Erich Von Stroheim's "Greed"
Greed's Missing Hours
My article on "Greed's" missing pieces.
Greed Reconstructed
The six hour reconstructed version.
Background
On various aspects of the story and film.
Greed Picture Book
Stills and photos from "Greed" and Von Stroheim's career.
Links
Silents, Von Stroheim, Pitts, Norris, San Francisco, et al.
 | Erich von Stroheim's 1924 epic motion picture "GREED" |
Resurrection on Polk Street
by Michael MillsI have just seen the best American motion picture of the last 75 years, and though the amputated version always hinted at a lost masterpiece, the four hour virtual restoration of Erich von Stroheim's "Greed" is literally astonishing.
I didn't know what to expect, but after four hours I realized that MGM's 1924 version of "Greed" was only the rubble and debris of some magnificently opulent opus that had suffered some catastrophic explosion.
When you watch expect to be entertained. "Greed '99" is fresh and invigorating.
Story behind the Picture
In 1924 Erich von Stroheim was making "Greed" for Metro-Goldwyn when it became Metro-Goldwyn-Mayer. At the time studios had publicized von Stroheim as a wild European spendthrift and Lothario, and to top it, he was also WW I's ultimate un-American evil, "The Man You Love to Hate."
The new head of MGM, Louis B. Mayer, planned to standardize the business of making profitable Pictures. If mom and dad took the whole family to see his wholesome Pictures, the studio would make a lot more money, so "Greed" and von Stroheim were seen as unwanted stepchilden from a previous relationship.
Tensions rose while Von Stroheim worked on his film, and when he lobbied for a four-hour, two-part release, "Greed" was taken away from him. The studio quickly edited the footage and sent out a two-hour release.
Afterward, Mayer denounced the film as un-American, and von Stroheim denounced it as being unrecognizable from his original full-length version.
Only film enthusiasts saw the glimmers of greatness on the screen and the lost footage of "Greed's" missing hours has always been regarded as Hollywood's "Holy Grail."
The Process
In 1997 Rick Schmidlin found over 650 still camera photos that had been taken on the set of "Greed" during production. Many of them showed scenes that had never been seen on screen. Shortly thereafter he began work restoring the film to it's originally intended scope for Turner Broadcasting.
Schmidlin and his team merged the 1924 release and the still photos, and though the techniques they used were creative, the restoration was "by the book" --- actually by the script --- for they uncovered the "continuity screenplay," dated 31 March 1923. Ultimately, they restored "Greed" to mirror Erich von Stroheim's original intentions.
Technique
First they matched available photos and footage to the '23 script. Then they blended the live action and still photos together. The transitions are nearly seemless, and after a few minutes, you won't notice them because they're not static.
The camera irises in and out, or holds a tight close-up on a small detail of a photo. Sometimes it pans. Sometimes it tilts. Sometimes there are combinations of the above, but at all times the film keeps moving.
The restoration is a smooth blend of title cards, footage, stills and music, and where the narrative demands but where the '24 titles are lacking, prose from Norris' "McTeague" is used to propel the story.
Over and above this, the basic image quality of the '24 footage is clean, crisp and smooth. If this perception is overstated, then it's been my copies of the '24 release.
New Score
That brings us to the music, and this new soundtrack is a benchmark. Robert Israel composed four hours of soundtrack and conducted the work with a 60 piece orchestra in Europe.
Others better versed in musical nomenclature will write more about this in the future, but in a word it is "brilliant."
Certain passages are true to the 1920's, such as Doc and Marcus' day at the pier and the Sieppe family's parade to the park on Washington's birthday. And yes, Doc plays "Nearer My God To Thee" on his concertina. Other passages are timeless.
After Trina accepts Doc's marriage proposal, she stares and brushes her hair while a musicbox plays, and the small personal scenes between the story's romantic couples are colored by a delicate piano and violin.
The Israel score is at one time both understated and impressive. I know my talent will fall short describing its power, so I'll just say that this score is as rich and as genuine as the story and film it graces.
What's "New"
The big news is that the film is now double in length. "Greed-99" restores subplots and expands actions only hinted at in the early release. This version lets you see the world that swirled around the rooming house at 611 Polk where the main characters lived.
In "Greed-24" little Trina goes from waif to scrouge in the blink of an eye, and Doc's transformation from doltish oaf to drunken thug happens overnight. Now the full story, the "grind" as the title card says, can be seen.
The Old Grannis and Miss Baker romantic subplot is there, and I was absolutely stunned at what I saw when carpenters fitted a door between their adjoining rooms.
Maria Macapa's and Zerkow's tragedy is there in all it's madness and heartbreak. Finally, Caesar Gravina gets his romp in the graveyard with the golden dinner service, and Trina's discovery of the murdered Maria is a scene of absolute panic.
Beyond the major additions, there's a good look at Trina Sieppe with her family and Marcus' real character, as well as Uncle Oelbermann and the toy store.
All the residents of 611 Polk from Trina, to Marcus and McTeague, from Maria to Old Grannis and Marcus finally seem to at ease, to breath and fully come alive.
And keep your eyes peeled for the street fair's balloon seller. The little Austrian with the straw hat and California tan is, of course, Erich von Stroheim.
The Credits
The 1924 credits open the show, and the 1999 credits follow it. The latter are then followed by the restoration crew's credits.
Rick Schmidlin, producer, spearheaded the work and was aided by several passionate cinephiles such as Carol Littleton who served as editorial consultant on the film.
Editor Glenn Morgan was responsible for the transparent transitions within the film, and Robert Israel composed and conducted the fabulous music.
Film historian Richard Kozarski, a leading authority on von Stroheim, consulted on the film and kept an eye on authenticity and interpretation.
Kudoses to everyone who worked so hard on this historic restoration of this momumental film and the deepest thanks from Picture-goers everywhere to Turner Broadcasting without whom this recreation would still be a dream.
Film Archaeology
Finding the original "Greed" has long been the "Holy Grail" of the cinema, but secretly we all know that the "Grail" is unattainable. But now we have proof postitive that the shining object of our quest did in fact actually exist, if for only a brief moment, before the barbarians overran the studio gates.
I thought I knew "Greed," but now I know I was only imagining it. I read about the techniques, the new music and the mission to restore the film, but I was not prepared for this four hour film.
Now, I "see."
On the Air
The Turner Classic Movie premier of the four-hour restoration of Erich von Stroheim's "Greed" will be:
Sunday December 5th (1999) at 8pm/est. An encore presentation will be aired Monday December 6th at 12:30am/est. That means after the first viewing you have a half-hour until the next showing. Stay tuned through the credits till the final iris out. Then sip the last from your champagne glass.
For an indepth view of the restoration, you can read Richard Kozarski's article in the Nov/Dec '99 issue of "Film Comment" with Ben Afleck on the cover.
Thanks to all at Turner Classic Movies for making this all possible.
