only the memory of her that he can love—because he doesn't recognize her anymore.
In the early s Greed ' s reputation began to grow and it appeared on several lists of the greatest films ever made.
Later in Sight and Sound magazine published its first list of the "ten greatest films ever made". Since it has failed to reach a spot on the top ten.
Among those who have praised Greed over the years are Sergei Eisenstein ;  Joseph von Sternberg , who said, "We were all influenced by Greed ";  Jean Renoir , who called it "the film of films";  and Ernst Lubitsch , who called von Stroheim "the only true 'novelist'" in films.
Stroheim's shots filming the sun predated Akira Kurosawa 's better-known uses of the technique in Rashomon Rosenbaum singled out Stroheim's influence on May, an American director, with Mikey and Nicky centering on the disintegration of a friendship over money and sex, and including grotesque elements and characters caught between innocence and corruption.
Rosenbaum also asserts that Orson Welles' use of satirical caricatures in all of his films is in "the spirit of von Stroheim".
Rosenbaum believes that besides Huston's film ending with gold being lost in the desert and similarities between Trina's descent into madness with Fred C.
Dobbs own obsessions, the two films have little else in common. The Magnificent Ambersons and Greed both have characters who struggle with class differences that lead to their downfall.
Ambersons was famously edited down drastically by its studio and the cut footage is now lost. Rosenbaum goes on to state that Greed influenced the methods in which novels are adapted into films and filmmakers like Welles, Huston and Bill Forsyth followed von Stroheim's example by re-arranging the plot and adding new scenes to their films while still remaining faithful to the intentions of the original novels.
Attempts to reconstruct the uncut version of Greed without use of the lost footage first began in Perret in and two versions edited by Joel Finler and Herman G.
Weinberg , both in Weinberg's book utilized individual stills and production photos to reconstruct the uncut version of Greed , the first time that images from the uncut version were publicly available.
In , Turner Entertainment decided to recreate, as closely as possible, the original version by combining the existing footage with over still photographs of the lost scenes many of which had been used in Weinberg's book ,  in accordance with an original continuity outline written by von Stroheim.
All materials were provided by the Margaret Herrick Library. It was produced by film preservationist Rick Schmidlin and edited by Glenn Morgan.
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Under Knox's tutelage he wrote a novella entitled "In the Morning", with themes that anticipated his films: corrupt aristocracy and innocence debased.
The couple married on February 19, , but money woes drove him to deep depressions and terrible temper tantrums, which he took out on Knox.
Not long after the marriage she left him, and in May filed for divorce. Not very well documented is his second marriage, to seamstress and dressmaker Mae Jones.
The marriage was brief but produced one son, Erich von Stroheim Jr. The rest of his career was spent writing two novels, touring in a production of "Arsenic and Old Lace", and appearing in small roles in Europe and the United States.
Despite their strong professional relationship, he was never--as he often claimed--a close confidante of D. Griffith , never making it into Griffith's "inner circle".
His longtime business manager was Elmer Cox, father of actor Dick Sargent. As the butler in Sunset Blvd. Although it is inaccurate to say he is actually a character in Peter Handke 's "anti-play", "The Ride Across Lake Constance", his name is used as a designation of a character, as are the names of other celebrated actors of the German cinema, Elisabeth Bergner , Heinrich George , Emil Jannings , Henny Porten and the twins Alice Kessler and Ellen Kessler.
Mayer once he finished The Merry Widow in less than six weeks. Started in the film industry as a bit player, assistant director and art director for D.
He had an uncanny sense for detail in decor, costume and nuances in human behavior. Often dissatisfied, he was prone to attempt perfection by extending films to absurd running times and by exceeding his allocated budgets.
The picture was reedited badly and subsequently flopped at the box office. Great-grandfather of actress Alena von Stroheim.
On Eric Von Stroheim's films as a director, shooting sometimes continued for twenty hours without pauses on the locked stages.
Stroheim treated the participants to squab and caviar and served real champagne in spite of Prohibition. Known as 'The Man You Love to Hate' a billing he got for his role of an obnoxious German in the propaganda film 'The Heart of Humanity' In the film he not only attempted to violate the leading lady but nonchalantly tossed a baby out of a window.
If you live in France and you have written one good book, or painted one good picture, or directed one outstanding film, 50 years ago, and nothing ever since, you are still recognized as an artist and honored accordingly In Hollywood - in Hollywood, you're as good as your last picture.
If you didn't have one in production in the last three months, you're forgotten, no matter what you have achieved ere this. It is that terrific, unfortunately necessary, egotism in the makeup of the people who make the cinema, it is the continuous endeavor for recognition, that continuous struggle for survival and supremacy, among the newcomers, that relegates the old-timers to the ashcan.
The difference between me and [ Ernst Lubitsch ] is that he shows you the king on the throne and then he shows you the king in his bedroom.