Erich von Stroheim

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Related to Erich von Stroheim: Billy Wilder, Gloria Swanson
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Noun1.Erich von Stroheim - United States film actor (born in Austria) (1885-1957)Erich von Stroheim - United States film actor (born in Austria) (1885-1957)
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
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Erich von Stroheim, the auteur of silent masterpiece "Greed," plays Desmond's unnervingly devoted butler/driver (and the sole source of her continued inbox of fan mail).
In the US, Erich von Stroheim offered Greed at four hours and D W Griffiths produced Intolerance and Birth of a Nation at three hours plus.
And he spoke a lot about Erich von Stroheim, and it was less The Wedding March than Erich von Stroheim [the film's director].
I'm reminded of Turner Classic Movies' 1999 ad copy for the premiere of a 239-minute version of Erich von Stroheim's Greed, lengthened by ninety-nine minutes of added intertitles and doctored production stills: "In 1924, Erich von Stroheim created a cinematic masterpiece that few would see--until now." But given the merchandising and consumerist frenzy attendant to all things collectible, which has even led to some of Orson Welles's unfinished films being canonized in "definitive" editions (e.g., the Criterion Collection's Complete Mr.
But even Watanabe is a mere bundle of evil traits compared to the developed personalities of commandants like Rauffenstein (Erich von Stroheim) in Grand Illusion (1937) and Saito (Sessue Hayakawa) in The Bridge on the River Kwai (1957).
The silent-film director Erich von Stroheim took the part of Max, Norma Desmond's butler and, we ultimately learn, her ex-husband.
The film, which stars Jean Gabin and Erich von Stroheim, is the story of captured French soldiers plotting their escape from a succession of German prison camps during WWI.
Griffith ("Intolerance"), Erich von Stroheim ("Greed") and especially King Vidor ("The Crowd") were simple and straightforward in essence.
But we also hear of Erich von Stroheim, who drove producers mad with his disregard for budgets.
Griffith, Abel Gance, Erich von Stroheim, and Fritz Lang, while also discussing the contributions of lesser known directors such as Louis Feuillade or Joe May.
Jacobs devotes separate chapters to each of her five film categories, and revisits certain familiar titles and filmmakers, like Erich von Stroheim's Greed (1924) and Charlie Chaplin's A Woman of Paris (1923); her analyses bring significant nuance to our understanding of their influence on subsequent films that also exploited naturalist and anti-sentimental techniques.