Hubbry Logo
Foolish WivesFoolish WivesMain
Open search
Foolish Wives
Community hub
Foolish Wives
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Foolish Wives
Foolish Wives
Foolish Wives
View on Wikipedia
from Wikipedia

Foolish Wives
Theatrical release poster
Directed byErich von Stroheim
Written byErich von Stroheim
Produced byCarl Laemmle
Erich von Stroheim
StarringErich von Stroheim
Miss DuPont
Maude George
CinematographyWilliam H. Daniels
Ben F. Reynolds
Edited byArthur Ripley
Music bySigmund Romberg
Production
company
Jewel Productions
Distributed byUniversal Film Manufacturing Company
Release date
  • January 11, 1922 (1922-01-11)
Running time
384 minutes (original cut)
117 minutes (original release)
142 minutes (2013 restoration)
147 minutes (2023 restoration)
CountryUnited States
LanguagesSilent film
English intertitles
Budget$1,103,736[1]

Foolish Wives is a 1922 American erotic silent drama film produced and distributed by Universal Pictures under their Super-Jewel banner and written and directed by Erich von Stroheim. The drama features von Stroheim, Rudolph Christians, Miss DuPont, Maude George, and others.[2]

When released in 1922, the film was the most expensive film made at that time, and billed by Universal Studios as the "first million-dollar movie" to come out of Hollywood. Originally, von Stroheim intended the film to run anywhere between 6 and 10 hours, and be shown over two evenings, but Universal executives opposed this idea. The studio bosses cut the film drastically before the release date.[3]

Foolish Wives, and the fulsome media coverage that added to its "sensational notoriety", elevated von Stroheim into the ranks of preeminent directors of the early 1920s.[4]

In 2008, Foolish Wives was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."[5][6]

Plot

[edit]

A man adopts the name and title of Count Wladislaw Sergius Karamzin to seduce rich women and extort money from them.

He sets up shop in Monte Carlo, and we learn that his partners in crime (and possible lovers) are his cousins: "Princess" Vera Petchnikoff and "Her Highness" Olga Petchnikoff.

Count Karamzin begins his latest scam on the unworldly wife of an American envoy, Helen Hughes, even though her husband is nearby. He attempts to charm her, planning to eventually fleece her of her money. She is easily impressed by his faux-aristocratic glamor, to the chagrin of her dull, but sincere, husband. Karamzin also has his eye on two other women, Maruschka, a maid at the hotel, and Marietta, the mentally disabled daughter of one of his criminal associates, seeing them both as easy sexual prey.

In the climax, Maruschka, whom he seduced and abandoned, goes mad and sets fire to a building in which Karamzin and Mrs. Hughes are trapped. To save himself, Karamzin jumps, leaving Mrs Hughes in danger. She is saved by her devoted husband. Karamzin's public displays of selfishness and cowardice ensure that he is shunned by the high society by whom he craves to be accepted. Humiliated, he tries to restore his pride by seducing Marietta, the mentally disabled girl. Her father kills him, dumping his body in a sewer. Karamzin's "cousins" are arrested for being imposters and con artists.

Cast

[edit]
Foolish Wives complete film
  • Rudolph Christians as Andrew J. Hughes, U.S. Special-Envoy to Monaco
  • Miss DuPont as Helen Hughes, His Wife
  • Maude George as Her Highness Olga Petchnikoff
  • Mae Busch as Princess Vera Petchnikoff
  • Erich von Stroheim as Count Wladislaw Sergius Karamzin, Russian Captain of Hussars
  • Dale Fuller as Maruschka, A Maid
  • Al Edmundson as Pavel Pavlich, A Butler
  • Cesare Gravina as Cesare Ventucci, A Counterfeiter
  • Malvina Polo as Marietta, His Half-Witted Daughter
  • C. J. Allen as Albert I, Prince of Monaco
  • Louise Emmons as Mother Garoupe (uncredited)
  • Nigel De Brulier as Monk (uncredited)
  • Agnes Emerson as A Bit Role
  • Harrison Ford as Rude Soldier / Armless Soldier (uncredited)
  • Valerie Germonprez as An Extra (uncredited)
  • Mrs. Kent as Dr. Judd's Wife (uncredited)
  • Mme. Kopetzky as An Actress
  • Mary Philbin as A Crippled Girl (uncredited)
  • Edward Reinach as Monaco Secretary of State (uncredited)
  • Louis K. Webb as Dr. Judd (uncredited)

Cast notes

Background

[edit]

When von Stroheim prepared to embark on his third project with Universal Pictures, he was basking in the accolades earned from his back-to-back successes with Blind Husbands (1919) and The Devil's Pass Key (1920).[7]

When his Universal contract expired, von Stroheim was sought after by the big film studios. Universal's vice-president and publicity director, R. H. Cochrane, eager to retain their "new discovery", agreed to a substantial increase in von Stroheim's remuneration. Producer Laemmle was outraged when he discovered Cochrane's largesse, but acquiesced to a fait accompli. Set construction on the Universal back lot was already under way by 6 April 1920, before von Stroheim had renegotiated and signed the contract.[8]

Universal's most "lavish and ambitious project" to date, Foolish Wives was conceived by Carl Laemmle and reflected an industry-wide trend toward elaborate productions in a bid to lure audiences with "spectacle, melodrama and sex".[9]

Production

[edit]

The working title for the picture was Monte Carlo, referring to Europe's gambling mecca and the setting for von Stroheim's "clash of American and European ideals in post-war Europe" revisiting his themes from previous films.[10]

"The production history of Foolish Wives was a nightmare without precedent, a bad dream from which von Stroheim never fully recovered." - Biographer Richard Koszarski [11]

Universal built enormous facade-facsimiles of the French Riviera's most exclusive casino and entertainment complex. A separate set was constructed on the Monterey Peninsula, 300 miles north of Universal Studios, providing panoramic views of the Pacific Ocean that resembled the Mediterranean coast along the French Riviera. The almost "inaccessible" site atop Point Lopus was subject to severe weather, resulting in extensive and costly damage to the stage sets.

Von Stroheim and his cadre of highly competent and loyal technicians increasingly prioritized the production of Foolish Wives at the expense of other Universal projects, effectively "taking over the studio".[12] Carl Laemmle promoted the 20-year-old producer Irving Thalberg to head of production and gave him the task of bringing von Stroheim's extravagant consumption of studio resources under control.[13]

Thalberg, an able administrator and skilled at taking the measure of movie directors, presented von Stroheim with a scheme to expedite the completion of the film, reminding him he was contractually bound to submit to the production manager directives. Anticipating this contretemps, von Stroheim defiantly rejected Thalberg's authority, "Remove me as the director and you remove me as the star, and you don't have a picture". Von Stroheim resumed filming on his own terms.[12] This film marks the onset of Erich von Stroheim's reputation as a "perfectionist" who, for the sake of "authenticity", insisted upon extravagance and costly sets and shooting schedules for his films.[14]

Universals' publicity department reacted to the reports of massive cost overruns by presenting them as virtues. The public was subjected to advertising stunts that cheerfully enumerated von Stroheim's directorial eccentricities and excesses, real or imagined. One true story demonstrates the director's penchant for realistic artifacts, in which facsimile 1000 franc notes used in the casino sequences had been ordered manufactured by photoengrave technique—a counterfeiting method. Treasury Department officials were alerted and promptly took von Stroheim and the engravers into custody, then released them. The matter was finally resolved after protracted litigation.[15]

The extravagant spending on Foolish Wives proceeded unabated when von Stroheim travelled to Point Lopus to shoot the coastal scenes and those requiring continuity linkage with shots made at Universal's backlot. Freed from any direct supervision by Universal executives at this remote location, von Stroheim improvised by adding to the script, incurring costly delays and added overtime expenditures. Alarmed at these excesses, Thalberg summarily cut all direct funding to the Point Lopus operation. Von Stroheim responded by arranging all expenses to be charged to the studio and continued shooting.[16]

On 7 February 1921, actor Rudolph Christians who played one of the central roles in Foolish Wives, died unexpectedly. A dreaded calamity in a film that was so advanced in production, several key scenes with Christians' character remained to be filmed. Von Stroheim was unable to discover any satisfying or convincing cinematic technique to compensate for the loss despite enlisting a double for the deceased Christians. When von Stroheim proposed a major reshooting of the film with Christians' look-alike stand-in Robert Edeson, Thalberg emphatically rejected it and ordered that camera and equipment be collected and returned to the studio. The filming phase of Foolish Wives was terminated on 15 June 1921.[17]

In the summer of 1921, von Stroheim and his staff began the arduous process of editing the 326,000 feet of bulk footage from which Foolish Wives would be carved. Superfluous material was eliminated (retakes, duplicates, damaged footage), leaving von Stroheim with about 150,000 feet with which to craft his story.

During the editing phase, Universal became alarmed when the Fatty Arbuckle sexual indiscretions were targeted by the movie tabloids, Foolish Wives and its romantic intrigue and lurid sexual overtones threatened to link the film in the public mind to these scandals. To dispel concerns among official censors and counter negative public reaction, Universal organized all expense paid trips to the upscale Beverly Hills Hotel for the assembled censors to view an all-night rough-cut screening of Foolish Wives, presented on 18 August 1921. The guests were urged to identify objectionable scenes that might be removed before general distribution. An outraged Stroheim protested, demanding that the 17,000 foot work be released as is, but shown on two consecutive nights, Universal summarily removed him from any further role in the editing.[18]

For the film's premiere, Foolish Wives passed through the hands of several Universal editorial employees in order to bring the footage from 30 reels down to studio 14 reels. By the end of November, the picture had been reduced to 18 reels. To meet the 11 January 1922 premiere deadline, a special train carriage with cutting apparatus was provided so that a team of editors could complete the cutting en route from Hollywood to New York.[19]

Post-production

[edit]

At a length of 3 ½ hours and approximately 14,000 feet, Foolish Wives premiered at New York's Central Theatre on 11 January 1922. Following the showing, Universal cut a further 3500 feet in order to comply with the New York State Censorship Board. This 10-reel print was the format released to general audiences.[20] In 1928, Universal subjected the film to a major overhaul as part of a general reissue "completely restructuring the narrative and changing the names and descriptions of the characters." In 1936 the Museum of Modern Art obtained a copy of this 7655 foot 1928 cut, believing it was the general release version distributed in 1922 and presenting it as such to museum audiences.[21]

Reception

[edit]
Count Karamzin (von Stroheim) seduces Helen Hughes (DuPont)

The film was expected to be a big success and play on Broadway for six months; however, it underperformed and only played at the Central for six weeks. It played two shows every day with a top ticket price of $2 and grossed just under $14,000 in its opening week.[22] It became the eighth most popular movie of 1922 in North America.[23]

Critical response

[edit]

When released, Variety, in their review of the film, concentrated on the film's expensive costs and von Stroheim's involvement. They wrote "According to the Universal's press department, the picture cost $1,103,736.38; was 11 months and six days in filming; six months in assembling and editing; consumed 320,000 feet of negative, and employed as many as 15,000 extras for atmosphere. Foolish Wives shows the cost – in the sets, beautiful backgrounds and massive interiors that carry a complete suggestion of the atmosphere of Monte Carlo, the locale of the story. And the sets, together with a thoroughly capable cast, are about all the picture has for all the heavy dough expended. Obviously intended to be a sensational sex melodrama, Foolish Wives is at the same time frankly salacious ... Erich von Stroheim wrote the script, directed, and is the featured player. He's all over the lot every minute."[24]

While praising the acting as excellent, Photoplay called the film "an insult to American ideals and womanhood".[25]

In 1994, film critic Ed Gonzalez discussed the film and wrote "1922's Foolish Wives begins with the perfect iris shot. This is no ordinary 'fade into' effect, but an entrancing reinforcement of the sinister, insular and constrictive nature of the milieu Von Stroheim is about to introduce us to ... At the time of its release, Foolish Wives was the most expensive film ever produced, and though Von Stroheim was widely considered a lavish spendthrift, his films remain triumphs of period detail."[3]

In 2008, critic Keith Phipps wrote "Foolish Wives re-creates Monte Carlo in a Hollywood back lot ... Playing a fraudulent aristocrat, in a touch that echoed his own biography, Von Stroheim dupes the gullible, lusts after a retarded teenager, and attempts to undo an innocent American. It's like a Henry James novel as dreamt by a pornographer, and it illustrates what makes Von Stroheim such a problematic genius: Is it nascent post-modernism or egotism run amok that made him prominently feature a character reading a novel called Foolish Wives, credited to Erich Von Stroheim?"[26]

On Rotten Tomatoes, Foolish Wives has an approval rating of 89% based on 19 reviews with an average of 8.9/10.[27]

See also

[edit]

Footnotes

[edit]

Sources

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Foolish Wives

View on Grokipedia
from Grokipedia
is a American silent drama film written, directed, co-produced, and starring as Count Sergius Karamzin, a fraudulent Russian aristocrat and who, along with his accomplices, seduces and swindles wealthy women amid the casinos and villas of post-World War I . Produced by Universal Film Manufacturing Company, the film was initially budgeted at $250,000 but incurred massive overruns exceeding $1 million, earning promotion as Hollywood's first million-dollar picture due to its lavish sets, costumes, and meticulous detail in recreating European opulence. Von Stroheim's ambitions led to production delays, extended shoots, and clashes with studio executives, culminating in severe editing that reduced his intended multi-hour epic to a release version of approximately 14 reels. Despite the controversies, Foolish Wives stands as a landmark of silent cinema for its psychological insight into moral decay, voyeuristic gaze, and technical innovations, influencing later filmmakers with its uncompromising realism and visual splendor.

Synopsis and Characters

Plot Summary

Foolish Wives depicts the schemes of Count Wladyslaw Sergius Karamzin, a counterfeit-passing impostor posing as a White Russian aristocrat in post-World War I , who lives in a seaside villa with two female accomplices masquerading as his cousins, Princess Olga and Vera Petchnikoff. Karamzin and his partners target affluent women for through and , with Karamzin focusing on Helen Hughes, the impressionable young wife of Andrew J. Hughes, the newly appointed envoy to . Karamzin ingratiates himself with Helen via fabricated tales of aristocratic hardship and gallant exploits, gradually drawing her into an affair while siphoning her funds under pretenses of financial distress. Concurrently, he manipulates the Hughes household's maid, Maruschka, who harbors unrequited affection for him, by feigning romantic intentions to extract her modest savings. As Karamzin's advances toward Helen intensify during a societal amid a raging , Maruschka's erupts; she ignites a fire in the villa and then drowns herself in remorse. Andrew Hughes heroically saves Helen from the flames, exposing Karamzin's deceptions in the process and subjecting him to a physical thrashing. Undeterred initially, Karamzin shifts his predatory attention to Marietta, the of local Cesare Ventucci, but Ventucci confronts and fatally shoots him upon discovering the plot. Olga and Vera face arrest for their roles in the counterfeiting operation, underscoring the collapse of the trio's illicit enterprise.

Cast and Performances

portrayed the central figure, Count Wladyslaw Sergius Karamzin, a fraudulent Russian aristocrat and masquerading as a captain of hussars, in a role that demanded both charismatic allure and predatory menace. His depiction drew on personal reinvention, as Stroheim himself had fabricated an aristocratic background after emigrating from , infusing the character with a blend of earnest and grinning that captivated audiences despite the film's moral ambiguity. The principal supporting roles featured Rudolph Christians as Andrew J. Hughes, the unsuspecting American diplomat whose household becomes the target of Karamzin's schemes; Miss DuPont (Patricia Hannon) as Helen Hughes, the diplomat's naive wife susceptible to seduction; Maude George as Princess Olga, Karamzin's accomplice posing as a royal cousin; and as Princess Vera Petchnikoff, another fabricated relative aiding in the cons. Additional key performers included Dale Fuller as the hotel maid whom Karamzin deceives with false marriage promises, and Malvina Polo as the mentally impaired daughter of a criminal associate entangled in his web. Contemporary critics praised the ensemble as "thoroughly capable," with Stroheim's commanding presence dominating every scene through meticulous physicality and expressive gestures suited to silent cinema. Miss DuPont's Helen exhibited emotional vulnerability, particularly in sequences revealing psychological fractures amid opulent deception, enhancing the 's exploration of moral decay. George and Busch's portrayals of the false princesses conveyed casual and undefined "true" selves, underscoring behavioral facades over deep , while Fuller's maid added to the victims' roster. These performances, filmed amid Stroheim's exacting direction, prioritized naturalistic interplay and predatory dynamics, though post-release cuts likely diminished some nuances.

Development

Script Origins

Erich von Stroheim conceived the script for Foolish Wives as an original screenplay, distinct from adaptations of pre-existing literature, following the completion of his 1920 film The Devil's Passkey. He pitched the project to founder as a tale of seduction and intrigue set in , expanding on motifs of and aristocratic explored in his earlier directorial efforts like Blind Husbands (1919). This narrative framework drew from von Stroheim's interest in European high society and moral corruption, themes he developed independently without reliance on novels or external sources. The screenplay is credited primarily to von Stroheim, who handled the story and scenario, with intertitles later adapted by Marian Ainslee and Walter Anthony to refine the silent film's textual elements. Unlike Blind Husbands, which von Stroheim adapted from his own The Pinnacle, Foolish Wives originated directly as a cinematic blueprint, allowing him greater latitude in scripting elaborate sequences of psychological tension and visual decadence. The title itself was selected to parallel Blind Husbands, signaling thematic continuity in critiquing gullible spouses ensnared by charismatic frauds, while von Stroheim envisioned a more opulent, multi-character ensemble. Von Stroheim's scripting process emphasized meticulous detail, incorporating authentic cultural references to Russian émigrés and locales to heighten realism, which foreshadowed the production's expansive scope and budgetary overruns. This authorial control reflected his auteurist ambitions at Universal, where he secured approval for the project in late 1920, positioning it as a prestige vehicle under the studio's Super-Jewel banner.

Pre-production Planning

Universal Pictures granted Erich von Stroheim significant autonomy in pre-production for Foolish Wives, building on his reputation from earlier directorial efforts, with an initial budget allocation of $250,000 to support his vision of a grand-scale depicting post-World War I European . Stroheim conceptualized the film as a multi-hour epic, initially planning a six-hour runtime intended for screening over two consecutive evenings to allow deep immersion in the story's themes of aristocratic intrigue and moral corruption in . This format defied prevailing industry norms for feature-length films, prioritizing artistic completeness over commercial expediency, though studio executives later resisted the extended presentation. Set design planning emphasized meticulous replication of Monaco's lavish locales, including the and villas, to evoke authenticity without the uncertainties of overseas . Stroheim opted to construct full-scale sets on the Universal Studios backlot in , a decision that facilitated precise control over visual details—such as ornate interiors and coastal facades—while avoiding logistical hurdles of filming on the . This approach reflected his commitment to realism, informed by personal observations of European , but foreshadowed budgetary overruns as custom builds demanded extensive resources from the outset. Casting focused on performers who could convey ethnic and social nuances central to the narrative of deception among expatriates and innocents. Stroheim selected himself for the lead role of the fraudulent Sergius Karamzin, emphasizing his own Austrian heritage to embody the character's continental cynicism. Rudolph Christians was chosen as the American envoy J. Hughes for his ability to portray bureaucratic naivety, while Miss DuPont (Katharine ) was cast as Hughes's vulnerable wife Helen, drawing on her experience in dramatic roles to highlight themes of seduction and folly. Supporting actresses Maude George and were enlisted as Karamzin's accomplices, their selections prioritizing performers versed in portraying manipulative femininity to underscore the film's critique of opportunistic elites. These choices, made amid Stroheim's insistence on authenticity, set the stage for a production marked by his exacting standards in wardrobe, props, and rehearsal preparation.

Production

Filming Process

for Foolish Wives began on July 12, 1920, and extended for nearly a year, concluding in June 1921, during which director captured an extraordinary 320 reels of negative footage. This voluminous material reflected von Stroheim's insistence on exhaustive coverage to achieve precise compositions and authentic performances, a method that prolonged the schedule far beyond initial expectations. The production recreated the opulent environment primarily through massive sets erected on the Universal Studios in , including detailed facades of the and plaza areas that mimicked the European resort's and atmosphere. Exterior sequences, intended to evoke the , were shot on in , utilizing coastal sites near Santa Cruz and for cliffside and seaside vistas, as well as urban scenes in to represent the principality's streets. Von Stroheim's perfectionist tendencies—demanding multiple takes for nuanced actor expressions and environmental realism—escalated production challenges, resulting in expenditures surpassing $1 million and testing Universal's tolerance for his autonomous creative control. Despite these strains, the approach yielded intricate visuals, such as authentically furnished interiors and period-accurate costumes, underscoring the film's commitment to immersive detail over expediency.

Locations and Technical Details

Principal photography for Foolish Wives took place primarily at Universal City Studios in , where director oversaw the construction of expansive sets replicating the opulent environment of on the backlot. These included full-scale facades and interiors for landmarks such as the Casino de Monte-Carlo, Café de Paris, and Hôtel de France, designed to evoke authentic European grandeur with meticulous attention to architectural and decorative details. Exterior sequences and supplementary sets were captured at State Natural Reserve along the coast, where a temporary replica was erected on Sea Lion Point to simulate coastal and cliffside scenes integral to the plot's climactic moments. This location choice leveraged the rugged terrain to stand in for the , with production crews transforming the area over several weeks in 1920. Technically, the film was produced as a silent black-and-white feature on 35mm , adhering to the orthochromatic standards of the era for high-contrast visuals suited to early cinema projectors. Cinematographers William H. Daniels and Ben F. Reynolds handled the , utilizing stationary and handheld cameras to frame the lavish interiors and dynamic exteriors, with an emphasis on deep-focus compositions to highlight von Stroheim's detailed set dressings and authentic props like real and champagne. commenced in July 1920 and extended through June 1921, amassing approximately 320 of negative footage—equivalent to over 60 hours of raw material—through a process involving multiple takes, reshoots, and on-set script revisions to refine salacious and narrative elements. The was the standard 1.33:1 for silent films, enabling wide compositions of the recreated European villas and gambling halls without modern adaptations. Actors performed in genuine period attire sourced from European imports rather than studio costumes, contributing to the production's realism but escalating costs through von Stroheim's insistence on .

Budget and Expenditure Issues

Foolish Wives was initially allocated a budget of $250,000 by for its production. However, under Erich von Stroheim's direction, expenditures ballooned to over $1 million, establishing the film as the first in Hollywood history to exceed that amount. This overrun was driven by von Stroheim's perfectionism, which prioritized extravagant authenticity over fiscal restraint, including the construction of massive sets replicating Monte Carlo's casinos and palaces on a hillside near Monterey at a cost exceeding $421,000 for sets alone. Filming began in July 1920 and dragged on for over a year, with von Stroheim amassing more than 60 hours of footage by mid-1921, far beyond initial projections. Additional costs arose from demands for opulent details, such as $60,000 spent on Parisian interiors mismatched to the locale, real and champagne props, and high-end costumes sourced for realism. These choices, coupled with production delays from von Stroheim's exacting methods and unforeseen setbacks, prompted studio intervention by , who curtailed shooting to contain further losses. Universal executives, frustrated by the unchecked spending, later pursued litigation over the excesses, highlighting tensions between artistic vision and commercial viability.

Post-production

Editing and Assembly

Following , undertook the of Foolish Wives using approximately 326,000 feet of , equivalent to over 320 reels. He spent the second half of 1921, including six months in the editing room, refining this material into an initial cut of 31 to 32 reels, which ran several hours in length—far exceeding conventional feature runtime expectations of the era. Universal Pictures executives, concerned with commercial viability and overruns, barred von Stroheim from further involvement in and reassumed control in December 1921. The studio reduced the film to 16 reels initially, then further to 14 reels (about 14,120 feet, or roughly 2.5 hours at standard projection speeds) for its New York premiere on January 11, 1922. This assembly prioritized narrative condensation, eliminating extraneous scenes to fit theater programming, though von Stroheim later described the result as a "skeletal" version of his vision. Subsequent adjustments arose from censorship demands, particularly from the New York State Censorship Board, leading to the excision of an additional four reels deemed morally objectionable, such as explicit content involving seduction and forgery. The final assembled print incorporated intertitles, tinting for atmospheric effects (e.g., amber for interiors), and a synchronized musical score cue sheet, though no complete original release version survives intact. These edits reflected broader industry tensions between artistic ambition and studio mandates for profitability, with Universal's interventions ensuring wider distribution despite von Stroheim's objections.

Censorship Challenges

The release of Foolish Wives was hampered by stringent requirements imposed by state boards, primarily due to the film's portrayal of , , and , which were deemed unsuitable for general audiences. In January 1922, following an initial screening, the New York Motion Picture Commission mandated additional deletions to excise objectionable content, reflecting concerns over the depiction of illicit relationships and the predatory actions of the , Karamzin. These cuts reduced the film's length and altered Stroheim's intended narrative emphasis on psychological intrigue and social vice. The Ohio State Censor Board outright rejected the film in early February 1922, classifying it as unfit for exhibition and upholding the ban despite appeals from Universal representatives, who argued for its . This decision was echoed in contemporaneous reports highlighting the board's view of the material as promoting psychopathic tendencies and immorality, leading to widespread distribution challenges in conservative regions. Such rejections underscored the era's fragmented censorship landscape, where state-level oversight often prioritized moral propriety over creative expression, forcing Universal to produce abbreviated versions—ultimately trimming the film from its original multi-hour cut to approximately ten reels for general release. Further modifications were required in other jurisdictions, with censors demanding excisions of scenes involving explicit sensuality and ethical lapses, contributing to the loss of significant footage that Stroheim had meticulously crafted. These interventions not only delayed the film's rollout but also compromised its thematic depth, as later restorations have attempted to infer original intent from surviving scripts and records, revealing how regulatory pressures distorted the director's vision of European preying on American naivety.

Release and Commercial Aspects

Premiere and Distribution

premiered on January 11, 1922, at the Central Theatre in , with a runtime of approximately three and a half hours, including a five-minute ; select sequences, such as flames in a fire, featured hand-applied red tinting. The premiere screening presented a 14-reel version, shortened from director Erich von Stroheim's longer assembly to meet the deadline, amid ongoing disputes. Universal Film Manufacturing Company handled distribution under its Super-Jewel production banner, with the film copyrighted on February 11, 1922. Marketed aggressively as "the first million-dollar movie," it targeted audiences with promises of lavish production values and exotic settings. A general release commenced on May 8, 1922, following the New York debut, though the distributed prints varied in length due to further edits imposed by the studio.

Box Office Results

Foolish Wives incurred production costs exceeding $1,000,000, marking it as the first film advertised as a "million-dollar picture," far surpassing its initial $250,000 allocation from Universal Studios. The overruns stemmed from director Erich von Stroheim's perfectionism, including extended filming and elaborate sets, which ballooned expenses during the 1921-1922 production. Despite generating audience interest as a commercial event and drawing crowds with its scandalous content, the film's high price tag ensured it failed to recoup its investment and turn a profit. This financial shortfall exacerbated conflicts between von Stroheim and studio executives, influencing future oversight of his projects.

Reception and Critical Analysis

Initial Critical Responses

Upon its New York premiere on January 11, 1922, at the Central Theatre, Foolish Wives elicited mixed critical responses, with reviewers often lauding its opulent production design and technical ambition while decrying its protracted runtime—initially 14 reels—and perceived moral licentiousness. The film's depiction of a fraudulent Russian count preying on vulnerable women in Monte Carlo settings drew accusations of sensationalism and indecency, positioning it as a provocative departure from prevailing cinematic norms. Mordaunt Hall's review in The New York Times on January 12, 1922, exemplified the ambivalence, portraying the as "a human beast of prey, an unbelievably contemptible rogue" and critiquing the narrative's emphasis on European vice corrupting American innocence, which some interpreted as a slur on national character. Similarly, other period commentators, including those in trade publications, condemned the story as an "insult to every American," particularly for illustrating the wife of a U.S. envoy succumbing to the count's schemes, thereby undermining ideals of marital and feminine virtue. Despite such rebukes, select voices appreciated von Stroheim's meticulous realism and the film's status as a "super-jewel" spectacle, the most costly production to date at over $1 million, though even admirers noted the challenge of its unhurried pace and episodic structure for general audiences. These initial reactions foreshadowed broader debates on artistic excess versus commercial viability, contributing to subsequent edits that reduced the runtime to approximately 12 reels amid pressures in various regions.

Stylistic and Technical Achievements

Foolish Wives exemplifies Erich von Stroheim's commitment to cinematic realism through elaborate production design, including life-size replicas of landmarks such as the casino, Café de , and Hotel de , constructed with such authenticity that they were opened for public tours. These sets incorporated genuine views and luxurious details, enhancing and allowing actors to perform in expansive, tangible environments that pushed the boundaries of early 1920s filmmaking resources. Cinematography featured extreme compositions in depth, high and low angles, natural lighting, and expressionistic contrasts with stark black-and-white patterns to underscore moral ambiguity and realism, often transitioning from vast public spaces to intimate private ones. Point-of-view shots and sensuous pans advanced the , immersing viewers psychologically by cutting between character close-ups and their focal points, a technique more sophisticated than contemporaries like . Editing, handled by Arthur Ripley from over 60 hours of footage originally spanning 30 reels, employed psychological sequencing to delve into character motivations, though initial versions suffered from arbitrary cuts emphasizing extraneous details before reductions to 10-14 reels for release. The film incorporated tints, tones, and hand-colored scenes to heighten atmospheric effects, contributing to its stylistic depth despite constraints. Stroheim's perfectionism extended to authentic costumes, props like real and champagne, masses of extras in crowd scenes, and nuanced performances emphasizing minute gestures and , collectively mitigating with post-World War I realism and influencing subsequent directors in achieving immersive detail. in further grounded the production in tangible locales, rare for the era, prioritizing empirical authenticity over studio artifice.

Thematic Elements and Interpretations

Foolish Wives centers on themes of and imposture, exemplified by the Count Sergius Karamzin, a fraudulent "Russian aristocrat" who fabricates his identity to prey on affluent victims in post-World War I . Karamzin's cons, involving forged documents and manipulated relationships, underscore the fragility of social facades and the ease with which class pretensions enable exploitation. This motif extends to his accomplices, such as the pseudo-cousins Olga and Countess , who collaborate in schemes blending financial gain with personal gratification, revealing a web of mutual deceit among the European elite. Greed and moral corruption propel the narrative, as Karamzin targets the neglected wife of American envoy Hughes, Helen, alongside other women, in pursuits driven by , , and insatiable desire for luxury. The film's lavish depictions of Monte Carlo's casinos and villas contrast the characters' opulent excesses with their underlying , critiquing debauched aristocrats and the who mimic them, often at the expense of "saintly innocents" like the manipulated figures in the story. Such elements culminate in ironic reversals, including Karamzin's ignominious disposal in a sewer, symbolizing the literal and figurative rubbish heap awaiting unchecked avarice. Seduction emerges as a dual motif of erotic magnetism and Gothic horror, with Karamzin embodying an aberrant, satanic seducer whose allure masks repulsive intent, as seen in tense encounters blending desire and menace. Interpretations highlight this as evoking sublime terror through disorienting settings—like stormy landscapes and cavernous interiors—and the protagonist's perverse , which repulses while captivating, aligning the film with Gothic traditions of intertwined with . on class tensions arises from these dynamics, portraying European aristocracy's decay against American newcomers' relative , though the moralistic denouement imposes Victorian-era judgment on without romanticizing the culprits.

Legacy and Preservation

Historical Influence

Foolish Wives (1922) marked the first motion picture to exceed a production budget of one million dollars, totaling $1,053,290.80, which demonstrated the viability of lavish, resource-intensive filmmaking and prompted studios to impose stricter oversight on directors' expenditures. This extravagance, including the construction of full-scale Monte Carlo sets in California and insistence on authentic props like real caviar and couture, prefigured the conflicts between artistic vision and commercial constraints seen in later epics such as Heaven's Gate (1980). The film's costly overruns, spanning 11 months of shooting and yielding 60 hours of footage later cut drastically, contributed to the evolution of the Hollywood studio system under figures like Irving Thalberg, who prioritized producer authority to mitigate such fiscal risks. Stylistically, the film advanced a "novelistic" approach to cinema, emphasizing intricate social and psychological textures akin to 19th-century literature, through techniques like high and low camera angles, natural lighting, and detailed character close-ups that invited viewer engagement over rapid montage. Erich von Stroheim's focus on verisimilitude—replicating European locales and class dynamics—challenged simplistic narrative formulas, blending comedy, tragedy, and realism in ways that influenced subsequent depictions of deception and high society. This method elevated silent film's potential for depth, foreshadowing psychological realism in sound-era works. The film's legacy extended to specific inspirations for later filmmakers; Jean Renoir cited it as a major influence on his early oeuvre, while its con artist protagonist and Monte Carlo intrigue echoed in films like Monsieur Klein (1976) and Paper Moon (1973). Von Stroheim's persona as a meticulous auteur further fueled cinephile admiration, impacting directors such as Peter Bogdanovich and Orson Welles, and underscoring Foolish Wives' role in establishing the director's cut as a contested ideal in film preservation debates. Its 2022 centennial restoration by the Museum of Modern Art highlighted enduring appreciation for these elements amid silent cinema's canon.

Modern Restorations

![Advertisement for restored Foolish Wives][float-right] The most significant modern restoration of Foolish Wives was completed in 2023 through a collaboration between the Festival and the , resulting in a 147-minute version mastered in . This effort incorporated elements from multiple archival prints, including a 35mm black-and-white print held by MoMA of an unreleased re-edited version, as well as international sources to approximate director Erich von Stroheim's intended cut more closely than prior editions. The restoration premiered in New York at MoMA on August 24, 2022, marking the film's centennial, and was subsequently released on Blu-ray and DVD by Flicker Alley, featuring original tints, hand-applied color in the fire sequence, and a new orchestral score. A precursor to this work, a 2013 restoration achieved a 142-minute runtime by combining domestic and foreign prints, though it remained shorter than the 2023 reconstruction. Earlier 20th-century attempts, such as Lennig's 1972 reconstruction from two prints, laid groundwork but were limited by available materials and technology. These modern restorations highlight ongoing archival efforts to recover von Stroheim's expansive vision, which original releases had severely truncated due to commercial pressures, with the 2023 version praised for its fidelity to surviving intertitles and visual elements.

References

  1. https://www.moma.org/calendar/film/5503
  2. https://www.silentera.com/PSFL/data/F/FoolishWives1922.html
  3. https://silentfilm.org/foolish-wives/
  4. https://www.altaonline.com/culture/movies-tv-shows/a7193/foolish-wives/
  5. https://obscurehollywood.net/foolish-wives-1922.html
  6. https://moviecrashcourse.com/2019/02/20/foolish-wives-1922/
  7. https://variety.com/1921/film/reviews/foolish-wives-1200409380/
  8. https://www.rogerebert.com/features/foolish-wives-erich-von-stroheim-moma-restoration-feature-2022
  9. https://www.sensesofcinema.com/2016/cteq/foolish-wives-erich-von-stroheim-1922/
  10. https://www.sensesofcinema.com/2016/cteq/foolish-wives-erich-von-stroheim-1922
  11. https://www.loc.gov/static/programs/national-film-preservation-board/documents/foolish_wives.pdf
  12. https://thehorseshead.blog/2019/06/05/365-foolish-wives-1922/
  13. https://villa-albertine.org/va/magazine/hollywood-and-french-riviera-revival-french-american-connection/
  14. http://www.filmreference.com/Films-Ey-Fo/Foolish-Wives.html
  15. https://www.silentera.com/video/foolishWivesHV.html
  16. https://martinturnbull.com/2020/06/17/the-monte-carlo-set-built-for-erich-von-stroheims-foolish-wives-on-the-universal-studios-backlot-universal-city-california-circa-1920-2/
  17. https://www.sfexaminer.com/culture/what-was-hollywood-s-first-million-dollar-movie-you-ll-have-to-go-to-the/article_73a61b34-99c4-595b-98f5-cb3a7eb153f9.html
  18. https://digitalcollections.library.ucsc.edu/Documents/Detail/foolish-wives/14950
  19. https://www.zekefilm.org/2013/03/12/film-review-foolish-wives/
  20. https://www.imdb.com/title/tt0013140/locations/
  21. https://blogs.scu.edu/pointlobos/chapter-6-sea-lion-point/
  22. https://www.dfi.dk/en/viden-om-film/filmdatabasen/film/20580
  23. https://shotonwhat.com/foolish-wives-1922
  24. https://bluray.highdefdigest.com/9271/foolish_wives.html
  25. https://www.heraldnet.com/life/see-the-million-dollar-movie-of-1922-at-historic-everett-theatre/
  26. https://festival.ilcinemaritrovato.it/en/foolish-wives-il-film-piu-costoso-della-storia-nel-1920/
  27. https://shadowsandsatin.wordpress.com/2023/12/16/more-than-max-erich-von-stroheim-and-foolish-wives-1922/
  28. https://www.popmatters.com/foolish-wives-von-stroheim-outrages
  29. https://festival.ilcinemaritrovato.it/en/proiezione/foolish-wives/
  30. https://www.classicmoviehub.com/facts-and-trivia/film/foolish-wives-1922/
  31. https://archivalspaces.com/2023/09/18/330-foolish-wives/
  32. https://silentfilm.org/preservation/foolish-wives/
  33. https://www.bfi.org.uk/london-film-festival/interviews/restoring-erich-von-stroheim-foolish-wives
  34. https://www.nytimes.com/1922/01/19/archives/change-foolish-wives-censors-order-further-deletions-in-the.html
  35. https://catalog.afi.com/Catalog/moviedetails/9149
  36. https://publish.iupress.indiana.edu/read/sexuality-in-the-movies/section/a8a10092-4e99-4617-948e-68dc57f9af24
  37. https://dokumen.pub/the-decline-of-sentiment-american-film-in-the-1920s-9780520941533.html
  38. https://torontofilmsociety.com/film-notes/foolish-wives-1922/
  39. https://thegoodsreviews.com/foolish-wives-1922/
  40. https://jonathanrosenbaum.net/2023/08/second-thoughts-on-stroheim/
  41. https://www.nature.com/articles/palcomms201782
  42. http://notcoming.com/reviews/greed
  43. https://quillette.com/2023/10/13/hollywood-autocrat/
  44. https://mediarep.org/bitstreams/d0422cea-2e99-460c-9236-fef84004a18d/download
  45. https://thecapsulecritic.com/2023/07/01/the-foolish-wives-restoration-another-triumph-for-flicker-alley/
Add your contribution
Related Hubs
User Avatar
No comments yet.