Erich Oswald von Stroheim

Erich von Stroheim (September 22, 1885 – May 12, 1957) was an Austrian-born film star of the silent era, subsequently noted as an auteur for his directorial work.

Background

Stroheim's most recent biographers, such as Richard Koszarski, say that he was born in Vienna, Austria in 1885 as Erich Oswald Stroheim, the son of Benno Stroheim, a middle-class hat-maker, and Johanna Bondy, both of whom were practicing Jews.

Stroheim emigrated to America at the end of 1909.[3] On arrival at Ellis Island he claimed to be Count Erich Oswald Hans Carl Maria von Stroheim und Nordenwall, the son of Austrian nobility like the characters he played in his films, but both Billy Wilder and Stroheim's agent Paul Kohner claimed that he spoke with a decidedly lower-class Austrian accent. However Jean Renoir writes in his memoirs: “Stroheim spoke hardly any German. He had to study his lines like a schoolboy learning a foreign language.” Later, while living in Europe, Stroheim claimed in published remarks to have "forgotten" his native tongue.

Stroheim was a great fantasist and his authorized biography contains many factual errors.

Film career

By 1914 he was working in Hollywood. He began working in movies in bit-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 came in Old Heidelberg.

He began working with D. W. Griffith, taking uncredited roles in Intolerance. Additionally, Von Stroheim acted as one of the many assistant directors on Intolerance, a film remembered in part for its huge cast of extras. Later, he played the sneering German in such films as Sylvia of the Secret Service and The Hun Within. In The Heart of Humanity, he tore the buttons from a nurse's uniform with his teeth, and when disturbed by a crying baby, threw it out of a window.

Following the end of World War I, Stroheim turned to writing and then directed his own script for Blind Husbands in 1919. He also starred in the film. As a director, Stroheim was known to be dictatorial and demanding, often antagonizing his actors. He is considered one of the greatest directors of the silent era, representing on film his by turns cynical and romantic views of human nature. (In the 1932 film The Lost Squadron Stroheim played a parody of himself as a fanatic German film director making a World War I movie who orders extras playing dead soldiers to "Stay dead!")

His next directorial efforts were the lost film The Devil's Pass Key (1919) and Foolish Wives (1922), in which he also starred. Studio publicity for Foolish Wives claimed that it was the first film to cost one million dollars.

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

Probably Stroheim's best remembered work as a director is Greed, a detailed filming of the novel McTeague by Frank Norris. He originally started it as a project with Samuel Goldwyn's Goldwyn Pictures. Stroheim had long wanted to do a film version of the book. He originally intended it to be a highly detailed reproduction of the original, shot mostly at the locations described in the book in San Francisco and Death Valley. The original print ran for an astonishing 10 hours. Knowing this version was far too long, Stroheim cut out almost half the footage, reducing it to a six-hour version to be shown over two nights. It was still deemed too long, so Stroheim and director Rex Ingram edited it into a four-hour version that could be shown in two parts.

However, in the midst of filming, Goldwyn was bought by Marcus Loew and merged into Metro-Goldwyn-Mayer. After rejecting Stroheim's attempts to cut it to less than three hours, MGM removed Greed from his control and gave it to head scriptwriter June Mathis, with orders to cut it down to a manageable length. Mathis gave the print to a routine cutter, who reduced it to 2.5 hours. In what is considered one of the greatest losses in cinema history, a janitor destroyed the cut footage.

The shortened release version was a box-office failure, and was angrily disowned by Stroheim. In particular, he blamed Mathis for destroying his pet project, since she was credited as a writer due to contractual obligations. However, Mathis had worked with Stroheim before and had long admired him, so it is not likely she would have indiscriminately butchered his film. The film was partially reconstructed in 1999 by Producer Rick Schmidlin, using the existing footage mixed with surviving still photographs, but Greed has passed into cinema lore as a lost masterpiece.

Stroheim followed with a commercial project, The Merry Widow (his most commercially successful film) and the more personal The Wedding March and the now-lost The Honeymoon.

Stroheim's unwillingness or inability to modify his artistic principles for the commercial cinema, his extreme attention to detail, his insistence on near-total artistic freedom and the resulting costs of his films led to fights with the studios. As time went on he received fewer directing opportunities.

In 1929, Stroheim was dismissed as the director of the film Queen Kelly after disagreements with star Gloria Swanson and producer and financier Joseph P. Kennedy over the mounting costs of the film and Stroheim's introduction of indecent subject matter into the film's scenario.

After Queen Kelly and Walking Down Broadway, a project from which Stroheim was also dismissed, Stroheim returned to working principally as an actor, in both American and French films. He appeared as a guest star in the 1953 anthology drama television series Orient Express in the episode entitled The Man of Many Skins.

Working in France on the eve of World War II, Stroheim was prepared 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. Max Cossvan was to produce the film for Demo-Film. The production was prevented by the outbreak 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 Billy Wilder's Sunset Boulevard (1950).

For the latter film, which co-starred Gloria Swanson, Stroheim was nominated for the Academy Award for Best Supporting Actor. Excerpts from Queen Kelly were used in the film. The Mayerling character states 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 agree that Stroheim was indeed one of the great early directors. Stroheim's character in Sunset Boulevard thus had an autobiographical basis that reflected the humiliations suffered through his career.

Stroheim was married three times. Though he was never divorced from his third wife Valerie Germonprez, he lived with actress Denise Vernac, who had worked for him as his secretary since 1938, from 1939 until his death. Vernac also starred with him in several films. Two of Stroheim's sons eventually joined the film business: Erich Jr. (1916–1968)(with Mae Jones) as an assistant director and Josef (1922–2002)(with Valerie Germonprez) as a sound editor.

Stroheim spent the last part of his life in France where his silent film work was much admired by artists in the French film industry. In France he acted in films, wrote several novels that were published in French, and worked on various unrealized film projects. He was awarded the French Légion d'honneur shortly before his death in 1957 in Maurepas, France at the age of 71.

Quotes

"Lubitsch shows you first the king on the throne, then as he is in the bedroom. I show you the king in the bedroom so you'll know just what he is when you see him on his throne."

"If you live in France, for instance, and you have written one good book, or painted one good picture, or directed one outstanding film fifty years ago and nothing else since, you are still recognized and honored accordingly. People take their hats off to you and call you "maître". They do not forget. In Hollywood—in Hollywood, you're as good as your last picture. If you didn't have one in production within the last three months, you're forgotten, no matter what you have achieved ere this."

Source: Wikipedia,Selected Filmography

Motion Picture Director. The son of a Jewish straw hat maker, he arrived in New York in 1909. During the voyage, he re-invented his origins as "Erich Oswald Hans Carl Maria von Stroheim," son of a German Baroness and an Austrian Count and a graduate of the Military Academy at Wienerneustadt. Early in his life in America, he took a job as a traveling salesman, ending up in San Francisco when the company ran out of money, stranding him there in 1912. He soon met his first wife, Margaret Knox, who taught him language and literature and encouraging him to write. They married a year later, in 1913, but divorced in 1914. He was fascinated by films being made in Hollywood to the south and soon was working on the D.W. Griffith film "Birth of a Nation." Around 1915, he married Mae Jones, a seamstress and dressmaker in Hollywood. The marriage was brief, but produced one son, Erich von Stroheim Jr. Remembered by Griffith, von Stroheim was asked to work for the great director in "Intolerance" as bit actor and assistant director, supervising segments of the crowd during mass action scenes in the film. He would eventually grow from this beginning to become a highly praised and brilliant director and actor, working with Norma Talmage, Douglas Fairbanks, Clara Bow, Valentino, and other greats of the Silent Era. "Foolish Wives" is one of his first masterpieces, cost over $1,000,000, a staggering amount for a motion picture at the time. His second son was born about this time. His reputation soon began to be that of "excessive" and he worked less and less as a director, since studio bosses thought he was far too expensive in his tastes. 1925's "Greed" is considered his masterpiece. In its original version, it was a 9-hour narrative of the novel "McTeague" by Frank Norris. The studio cutting it down to less than half that, and barely 2 hours were left. In 1928 Erich von Stroheim was hired by Gloria Swanson to direct a film. The film, "Queen Kelly," was written by von Stroheim and featured Swanson as an orphan who is seduced by the Queen's fiancée. As filming progressed, and the storyline grew darker, Swanson walked off the set and von Stroheim was fired. 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. Notable were roles in Jean Renoir's "Grand Illusion" and Billy Wilder's "Five Graves to Cairo." Ironically, he is best remembered by contemporary audiences for a supporting role in the 1950 Billy Wilder film, "Sunset Boulevard," playing "Max," a faded movie director-turned-servant to Gloria Swanson's character Norma Desmond. (bio by: [fg.cgi?page=mr&MRid=46541152" target="_blank Christian)]

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