Foolish Wives
Foolish Wives

Foolish Wives (1922)

6.4 ? Jan 11, 1922 2h 23m

Overview

A con artist masquerades as Russian nobility and attempts to seduce the wife of an American diplomat.

Genres

Drama Thriller

Release Date

January 11, 1922

Rating

6.4 /10

Runtime

2h 23m

Erich von Stroheim

Erich von Stroheim

Count Wladislaw Sergius Karamzin

Rudolph Christians

Rudolph Christians

Andrew J. Hughes

Miss DuPont

Miss DuPont

Helen Hughes

Maude George

Maude George

Princess Olga Petchnikoff

Mae Busch

Mae Busch

Princess Vera Petchnikoff

Dale Fuller

Dale Fuller

Maruschka

Cesare Gravina

Cesare Gravina

Cesare Ventucci

Malvina Polo

Marietta

Albert Edmondson

Pavel Pavlich

Mary Philbin

Mary Philbin

Crippled Girl (uncredited)

Nigel De Brulier

Nigel De Brulier

Monk (uncredited)

C.J. Allen

Albert I

Robert Edeson

Robert Edeson

Andrew J. Hughes

Agnes Emerson

Bit Role

Louise Emmons

Louise Emmons

Mother Garoupe

Harrison Ford

Harrison Ford

Armless Soldier

Mrs. Kent

Dr. Judd's Wife

Edward Reinach

Secretary of State of Monaco

Louis K. Webb

Dr. Judd

CinemaSerf avatar

CinemaSerf

6.0/10

Jul 06, 2022

It's a soap. Despite all the associated history of cuts, recuts and restoration it is still just a beautifully photographed soap opera. Erich von Stroheim did just about everything in this entertaining, if a little too cyclical, tale of a cad. That cad "Count Sergius Karanzim" (EVS) parades around the Côte D'Azur luring unsuspecting (wealthy) women to his rented villa in which he, with his two "cousins" (Maude George & Mae Busch as the Princesses "Petchnikoff") fleeces them relentlessly. For quite a while his charm, wit and guile provides them with a good living until he aims a little too high with the wife of an American diplomat in Monte Carlo. "Mrs. Hughes" (Miss Dupont) and her husband (Rudolph Christians) may well be about to put a spoke in the wheel of these confidence tricksters. It's good fun, this, with Von Stroheim eminently convincing as the con man and DuPont equally effective as his ditzy mark. The production is maybe a bit static, but at 100 years old, it is still delivered in a fashion that shows off the Mediterranean scenery whilst aiming one squarely between the eyes of the vacuous, riche, clientele who assumed their excesses of funds were adequate compensation for their gullibility, stupidity and naivety. It sags from time to time, so I am not hugely shocked that this original 21 reeler was scaled back somewhat. What we have here, though, still have flows well enough with succinct inter titles that are, at times, quite witty too. I am not sure I would ever bother to watch it again, but I am glad that I did. You can see here the template for so many films that followed.

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