Cynicism and nastiness only go so far with me, I get bored of it. The Stroheim project seems one of delighting in horrifying housewives ("Oh, that awful man!"). Which sort of thing is not really aiming very high artistically, is it? Yet it's hard to argue with filmmaking this good. And the film is funny in its ironic, mean-spirited way. The snippet from the novel Foolish Wives by one Erich von Stroheim is priceless.
this film has a SATANIC ENERGY coursing through it that intoxicates the viewer and it just feels like one of the most decadent pleasures in the world to be watching these people sin in a decaying mansion by the riviera before your eyes…one of the first silents i saw and it is a Favorite Forever
Determinada desde el inicio por la búsqueda sin sentido de la libertad para poder satisfacer el deseo y a la vez encontrar la nobleza en lo ajeno. Filmada en una era donde ser libre, blanco y mayor de edad era la mejor esperanza de vida que alguien podría tener. Ingenua.
En su versión de 145', presentado como un 50% de su extensión original, "Esposas frívolas" asoma escenas que tal vez sean necesarias, pero que no dejan de otorgarle a la película un ritmo que se siente alargado. Von Stroheim relata una historia que cruza la comedia sofisticada, el romance y el drama. Dos personajes a valorar: el hombre "descortés" y la sirvienta enamorada.
The early scene in Foolish Wives is a real marvel. It is so packed with incident, has so many shifting foci of attention (emblematic of the narrative’s multiplicity: Karamzin, Monte Carlo, marriage, nature vs Monte Carlo, appearance and reality: is there a center?) – Karamzin, the maid, the setting, the sea, the Petchnikoffs, the counterfeiter, the breakfast – is so hard to take in at once that (contd in comment)
It's not as engaging as I'd hoped it to be, but there is some things that amaze me. It's obviously long and a little bit slow-paced but not boring at all. And then, actors aren't so expressive as they usually are in silent movies. Stroheim films their subtle and natural gestures and even without big help of subtitles gives a good impression of what's going on there. Great experience, even in spite of a silly plot.
Has anyone ever been as drunk on cinema as Stroheim here? Daring in so many ways, this was almost certainly a profound masterpiece in its original form, but the "skeleton" that remains begs a bit of research and a dose of imagination in order to conjure that vision. Plenty of great filmmaking is intact, but the film as it exists now defies full appreciation under casual viewing.
There's some really fantastic filmmaking here. That's what I love about the silents, such a wide ground for brewing up these very dreamy and deep worlds in ways that even the best (and most illusory) CGI still cannot compare to this day. It's a disgrace von Stroheim's films suffered butchery the way they had, as we my have maintained a greater degree of appreciation for such rich, sprawling pieces to this day.
Overlong but never boring third film from Von Stroheim. A trio of Russian shysters posing as nobility in Monte Carlo pick an American couple as their next cover/conquest with disastrous results. Von Stroheim's performance as Count Karamzin is quite affecting as is his visual sense as a filmmaker well captured here by dp(s) Daniels and Reynolds. An interesting curio.
Very entertaining, more than a bit silly. As always with von Stroheim, there's good lively grotesquerie and some real darkness poking through the decadent veneer. A fine performance from Ms. Dale Fuller presages von Stroheim's triumph with Zasu Pitts a few years later.