Motion Picture News (Jan-Feb 1922)

January 21, 1922 599 Universal9 s “Foolish Wives , 99 Premiere in New York City Central Theatre Jammed to Doors at First Showing of Picture BEFORE an audience which crowded the capacity of the Central theatre, the Universal “ over-a-million-dollar ” production of “ Foolish Wives,” over eighteen months in the making, was presented for the first time the night of January n. A typical Metropolitan audience, critics, first nighters, society, stage and screen celebrities, and an admixture of bank officials and politicians attended. The length of the picture, 14 reels, convinced Andrew J. Cobe, manager of the Central theatre, who made the presentation, that it would be foolhardy to take up any time in preliminary flourishes or ■ atmospheric effects. Twenty bars of ; music, from the 35-piece orchestra under the direction of Frank Cork, was the only prelude to the presentation of this fortune in celluloid. All of the supporting evidence and contributory effort was carried in a neat little program which gave all of the information which any audience could desire, without taking up screen footage. Incidental music had been especially composed for the picture by Sigmund Romberg, composer of “Bombo,” “Blossom Time,” “Maytime” and all the Winter Garden Passing Shows since that of 1914, Prominent in last night’s gathering was Maude George, who plays one of the leading roles in the picture. Miss George came to New York especially for the opening performance, as did Mr. and Mrs. Von Stroheim. Another trans-continental first-nighter was Miss Florence Fawrence, 1 the critic of the Los Angeles Examiner, tand one of the best known and most religiously followed critics of the silent drama. Sitting in the back of the theatre where he could, unobserved, watch the reaction of the audience to his most tremendous undertaking, a fortune at stake which would have daunted the captain of any industry, Carl Laemmle, president of the Universal and the most confident man in The house. Although few saw him enter his position was conspicuous as the lights went up and he received the overwhelming congratulations of the entire aisle. On account of the tempestuous nature j of the weather the brilliant audience ' which attended the opening was unable to appreciate to its full the elaborate lobby i display and ingenious decorations which shad been designed by Mr. Cobe and Harry Reichenbach. On either side of the entrance were striking panels with the name “Foolish Wives” in raised letters in imitation of white gold. Over the centre of the doorway were paintings of four of the principals — Maude George, Erich von j Stroheim, Miss du Pont and Mae Busch and directly beneath them an ingeniously “A Monumental Symbol of Film Progress” THE long heralded million dollar production has arrived. Erich von Stroheim’s stupendous picture, “ Foolish Wives,” upon which will be lavished encomiums of the highest praise, certainly brings fitting tribute to Universal for its ambition to build a monumental milestone as a symbol of film progress. The producers have given the gifted director a free hand, knowing his skill and realizing that he would not misuse the generosity showered upon him. Mr. Stroheim has achieved a spectacular and daring — production — one that not only lives up to its extensive advertising as far as expenditures are concerned, but which more than justifies the confidence that Universal has placed in him. Accuracy and detail— detail and accuracy — have seemingly been his slogans. The world’s playground, Monte Carlo, is reproduced in dazzling color and fascinating atmosphere. Against this romantic background surging with life and passion, there shapes a drama as old as the world itself — a drama which the director has embroidered with intricate patterns. The battle of the sexes is dominant, with the god of the machine played by Mr. Stroheim himself. And beneath it all is a subtle lesson in morals. The director is a born story teller. He knows character, situation and climax. And he weaves his pattern with not a thread missing. He plays on the heart strings of sympathy like a Heifetz. Like Belasco he strives for artistic effects always, yet never missing an opportunity to achieve stark realities. A fraud, a strutting puppet, a moron, his sole ambition the conquering of feminine hearts, he makes this figure a vivid, uncanny Mephistofeles. Can he direct? Follow him from the moment that he adjusts his monocle in the breakfast scene, through his philandering situations with the impressionable wife and the moments when he achieves astonishing climaxes and vivid flashes of Monte Carlo life with the Casino, the Promenade and the cafes in all their exciting color, to the hour that he meets an ignominious death and you will appreciate his dramatic gifts. Minute details are everywhere — all embellished with a continental flavor. It is a kaleidoscope of throbbing life. The fire scene has been superbly executed. Pictorially there is a place for everything and everything is in place. Soft focus, night photography — the technical details — these are eloquent. The acting of Maude George is suberb in its suggestion of feminine whim and fancy. “ Foolish Wives! ” Indeed a million dollar production. — LAURENCE REID. contrived miniature representation of the big gambling scene with the roulette wheel electrically operated and the figures around the gambling table. These figures are electrically controlled to imitate the placing of bets on the green cloth and the croupier clearing the table at each turn of the wheel. Inside the lobby were huge picture frames with real paintings set deep in frames illuminated with two color lights in a shadow box effect. The six paintings on either side of the lobby took up virtually the entire wall space between the inner doors and the animated casino scene. Several of the paintings were so designed as to give actual depth and definition to the picture. For instance, the 'scene in which von Stroheim crawls up the outside of the chateau and looks in the window discloses in the interior a practical chair with the discarded habiliments of the occupant of the room thrown over it in disarray. Another striking feature and the only one which was allowed to obtrude itself upon the gaze of the first-night audience was the inspiring stage setting which had been designed by Gates & Morange under the orders of Mr. Cobe. Among those in attendance were : Mrs. W. K. Vanderbilt, Murray Hulbert, President of the Board of Aldermen ; Thomas J. Drennan, Fire Commissioner of New York; Charles H. Sabin, President Guaranty Trust Co.; Eli Bernheim, President of Columbia Bank; M. J. Fox, Vice-President Columbia Bank; Rupert Hughes, Miss jeannie McPherson; Lee Shubert; John Barrymore; Rev. Stephen S. Wise; Hon. E. C. Knight, former State Controller, Mayor of Buffalo; Judge Geo. W. Simpson; Jules E. Brulatour; Dr. and Mrs. B. Sour; P. A. Powers; Nicholas Schenck; Geo. W. Fraker, Vice-President National City Bank; Miss Elizabeth Marbury ; Senator Geo. H. Cobb ; William A. Johnston, President of the Motion Picture News; Messmore Kendall ; Isadore Witmark ; Carl Laemmle, President of Universal ; R. H. Cochrane, Vice-President of Jniversal ; Julius Stem, 2nd Vice-President of Universal ; Judge Corrigan; S. W. Strauss; Dr. B. Prusik, Consul General of CzeclioSlovakia; Arthur Robitschek of International Filmschau, Prague; Magistrate Max Levine; James W. Gerard, ex-ambassador to Germany; John Harriss, deputy police commissioner; Dr. Carl Simon, deputy police commissioner; B. Herman Ridder; E. H. Goldstein ; Miss Hope Hampton ; Geo. D. Gould, Managing Editor of Motion Picture News; J. Dannenberg ; J. Alicote ; Robert H. Davis ; Theodore C. Deitrich ; Lawrence Gilman ; Siegfrid Hartman ; W. W. Hawkins of the U. P. ; Julian Johnson; S. Jay Kaufman; Florence Lawrence of Los Angeles Examiner; George Henry Payne of the Forum; James W. Quirk of Photoplay; Marion Russell of the Billboard; George Grantham Bain; Eugene Brewster; Mr. and Mrs. B radish J. Carroll ; Edna Woolman Chase of Vogue: J. D. Williams of First National; William H. Woods, vicepresident National City Bank ; Special Deputy Police Mrs. John M. Shaw; Nathan Burkan; Max Spiegel; Delight Evans of Photoplay ; James I. Clarke, vicepresident National Bank of Commerce; Oscar Lynch; Ritchie Litho. Co. ; H. E. Benedict, associate of F. A. Vanderlip; Hiram Abrams: E. B. Hatrick; H. H. Moore of Montreal Star ; Charles Steiner ; Louis Froelich of Asia Magazine; Frederick H. Elliott of the National Association; Albert H. T. Banghof; Sidney Cohen ; Adolph S. Ochs ; C. F. Zittel ; Harry Raph of Warner Bros.; Harford Powell, editor of Colliers; Ernest Lubitsch ; Alfred Rachman ; Benj. Davidson ; Miss Elsie DeWolfe; William Brandt; Mabel Ballin and Hugo Ballin; Arthur James; L. W. Boynton; J. S. Spargo; J. M. Landower; M. I. D. Einstein; Sam Goldwyn; Sigmond Romberg, composer; Tom Cochrane of Tokyo ; Mrs. Christopher Marks, president Theatre Assembly ; Mr. and Mrs. Stanley Hedges ; P. J. Morgan of Morgan Litho. Co. ; Fritz Tidden ; P. Davidson ; George Wallace, of the Central Union Trust Co.; K. A. Bickel of the United Press; Mr. and Mrs. Louis Zelazo. Among the prominent exhibitors who were present were William Fox, S. A. Rothafel, Joe Plunkett, Ed. Bowes and Mrs. Bowes, Margaret Illington, B. M. Moss, J. M. Springer of the Symphony theatre; Mr. and Mrs. Tom Moore of the Rialto theatre, Washington; Mr. and Mrs. Harry Asher of Boston; Mr. and Mrs. David Stoneman of Boston; Mr. and Mrs. J. Lurie of Boston ; Mr. and Mrs. Morris E. Felt of Philadelphia ; Mr. and Mrs. David Bortin, of Felt Bros., Philadelphia; Mr. and Mrs. S. Barrett McCormick of Cleveland ; Mr. and Mrs. Harry Hart, Butterfly theatre, Milwaukee; Doc. Horator and Jack Gardner of Pantheon theatre, Toledo; and Frank Newman of the Newman theatre, Kansas City.