Synopsis
The Film of Films
A lottery win of $5,000 forever changes the lives of a miner turned dentist and his wife.
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Greed
Cast
Gibson Gowland Zasu Pitts Jean Hersholt Dale Fuller Tempe Pigott Sylvia Ashton Chester Conklin Joan Standing Jack Curtis James F. Fulton Florence Gibson Cesare Gravina Frank Hayes Austen Jewell Tiny Jones Lillian Lawrence Hughie Mack Jack McDonald Fanny Midgley Lon Poff S.S. Simon Erich von Ritzau Erich von Stroheim James Wang Max Tyron
Director
Producer
Writers
Original Writer
Editors
Cinematography
Assistant Directors
Executive Producer
Camera Operators
Production Design
Art Direction
Set Decoration
Title Design
Composers
Studio
Country
Language
Alternative Titles
Gier, Avaricia, Rapacità, Ingordigia, Ouro e Maldição, 그리드, 탐욕, Les Rapaces, Avarícia, Greed - Gier nach Geld, Алчность, Алчност, Chciwość, Жадібність, 贪婪, グリード, Den giriga, Gyilkos arany
Genres
Themes
Releases by Date
Theatrical
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USANR
26 Jan 1925
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USA
17 Feb 1925
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UKPG
30 Nov 1925
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Sweden15
Releases by Country
Sweden
30 Nov 1925
- Theatrical15
UK
17 Feb 1925
- TheatricalPG
USA
04 Dec 1924
- TheatricalNR New York City, New York
26 Jan 1925
- Theatrical
Popular reviews
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Not much to add from what I had here before, from the last time I watched it (5 years ago! Wow!) only that this film has grown to be only more terrifying to me in its relentless, Darwinian vision of the world. Turn of the 20th Century American life as completely grotesque - it's very blatantly obvious to me now why everyone hated this movie in 1924. A completely detached and disgusted portrayal of human life running on base impulses, impulses to the point where you even lose your relationship to reality. As a side thing, I still like Irving Thalberg's theatrical cut the most - it's not like his editing kept the film from being called one of the…
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Written and directed by Erich von Stroheim, from the Frank Norris novel McTeague, Greed gives an early cinematic vision into the inherent monstrosities often found within the soul of humanity. It regrettably survives now only as a two hundred and thirty-nine-minute reconstruction with still images, from its original length of over nine hours. Still, even in this jigsawed version, the visuals and storyline create a considerable impression which is unceasingly melancholic in its illustration of moral unpleasantness between its meticulously observed characters after a surprise lottery win motivates unfavourable consequences.
Von Stroheim communicates a great deal of information with his visual style, and he had enough faith in his audiences to allow them to deduce things for themselves without having…
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not sure if the 9 hours cut down to 4 hours cut down to 2 hours doesn't show, leaving quite a few question marks. lots of intertitles necessary, the pacing runs in a marathon against what used to be there and what has to be delivered now. von Stroheim himself apparently said what's left over here is only the skeleton of the baby corpse of what used to be his film. then again knowing about the severe studio interference creates possibly a massive bias from the get go.
anyway I should still like this nihilistic, grim tale much more than I do. maybe I've seen too much cinema of dread from all of those 100yrs in between this and today,…
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This is based on the 2 hour, 20 minute theatrical version, not Rick Schmidlin's 4-hour "restoration" made for a seeming unwillingness to read picture-books and furthermore fails to credit the original compiler of those images and the work itself: Herman G. Weinberg and his book "The Complete Greed."
Let's not talk about what it could have been or might have been, lets talk about what is, these miraculous remains which so inspired Renoir and Sternberg, these remains which Griffith and Eisenstein called one of the greatest of all films. I'll note that that these remains do not include a barrage of publicity stills with endless zooms and fades, which do more to distance us from the rhythm Stroheim created, giving…
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'Nihil tam munitum quod non expugnari pecunia possit.'
(Nothing is so strongly fortified that it cannot be subdued by money.) - CiceroWith all due respect for Erich von Stroheim's unworldly dedication to this project, I hold that Greed lacks the one component which hinders it from becoming the timeless masterpiece other magna opera of the decade such as Metropolis or La Passion de Jeanne d'Arc have undoubtedly become. That element is subtlety. While the subject of Stroheim's movie is unquestionably brutal and his scenes ooze dark runnels of corruption and avarice in their didactically simple framework, I can't help but feel that his direction ultimately lacks the delicate finesse Lang and Dreyer infused their every scene with. Juxtaposing this…
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The point is, ladies and gentleman, that Greed (1924), for lack of a better word, is good. Greed is right, Greed works. Greed clarifies, cuts through, and captures the essence of the evolutionary spirit.
Erich von Stroheim's Greed is a mythical movie. Cut down from over 9 hours, I had to settle with the 4 hour reconstruction. Yet I am so glad to even see it in this form. No other silent film is as comprehensive on the nature of human existence and the fundamental underpinnings of all social and personal interactions.
This is the film of someone who would save a bird but kill a man. Men are ruined by their greed and their need for money.…
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What a stunning epic. I have downloaded the four hour version, with the still photography sections, and it is amazing. I weep for the lost 8-hour version. I recall when I first heard about this film, the idea of an 8-hour film stunned me; I could not fathom sitting through something like that. Satantango, Out 1, and Hitler: a Film From Germany (yes, I am bragging) later, and I yearn for it with all of my heart and soul.
Greed is rather bluntly titled and portrayed here. A large man named McTeague becomes a dentist without a license, marries his best friend's girlfriend, and gets ruined despite his wife's lottery winnings. What follows is a three-plotted depiction of how greed…
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100th Anniversary screening at the 102 year old Egyptian theater with an amazing live score. One of the great American tales, its influence on everything from Treasure of the Sierra Madre, There will be Blood to this years The Brutalist. The wedding, the Christmas & the final scene are still amongst the greatest put on screen all these years later. Such was McTeague….
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Film #7 of Project 20
”I got her!"
Four hours of glory and grandeur, that’s all I can say about Erich von Stroheim’s epic masterwork, Greed. If you think it is long then you should know that von Stroheim’s original work was around 9 and half hours (he seemingly liked to make movies with gigantic run-times, his 1922 film Foolish Wives was over seven hours) but later the studio trimmed it to only 140 minutes and the rest of the film is completely lost (the lost footage of this film is called the “Holy Grail” of film history) and the restored 4 hour version contains lots of frozen images which seem to be the only remaining parts of what studio…
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stroheim is the incipient martyr of the cinema, the aesthetic granddaddy of von sternberg, orson welles, sam peckinpah, michael cimino, zack snyder, and all other artists whose masterworks were compromised or destroyed by the money-grubbing ignorance of hollywood. we should be so thankful that he overshot the mark by making a 10 hour epic, which allowed all who came after to seem relatively modest in comparison -- except lav diaz, who regularly makes stroheim-esque films as a matter of habit.
beyond thalberg's butchery, greed's excessive literalism reads as a sort of elliptical version of eisenstein, most of the work excised down to a simple story of man being governed by 'mysterious instincts' which stroheim substitutes for 'material conditions' -- the…
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Keep in mind that Greed's recent reconstruction was an attempt to revive as much of the story as possible, given the initial ambitions by Stroheim to ask from the audience to sit for 10 hours to witness his masterpiece. Although the intentions are honorable and the result definitely offers a deeper insight for hardcore fans, it should not be a first-timer experience. You should see what nowadays remains filmed instead of constant interruptions that make you walk through the alleyways of a visual museum.
How ironic is the fact that Stroheim's main idea does not only still applies to nowadays life circumstances, but applies even more accurately than before. Material richness and greed will always be there unless a general…
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