Ochko'zlik (1924 film) - Greed (1924 film)

Ochko'zlik
Greed3.jpg
Teatrlashtirilgan plakat
RejissorErix fon Stroxaym
Tomonidan ishlab chiqarilgan
Ssenariy muallifi
AsoslanganMcTeague
tomonidan Frank Norris
Bosh rollarda
Musiqa muallifiUilyam Axt
Kinematografiya
Tahrirlangan
Ishlab chiqarish
kompaniya
Goldvin kompaniyasi - Metro-Goldvin
TarqatganMetro-Goldvin-Mayer
Ishlab chiqarilish sanasi
  • 1924 yil 4-dekabr (1924-12-04)
Ish vaqti
  • 9 soatdan ortiq
    (birinchi kesish)[1][2]
  • 140 daqiqa
    (asl nusxasi)[2]
  • 239 daqiqa
    (qayta qurish)
MamlakatQo'shma Shtatlar
Til
Byudjet$665,603
Teatr kassasi$274,827

Ochko'zlik 1924 yilgi amerikalik jim drama filmi yozgan va boshqargan Erix fon Stroxaym va 1899 yilga asoslangan Frank Norris roman McTeague. Yulduzlar Gibson Govlend doktor Jon McTeague sifatida, ZaSu Pitts Trina Sieppe, uning rafiqasi va Jan Xersholt McTeague-ning do'sti va oxir-oqibat dushmani sifatida Markus Shouler. Film San-Frantsiskodagi stomatolog MakTiagning eng yaxshi do'sti Shoulerning qiz do'sti Trinaga uylangani haqida hikoya qiladi.

Ochko'zlik butunlay o'z joyida suratga olingan o'sha paytdagi oz sonli filmlardan biri edi, Stroxaym tahrirdan oldin taxminan 85 soatlik kadrlarni suratga olgan. Ikki oy ichida yolg'iz otishma o'tkazildi O'lim vodiysi filmning so'nggi ketma-ketligi uchun, aktyorlar va ekipajning ko'p qismi kasal bo'lib qolishdi. Stroxaym kabi murakkab tasvirga olish texnikasidan foydalangan chuqur diqqat kinematografiya va montajni tahrirlash. U ko'rib chiqdi Ochko'zlik bo'lish a Yunoniston fojiasi, bu muhit va irsiyat qahramonlarning taqdirini boshqarib, ularni ibtidoiy holatga keltirdi bêtes humaines (odam hayvonlari), a tabiiy qon tomiridagi tushuncha Zola.

Tahrirlash paytida ishlab chiqarish kompaniyasi birlashdi Metro-Goldvin-Mayer, qo'yish Irving Talberg post-ishlab chiqarish uchun mas'ul. Talberg bir necha yil oldin Stroxeymni ishdan bo'shatgan edi Universal rasmlar. Dastlab deyarli sakkiz soat davom etgan, Ochko'zlik Taxminan ikki yarim soat davomida Stroxaymning xohishiga qarshi tahrir qilingan. To'liq metrajli 42 g'altakning versiyasini hozir o'n ikki kishi ko'rdi yo'qolgan; ularning ba'zilari buni eng katta film deb atashgan. Keyinchalik Stroxaym telefon qildi Ochko'zlik uning to'liq amalga oshirilgan ishi va uni studiyaning qayta tahrir qilgani tufayli ham professional, ham shaxsan zarar ko'rdi.[3]

Yo'qolgan kadrlar topilganligi haqidagi bir necha bor yolg'on da'volar ostida, kesilmaydigan versiya kino arxivchilari uchun "muqaddas qabr" deb nomlandi. 1999 yilda, Turner Entertainment filmni rekonstruksiya qilish uchun mavjud bo'lgan suratga olingan sahnalardan foydalangan holda to'rt soatlik versiyani yaratdi. Ochko'zlik tanqidiy va edi moliyaviy muvaffaqiyatsizlik Dastlabki chiqarilishidan so'ng, ammo 1950-yillarga kelib, ulardan biri sifatida qaraldi eng buyuk filmlar; kinoijodkorlar va olimlar uning keyingi filmlarga ta'sirini ta'kidladilar.

Uchastkaning qisqacha mazmuni

Men hech qachon yuk tashimaganman, shlyapani modaga yechmaganman va uni bir tiyin uchun ushlab turmaganman. Xudo haqqi, men ularga haqiqatni aytdim. Ularga yoqdi yoki yoqmadi. Men bilan nima aloqasi bor edi? Men ularga haqiqatni aytdim; Men buni haqiqat uchun bilgan edim va hozir haqiqat uchun ham bilaman.

-Frank Norris, uning "Romanshunosning haqiqiy mukofoti" inshoidan iqtibos keltirilgan, boshidagi titul kartasida Ochko'zlik.[4]

John McTeague - konchi Pleyser okrugi, Kaliforniya. O'zini Doktor "Og'riqsiz" Potter deb atagan sayohatchi stomatolog shaharchaga tashrif buyuradi va MakTeagning onasi Potterdan o'g'lini shogird qilib olishni iltimos qiladi. Potter rozi bo'ladi va McTeague oxir-oqibat stomatologga aylanadi Polk ko'chasi yilda San-Fransisko.

Markus Shouler o'zining qarindoshi va ko'zda tutilgan kelinasi Trina Sieppeni McTeague ofisiga stomatologik ish uchun olib keladi. Shouler va McTeague do'stlar va McTeague uni tekshirishga rozi bo'ladi. Ular ochilishni kutishganda, Trina lotereya chiptasini sotib oladi. McTeague Trina bilan hayratda qoladi va Shoulerdan Trina sudiga ruxsat so'raydi. McTeague-ning sudlanganligini ko'rgach, Shouler rozi bo'ladi. Oxir oqibat Trina McTeaguega turmushga chiqishga rozi bo'ladi va ko'p o'tmay lotereya chiptasi unga 5000 dollar yutadi.[a] Shouler bu pul uning bo'lishi kerak, deb achchiq-achchiq da'vo qilmoqda va bu McTeague va Schouler o'rtasida ziddiyatni keltirib chiqardi. McTeague va Trina nikohdan o'tgach, ular Trinaning 5000 dollar sarflashdan bosh tortganlari bilan o'zlarining kichkina kvartiralarida yashashni davom ettirmoqdalar.

Trina va McTeague o'zaro munosabatlarni romantikadan fojiaga aylantiradi.

Shouler mol boqish uchun shaharni tark etadi. Borishdan oldin, u sobiq do'stini buzish uchun yashirincha, McTeague-ning stomatologiya bilan litsenziyasiz shug'ullangani haqida xabar beradi. McTeaguega amaliyotini yopish yoki qamoq jazosiga mahkum etish to'g'risida buyruq beriladi. Lotereya chiptasidan asl $ 5,000-ga qo'shimcha ravishda $ 200 dan ko'proq pul tejagan bo'lsa ham, Trina pulini sarflamoqchi emas. Pul borgan sari kamyob bo'lib, er-xotin mol-mulkini sotishga majbur bo'lmoqda. McTeague nihoyat g'azablanib Trinaning barmoqlarini tishlaydi va tishlaydi. Keyinchalik, u Trinaning jamg'armalarini (hozirda jami 450 dollar) olib, pul ishlash uchun baliq ovlashga boradi.

Trinaning tishlagan barmoqlari yuqtiriladi va ularni kesib tashlashga to'g'ri keladi. Pul ishlash uchun u bolalar maktabining farroshi bo'ladi. O'ziga yaqin tutish uchun bankdan 5000 AQSh dollarini olib qo'yadi va oxir-oqibat u yotishi uchun to'shagiga yoyadi. Keyin McTeague qaytib kelgan pulni sarflab, Trinadan ko'proq narsani so'raydi. Ertasi kuni McTeague maktabda Trinaga duch keladi. Qattiq tortishuvlardan so'ng McTeague Trinani urib o'ldirdi va 5000 dollar o'g'irladi.

Endi noqonuniy, McTeague Plaser okrugiga qaytib keladi va Cribbens ismli izlovchiga qo'shiladi. O'lim vodiysiga qarab, ular juda ko'p miqdorda topadilar kvarts va millioner bo'lishni rejalashtirmoqda. Ular kon qazishni boshlashdan oldin McTeague xavfni sezadi va bitta ot, qolgan pul va bitta suv idishi bilan O'lim vodiysiga qochib ketadi. Shouler qo'shilgan bir nechta marshallar uni ta'qib qilishdi. Shouler McTeague-ni shaxsan qo'lga olishni xohlaydi va yolg'iz o'lim vodiysiga minadi.

Zulmkor issiqlik McTeague-ning rivojlanishini sekinlashtiradi. Shouler MakTeaga josuslik qilib, uni hibsga olishga harakat qilganida ham taraqqiyoti pasayib ketayapti. Qarama-qarshilikdan so'ng, McTeague-ning ot murvatlari va Shouler uni o'qqa tutib, suv idishini teshib qo'ydi. Suv cho'l tubiga to'kiladi. Bu juftlik so'nggi marta jang qildi, McTeague g'olibligini isbotladi; ammo, Schouler o'zini McTeague-ga kishanlab qo'ydi. Film, McTeaguening sahroda otsiz va suvsiz qolishi, jasadga kishan solinganligi va qolgan pulga erisha olmasligi bilan tugaydi.

Sub-uchastkalar

Fon Stroxaymning asl tahriri keyinchalik qisqartirilgan ikkita asosiy pastki qismni o'z ichiga olgan. Ushbu kichik uchastkalarning mazmuni Trina va MakTeaga birgalikda hayotining ikkita mumkin bo'lgan natijalarini taqqoslash edi. Birinchisi, keraksiz odam Zerkov va Mariya Miranda Makapa, Zerkov uchun keraksiz narsalarni yig'ib, Trinaga lotereya chiptasini sotgan meksikalik yosh ayolning hayotini tasvirlaydi. Mariya tez-tez Zerkov bilan xayoliy qattiq oltin dasturxon haqida gapirib beradi, u unga havas qiladi. Oxir-oqibat, Zerkov o'zining boyliklarini yashirganiga ishonib, unga uylanadi. U bu haqda tez-tez so'raydi, lekin u har safar eslaganida turlicha javob beradi. Zerkov unga ishonmaydi va undan haqiqatni qiziqtirish bilan ovora bo'ladi. U uni o'ldirdi va aqlini yo'qotganidan keyin sakrab tushdi San-Fransisko ko'rfazi.

Ikkinchi kichik syujetda Charlz V.Grannis va Miss Anastasiya Beyker hayotlari tasvirlangan. Grannis va Beyker - bu Trina va McTeague yashaydigan turar-joy majmuasidagi ulashgan xonalarni yashaydigan ikkita keksa pansionat. Turarjoy majmuasida bo'lgan vaqtlari davomida ular uchrashishmagan. Ularning ikkalasi ham ulashgan devorlariga yaqin joyda o'tirib, bir-birlarini kompaniya uchun tinglashadi, shuning uchun ular bir-birlari haqida deyarli hamma narsani bilishadi. Ular nihoyat uchrashadilar va bir-birlariga bo'lgan uzoq yillik his-tuyg'ularini yashira olmaydilar. Ular o'zlarining muhabbatlarini ochib berishganida, Grannis o'zining 5000 dollar pulini tan oladi va bu uni Trinadek boy qiladi. Ammo bu ular uchun ozgina farq qiladi. Oxir-oqibat, ular turmush qurishadi va ularning xonalarini eshik bog'laydi.

Cast

Ishlab chiqarish

Men erkaklar va ayollarni butun dunyoda bo'lgani kabi, ularning hech biri mukammal, yaxshi va yomon fazilatlari, olijanob va idealistik tomonlari hamda hasadgo'y, yovuz, yomon va ochko'z tomonlari bilan ko'rsatishni niyat qildim. Men murosaga kelmoqchi emas edim. O'tgan urushdan so'ng, kinofilmlar tomoqlariga tiqilib qolgan va rasmlarda bu haddan tashqari ko'p miqdordagi saxaroza bilan oshqozonlarini obrazli ravishda vayron qilgan kinematografik "shokolad eklerlari" dan charchaganini his qildim. Endi ular plebey, lekin halol jo'xori mol go'shti va karam uchun katta piyola tayyorligini his qildim.

- Eric von Stroxaym.[6]

Ma'lumot va yozuv

Ochko'zlik amerikalik muallifga asoslangan Frank Norris 1899 yilgi roman McTeague: San-Frantsisko voqeasi. Stroxaymning qiziqishi McTeague 1920 yil yanvaridan boshlab jurnalistga romanni suratga olishni istaganini aytganida kuzatilishi mumkin.[7] U 1910-yillarning boshlarida San-Frantsiskoda yashagan, u erda hikoya qahramonlari singari qashshoqlikda yashagan.[8] Oxir-oqibat u Los-Anjelesga ko'chib o'tdi va kino sanoatida ortiqcha filmlardan yovuz yoki aristokratik rollarda o'ynashgacha ishladi.[9] 1919 yilga kelib, Stroxaym o'z-o'zidan muvaffaqiyatli rejissyorga aylandi Universal film ishlab chiqarish kompaniyasi, ammo byudjetni va jadvalni oshirib yuboradigan obro'ga ega.[10]

Belgilanganidan keyin Irving Talberg Universal kompaniyasining bosh menejeri sifatida Stroxaymning tijorat va sanoat me'yorlariga bo'ysunishiga endi yo'l qo'yilmadi. Talberg avval yopilganidan keyin Ahmoq xotinlar 1921 yilda (o'n bir oy davomida to'xtovsiz suratga olingan) va olti haftalik filmni suratga olgandan keyin Merry-Go-Round, Stroxeym 1922 yil 6 oktyabrda studiyadan haydaldi. Bu Gollivudda misli ko'rilmagan qadam bo'lib, prodyuser va studiya aktyorlar va rejissyorlar ustidan badiiy nazoratni olib boradigan yangi davrni e'lon qildi.[11] Biroq, shu vaqtga qadar Stroxaym boshqa studiyalar bilan, hatto Universaldan ishdan bo'shatilishidan oldin ham bir nechta shartnomalar takliflarini olgan. U rahbarlari bilan uchrashgan edi Goldwyn kompaniyasi 1922 yil 14 sentyabrda, bir oydan kam vaqt oldin va u noyabr oyining oxirida ular bilan rasmiy ravishda imzoladi.[12]

Erix von Stroxaym 1920 yilda, birinchi bo'lib romanni moslashishga qiziqishini bildirgan yili McTeague

Stroxaym o'zining yangi studiyasini tanlab oldi, chunki u Thalberg davrida Universalda rad etilgan badiiy erkinlik darajasi. O'sha yilning mart oyidan boshlab Goldvinni boshqargan Abe Lehr, "har bir direktor o'z shaxsiy xodimlariga ega bo'ladi va ishlab chiqarishni o'ziga xosligi va shaxsiyligini ta'minlash uchun har qanday imkoniyat beriladi" deb va'da bergan.[7] Stroxaym 1922 yil 20-noyabrda Goldvin bilan bir yillik uch xususiyatli shartnoma imzoladi. Shartnomada har bir xususiyat 4500 dan 8,500 futgacha (1400 va 2600 m),[13] narxi 175000 dollardan oshmaydi va o'n to'rt hafta ichida qurib bitkaziladi. Shuningdek, fon Stroxaymga har bir yakunlangan film uchun 30 ming dollar va'da qilingan.[14]

Lehr dastlab Stroxeymni katta byudjetli versiyasini suratga olish uchun yollagan operetta Quvnoq beva, uni prodyuser kafolatlangan zarba deb bilgan; Biroq Stroxaym Lehrni unga ruxsat berishga ishontirdi Ochko'zlik birinchidan, kam xarajatlarni va'da qilmoqda.[15] 1923 yil fevraldagi press-relizda aytilishicha, Stroxaym "ilgari katta to'plamlarga nisbatan ancha erkin yugurgan bo'lsa-da, u islohot qilgan yoki taslim bo'lganga o'xshaydi, chunki u hech qanday to'plam yasamasligi e'lon qilindi".[15]

Stroxaym juda batafsil 300 sahifali skript yozdi, unda kamera harakatlari, kompozitsiyasi va rang signallar.[16] Uning Norrisning romaniga kiritgan o'zgarishlari orasida McTeague-ga Jonning ismini berish va Norrisning yozishini qoldirish edi. antisemitizm.[17] McTeague avval ham bir marta suratga olingan edi Hayot girdobi, besh g'altakka qisqa vaqt ichida Uilyam A. Brady Broadway yulduzi ishtirok etgan World Pictures Xolbruk Blinn 1916 yilda chiqarilgan McTeague sifatida.[8] Kino tanqidchilariga ushbu versiya yoqmadi va keyinchalik Stroxaym Blinning ishlashini tanqid qildi.[18] Kino tarixchisining so'zlariga ko'ra Kevin Braunlou, Hayot girdobi shuningdek, o'lim vodiysida joylashgan joyda otib tashlangan.[19]

Stroxeym o'zining puxta mukammalligi va tafsilotlarga diqqat bilan tanilgan[20] shuningdek, uning studiya rahbarlariga nisbatan beparvoligi.[21] Ishlayapman Ochko'zlik, Stroxaym kundalik odamlar haqida realistik filmni suratga olishga kirishdi va Gollivudning glamur, baxtli oxiri va yuqori sinf belgilaridan voz kechdi.[22] Otishma boshlanishidan oldin Stroxaym muxbirga shunday dedi:

Kinofilmlarda ajoyib voqeani shunday tasvirlab berish mumkinki, tomoshabin go'zal Gerti Gefeltaga, prodyuserning uy hayvoniga qarashini unutadi va o'zini xuddi derazadan hayotning o'ziga qaraganday, o'zini juda qiziqtiradi. U o'zi qarab turgan narsaning haqiqat ekanligiga ishonadi - uyda operator bor edi va buni hech kim bilmas edi. Ular o'zlarining kundalik hayotlarida o'zlarining quvonchlari, kulgili va kulfatli kunlari bilan davom etishdi va kamera barchasini o'g'irlab, keyinchalik hamma ko'rishi uchun ushlab turdi.[23]

1923 yil yanvar oyining boshlarida Stroxaym San-Frantsiskoga etib bordi va u erda sayohat qildi va tortishish ssenariysini yozishni tugatdi. Uchun tadqiqot olib borayotganda Ochko'zlik, u shahardagi jamiyat vazifalarida qatnashgan va Frank Norrisning ko'plab do'stlari, shu jumladan akasi bilan uchrashgan Charlz va uning singlisi Ketlin.[24] Hikoyaning asl ruhini aks ettirish uchun Stroxaym San-Frantsiskoda joylashgan joyda suratga olishni talab qildi Syerra Nevada tog'lar, Katta Dipper koni Ayova Xill,[25] va O'lim vodiysi.[26] U romanning sahnalarini ilhomlantirgan ba'zi haqiqiy binolarni ijaraga oldi.[27] Boshqa joylar kiritilgan Cliff House va San-Fransisko ko'rfazi.[16]

Norris xuddi shu tarzda o'z romani uchun kashfiyotlar o'tkazgan va Polk va Kaliforniya ko'chalari burchagidagi binoning yuqori qavatini McTeague stomatologi idorasi, shuningdek, ushbu hududdagi ko'plab salon va tushlik stollarini tanlagan.[28] Stroxaym, Polris ko'chasi kabi Norris ta'riflagan ko'plab joylarning yo'q qilinganligini aniqladi 1906 yil San-Frantsiskodagi zilzila, lekin u Xeys va Laguna ko'chalarida mos davrlarni topishga muvaffaq bo'ldi.[29] Haqiqiyligi uchun Stroxaymda San-Frantsiskoda biron bir komplekt qurilmagan va faqat salonlarni, qassob do'konlarini va yog'och shashka kabi mavjud joylarni qayta ta'mirlagan, shuning uchun qurilish xarajatlarini tejashga imkon bergan.[16]

Stroxaymning dastlabki shartnomasidagi qat'iy shartlarga qaramay, Goldvin filmni suratga olish boshlanishidan oldin uzoq muddatli ssenariyni tasdiqladi. Keyinchalik ishlab chiqarish bo'yicha menejer J. J. Kon "ular vaqti kelib uni boshqarishimiz mumkin deb o'ylashdi" deb tushuntirdi.[30]

Kasting

Filmning sahnasi Sotish uchun ruhlar, Stroxaym uchun ekran sinovida Jan Xersholtni boshqarayotganini ko'rsatish Ochko'zlik.

Bundan mustasno Jan Xersholt, barcha asosiy aktyorlar Ochko'zlik Stroxaymning avvalgi filmlarining doimiy ishtirokchilari bo'lgan, "Stroxaym aktsiyadorlik kompaniyasi" deb nom olgan guruh.[31] Gibson Govlend ilgari paydo bo'lgan Ko'zi ojiz erlar va Jon McTeague roli uchun Shotlandiyadan AQShga qaytib keldi. Sezar Gravina, kim keraksiz Zerkow o'ynagan va Deyl Fuller, Lotereya chiptalari sotuvchisi Mariya ikkalasi ham paydo bo'ldi Ahmoq xotinlar va keyinchalik paydo bo'ladi Quvnoq beva. Stroxaym aktsiyadorlik jamiyatining boshqa aktyorlari ham shu erda Sidni Breysi, Mey Bush, Jorj Favett, Mod Jorj, Xyu Mak va Jorj Nikols.[31]

Trina eng qiyin rol o'ynagan va ZaSu Pitts oxirgi daqiqada yollangan,[16] Stroxaym ikkalasini ham rad etganidan keyin Kler Vindzor va Kollin Mur.[32] Pits ilgari faqat komediya rollarida rol o'ynagan; Ochko'zlik uning birinchi dramatik qismi edi. Keyinchalik aktrisa ikkalasida ham paydo bo'ldi To'y mart va Salom, opa! Stroxaym Pitts "Amerika kinematografiyasining eng buyuk psixopatologik aktrisasi" ekanligini va "u komediyada bo'lmasligi kerak, chunki u barcha tragedenlarning eng zo'ridir", dedi.[33]

Stroxem Jan Xersholt bilan tasodifan uchrashib, Markus Shoulerning rolini muhokama qilgan, ammo u dastlab uni suratga olishni istamagan. Biroq, Xersholt tashqi qiyofasi va shkafini Shoulerga o'xshashroq qilib o'zgartirgandan so'ng, Stroxaym o'z fikrini shu erda o'zgartirdi.[34] Govlenddan tashqari Stroxaym juda ko'p zarba berdi ekran sinovlari Goldwyn-ning operatorlari bilan boshqa barcha aktyorlar Pol Ivano.[35] Goldvin filmidan lavha Sotish uchun ruhlar Stroxem rejissyorligining sahna ortidagi kadrlari deb o'ylashadi Ochko'zlik, lekin aslida u Hersholtni ushbu ekran sinovlaridan birida boshqarayotgani tasvirlangan.[36]

Suratga olish

Tasvirga olish ishlari 1923 yil 13 martda San-Frantsiskoda boshlangan.[29] va iyun oxirigacha davom etdi.[37] Fon Stroxaym va Goldvin bilan imzolangan dastlabki shartnomaga qaramay, Lehr suratga olish ishlari boshlanganidan uch kun o'tgach, filmning byudjetini ikki baravar ko'paytirib, 347 ming dollarga etkazishga rozi bo'ldi.[38] Von Stroxaym ikki oydan ko'proq vaqt davomida ishlab chiqarish uchun yigirma soatlik ishlagan va bir necha kunlik suratga olishdan so'ng to'plamda qulab tushgan. Qolgan otish paytida uning salomatligi yaxshi edi.[29] Bu to'plamdagi yagona baxtsiz hodisa emas edi; San-Frantsisko ko'rfazida suratga olingan sahnalarda, Chezare Gravina pnevmoniya bilan og'rigan va fon Stroxaym Gravinaning butun ijrosi keyinchalik aktyorning rolga bag'ishlanganiga qaramay, filmdan uzilib qolganidan qattiq xijolat bo'lgan.[39] McTeague va Schouler jang qilgan piknik paytida (keyinroq kesilgan) Xersholtni Govlend nokautga uchratgan va Pittsni deyarli trolley bosib ketgan.[40] May oyining oxirida Lehr fonda Stroxaymga tashrif buyurdi va u ko'rgan kadrlarni maqtab, "unda atmosferada, rangda va realizmda bo'lishi mumkin, ammo uni studiyada ko'paytirish mumkin emas edi" dedi.[37]

Fon Stroxaym studiyaning talabiga binoan qayta suratga olgan sahnalardan birida Potter bilan shogirdlik paytida kichikroq MakTeag tasvirlangan. Sahnada McTeague yosh ayolning tishlarini tekshirishdan juda uyaladi va Potter o'z zimmasiga olishi kerak. Yupqa niqoblangan ZaSu Pitts tomoshabinlar Trinaga o'xshashligini ko'rishi uchun ayolni tasvirladi, ammo studiya bu sahna chalkash ekanligini ta'kidladi va fon Stroxaym uni qayta suratga olishga rozi bo'ldi.[37] Fon Stroxaym, shuningdek, MakTig va Shoulerlar o'rtasidagi qarama-qarshilikni suratga olishda o'zining asl qarashlarini tan oldi. Rejissyor pichoq tashlaydigan odam aslida Gibson Govlendning boshiga haqiqiy pichoqni tashlashini xohladi. Fon Stroxaymni Govlendning o'zi bekor qildi, u bunday xavfli stuntga yo'l qo'ymadi. A maxsus effekt o'rniga otish ishlatilgan.[41]

The O'lim vodiysi sahnalar, shu jumladan ushbu so'nggi ketma-ketlik, ikki oy davomida yoz oylarida, og'ir sharoitlarda suratga olingan.

Iyun oyining oxirida San-Frantsiskodagi filmni suratga olgandan so'ng, suratga olish ishlari yo'l oldi O'lim vodiysi. Cho'l sahnalarini talab qiladigan Gollivud filmlarining aksariyati mahalliy aholi uchun joylashtirilgan Oxnard Los-Anjeles shimolidagi tepaliklar, ammo fon Stroxaym haqiqiyligini talab qildi.[23] O'lim vodiysida yo'llar, mehmonxonalar, yoqilg'i quyish shoxobchalari yoki suv oqimi bo'lmagan va tarantulalar, chayonlar va zaharli ilonlar egallagan. Otishma uchun eng yaqin aholi punkti 160 km uzoqlikda joylashgan va sug'urta qoplamasi rad etilgan.[42] O'lim vodiysida suratga olish yoz oylarida ikki oy davom etdi va aktyorlar Govlend va Xersholtga ketma-ketlik uchun zarur bo'lgan soqollarni o'stirishga imkon berishdi.[43] Ishlab chiqarishning ayrim a'zolari 91 dan 161 ° F (33 va 72 ° C) gacha bo'lgan haroratni qayd etishdi, ammo bu davrda o'lim vodiysida rasmiy ravishda qayd etilgan eng yuqori harorat 123 ° F (51 ° C) edi.[44] O'lim vodiysi ketma-ketligida ishlagan 43 kasting va ekipaj a'zolaridan 14 nafari kasal bo'lib, Los-Anjelesga jo'natildi.[45]

Otish paytida ekipaj a'zolari har kuni issiqlikdan charchagan bo'lar edi. Otishma tugagandan so'ng Hersholt bir hafta kasalxonada yotdi, ichki qon ketishidan azob chekdi.[42] Xersholt 27 kilogramm (12 kg) yo'qotganini da'vo qildi,[45] va filmning oxiriga kelib pufakchalar bilan qoplangan. Qiyinchiliklarga qaramay Xersholt buni karerasidagi eng yaxshi rol deb bilishini aytdi.[46] Hersholt va Gibson jang qilgan sahnada ularni rag'batlantirish uchun fon Stroxaym ularga baqirdi: "Urashing, jang qiling! Ikkalangiz ham meni yomon ko'rganday, bir-biringizni yomon ko'rishga harakat qiling!"[46] Suratga olish davomida fon Stroxaym aktyorlar uchun kayfiyatni yaratishda yordam berish uchun musiqa ustalarini musiqa maydoniga olib keldi. U buni A bilan o'lim vodiysi sahnalari uchun ishlatishda davom etdi garmon va skripka o'yinchi.[47] Musiqasidan ilhomlangan mavzu Ruggero Leoncavallo, bastalangan va butun ishlab chiqarish davomida o'ynagan. Boshqa musiqalar orasida mashhur qo'shiqlar ham bor edi "Xudoyim, senga yaqinroq ", "Yuraklar va gullar ", "Oh va'da bering "va" Meni o'zingiznikiga qo'ng'iroq qiling ".[48]

Suratga olish ishlari 13 sentyabr kuni Kaliforniyaning Pleyser okrugiga ko'chib o'tdi va bir oydan kam davom etdi. Katta Dipper koni o'n yil davomida yopiq edi, shuning uchun fon Stroxaym Goldwyn kompaniyasini filmni suratga olish uchun ijaraga olish va ta'mirlashga ishontirdi. Dastlabki ishlab chiqarish paytida Placer okrugiga birinchi bo'lib tashrif buyurganida fon Stroxaym 1890-yillarda akasi konda ishlagan Norrisning mahalliy fuqarosi va muxlisi Garold Xenderson bilan uchrashgan. Fon Stroxaym Xendersonni konni va Ayova tepaligidagi boshqa joylarni ta'mirlashni nazorat qilish uchun yollagan. Fon Stroxaym shuningdek, McTeague onasining dafn marosimi tasvirlangan yangi ixtiro qilingan sahna uchun mahalliy qabristonni qayta tiklamoqchi edi, ammo Goldwyn kompaniyasi bu taklifni rad etdi. Fon Stroxaym minaning ichida odatda kechasi soat 21.00 dan 6.00 gacha o'q uzgan.[49] Kinematograf Uilyam H. Deniels Keyinchalik fon Stroxaym realizm uchun 900 metr (900 m) pastga tushishni talab qildi, garchi bu joy 100 fut (30 m) da bir xil ko'rinishda bo'lar edi.[50] Tasvirga olish 1923 yil 6-oktabrda yakunlandi.[16] 198 kundan keyin.[51] Dastlabki shartnomasida barcha filmlar 8,500 futdan (2600 m) past bo'lishi kerakligiga qaramay, von Stroxaym film uchun jami 446,103 fut (135,972 m) kadrlarni suratga oldi va taxminan 85 soat davom etdi.[52]

Uslub

To'y sahnasi innovatsion foydalanishga imkon berdi chuqur diqqat yoritish bilan bog'liq qiyinchiliklarga qaramay, kinematografiya.

Stroxaymning biografi Artur Lennig rejissyorning vizual uslubini kashshof kinoijodkor bilan taqqosladi D. V. Griffit, ammo "Grafitdan farqli o'laroq, xuddi to'rtinchi devorga o'xshab qaraydigan Stroxaym ko'p tomondan va har xil tomondan o'q uzgan; shuningdek, u fokusli, mazmunli old va kameralarning samarali harakatidan foydalangan".[53] Ochko'zlik'yoritish yuqori kontrastli, chiaroscuro aks holda qorong'i joyni yoritadigan hovuzlar yoki chiroqlarning o'qlari bilan ishlaydigan usullar. Ushbu texnikaning misollari orasida McTeague Trinadan oy nuri havzasida pul so'rab yolvoradigan sahna va quvnoq sahna mavjud bo'lib, unda belgilar faqat qorong'u siluetlar ko'rinishida va to'liq yoritilganlikda o'zgarib turadi.[54]

Daniels, ayniqsa, derazadan ko'rinadigan va to'g'ri yoritilishi qiyin bo'lgan dafn marosimi bo'lgan to'y sahnasi bilan faxrlanardi.[55] Ochko'zlik foydalanish uchun ko'pincha maqtovga sazovor bo'lgan chuqur diqqat kinematografiya, mashhur dasturidan o'n etti yil oldin Fuqaro Keyn.[56] Ba'zan Daniels foydalangan akkor chiroqlar studiya o'rniga yoy chiroqlari, uning joylashuvi cheklanganligi sababli.[57] Keyinroq u Stroxem "birinchilardan bo'lib erkaklar uchun bo'yanish yo'qligini, devorlardagi yaltiroq bo'yoqlarni, derazalardagi haqiqiy oynalarni, komplektlar va kostyumlarda toza oq ranglarni talab qildi" deb aytdi. keyin eskirgan plyonkalardagi tirnoqlarni niqoblash uchun xira jigarrang rangga bo'yalgan edi.[58] Rasmiy hisobga olinmasa ham, Ernest B. Schedack kamera operatori sifatida rasmda ishlagan.[59]

Stroxaym buni ma'qulladi "Sovet uslubidagi" montaj tahriri. Ochko'zlik tez-tez uzoq vaqt o'rniga dramatik yaqin va qisqartirishlardan foydalanadi. Shoulerning McTeague-dan g'azablanib, uzoq va uzluksiz tortishish paytida otilgan trubasini sindirib tashlagan sahnasi bundan mustasno. Stroxaym shuningdek, dramatik ta'sir uchun ramziy o'zaro faoliyatni ishlatgan, masalan, filmda hayvonlarni ishlatishi va McTeague va Trina birinchi o'pishganda poezdni otib tashlashi.[60] 1932 yilda kino nazariyotchisi Endryu Byukenen "har bir kuzatuv" yaqin masofada "va bo'sh vaqtlarda olinishini, u" tortishishlarini "haqiqatan ham majburiy ravishda ko'rsatadigan tartibda yig'ishini aytgan. "[61] 1950-yillarda kino tanqidchisi André Bazin Stroxaymdan foydalanishni maqtadi mise en scène va uning "Rejissyorlik uchun bitta oddiy qoidasi. Dunyoga yaqindan nazar soling, shunday qiling va oxir-oqibat u sizga barcha shafqatsizligi va xunukligini ochib beradi".[61]

Stroxaymning mukammallikchi sifatida obro'siga qaramay, Ochko'zlik anaxronizmlarni o'z ichiga oladi. Polk ko'chasidagi sahnalarda asosiy qahramonlar 1890-yillarning modalarida kiyingan, ammo qo'shimchalar 1920-yillarning kiyimlarini kiyishadi. Stroxaym bunday tarixiy xatolarga yo'l qo'ymaslik uchun qo'lidan kelganicha harakat qildi; u faqat davrga tegishli bo'lgan binolarni otib tashlagan Ochko'zlik o'rnatildi va u filmni suratga olish paytida avtotransport vositalarini ko'zdan uzoqlashtirdi. Danielsning ta'kidlashicha, uning haqiqiyligini istashiga qaramay, Stroxaym ba'zan kerakli kameraning holatiga erishish uchun devorlarni haqiqiy joylardan qirib tashlagan.[62]

Mavzular

Frank Norrisning romani adabiy maktabga tegishli tabiiylik frantsuz muallifi tomonidan tashkil etilgan Emil Zola.[63] McTeague o'zining quyi toifadagi qahramonlarining taqdirini irsiyat va ularning muhiti bilan tasvirlaydi,[64] "inson tabiati, iroda erkinligiga qaramay, genetik va atrof-muhit omillari bilan belgilanadi" degan ishonch bilan[63] va yuqoridagi harakatchanlikka qaramay, irsiyat taqdirni boshqaradi.[65] Ushbu adabiy uslub ta'sir ko'rsatdi Charlz Darvin va yuqori darajadagi holatlari, oqilona va rahmdil, pastki holatlariga zid bo'lgan tasvirlangan belgilar byte humaine (odam hayvoni).[65] McTeague birinchi bo'lib 1899 yilda nashr etilgan va 1893 yil oktyabrda qotillik ishidan ilhomlanib, uning xotini Sorani kaltaklagan tarixga ega bo'lgan kambag'al er Patrik Kollinz nihoyat pullarini o'g'irlab, San-Frantsiskoda ish joyida pichoqlab o'ldirgan. Sara Kollinz Norrisning oilasi tomonidan moliyalashtirilgan Lest Norris bolalar bog'chasida ishlagan.[8][66]

Fon Stroxaym ko'rmadi Ochko'zlik siyosiy sifatida va jurnalistga buni "a" deb bilishini aytdi Yunoniston fojiasi. Qahramonlarning qashshoqlik va sinf bilan kurashlariga qaramay, fon Stroxaym hayoti taqdir va ularning ichki tabiati boshqargan obrazlarni tasvirlashning tabiatshunoslik uslubiga amal qildi. Von Stroxaym boshqa filmlarda ushbu mavzudagi o'zgarishlarni qo'llagan, bu ko'pincha oddiy odamning aristokrat yoki qirolni sevib qolishidan iborat edi.[40]

To'y ziyofat sahnasida Trinaning onasi uning ovqatini mamnuniyat bilan iste'mol qilmoqda.

Fon Stroxaym tabiatparvarlikni aks ettirgan kinematik uslublardan biri bu hayvonlarning simvolizmi edi.[67] Yilda Ochko'zlik McTeague kanareyka bilan bog'liq, faqat romanida qisqacha eslatib o'tilgan.[68] Von Stroxaym Norrisning asl tugashini o'zgartirdi va McTeague-dan O'lim vodiysidagi kanareykani ozod qildi.[69] McTeague Trinani to'y sovg'asi sifatida ayol kanareykani sotib oladi va ularning turmush o'rtog'i fon Stroxaym ularning qafasida vahshiyona uchib yurgan qushlarga o'pishidan o'q uzib tashlagan.[70] Hayvonlarning tasvirlari tushirilgan yana bir sahna tarkibida Schouler McTeague va Trina bilan xayrlashadigan sahnada kanareykalarga sakramoqchi bo'lgan mushukning McTeague haqida xabar berganligini aytmasdan kesishni o'z ichiga oladi.[68] Itlar, mushuklar va maymunlar turli xil qo'llab-quvvatlovchi belgilar bilan bog'liq.[67] Fon Stroxaym shuningdek, tabiatshunoslik uslubida vizual sifatida filmda takrorlanadigan belgilarga o'ziga xos narsalar, imo-ishoralar yoki iboralarni berish uslubini qo'llagan. leytmotiv. Masalan, Trina lablarini tortib oladi va McTeague qush qafasi bilan skripka qiladi.[71]

Fon Stroxaym karerasi davomida grotesk obrazlari va personajlaridan foydalangan. Bu to'y-ziyofat sahnasida eng yaqqol ko'rinib turibdi, unda midget, hunchback, tish tishlari bo'lgan ayol va tayoq kiygan bola bor.[72] To'y mehmonlari zo'ravonlik va qo'pollik bilan o'zlarining ovqatlarini hayvonlarga o'xshab yutmoqdalar. Ushbu sahna o'sha davrdagi ovqatlarda qadr-qimmat va hamjihatlik tuyg'usi bilan muomala qiladigan boshqa filmlarga o'xshamas edi.[73] Grotesk tasvirining boshqa holatlariga Trinaning barmoqlarini yuqtirish va kesib tashlash kiradi.[74] Fon Stroxaym McTeague va Trina o'rtasidagi muhabbat sahnalarini o'lik kalamush bilan kanalizatsiya va o'pish paytida haydab ketayotgan axlat mashinasi kabi o'zlarining chirkin, quyi sinflari bilan taqqosladi.[75]

Fon Stroxaym boshqa filmlarida bo'lgani kabi xoch va cherkovlar singari xristian tasvirlari va belgilaridan foydalangan.[76] Trinada birinchi navbatda ochko'zlik alomatlari namoyon bo'ladi Fisih yakshanba va McTeague tomonidan o'ldirilgan Rojdestvo arafasi. Rojdestvo arafasi tez-tez fon Stroxaymning filmlarida tasvirlangan va otasining o'limiga yaqin bo'lgan.[77] Lennig McTeague-ning otasining xarakteri (u romanda qisqacha eslatib o'tilgan) fon Stroxaymning otasiga asoslangan, McTeague-ning onasi esa fon Stroxaymning onasiga hurmat, deb ta'kidlagan. Ochko'zlik bag'ishlangan.[78] Fon Stroxaym o'zining barcha yaxshi fazilatlarini onasidan, barcha yomon fazilatlarini otasidan deb bilishini ta'kidladi.[79]

Tahrirlash

Dastlabki tahrirlash

Tahrirlash Ochko'zlik deyarli bir yil davom etdi va fon Stroxaymning shartnomasida uning ishlab chiqarishdan keyingi ishi uchun to'lov yo'q edi.[80] U va uning bosh kinorejisseri Frenk Xull film ustida bir necha oy ishladilar va qo'pol kesishni yakunladilar.[81] Fon Stroxaym tahrirlash paytida noaniq edi. U shartnomaning filmning davomiyligini cheklashi bilan cheklanganligini his qildi.[51] Fon Stroxaym ba'zi sahnalarni oltin rang bilan bo'yalgan Handschiegl rang jarayoni, unda individual ramkalar shablonlar bilan qo'lda bo'yalgan.[82] Fon Stroxaym boshida "Shaxsan rejissyor Erix fon Stroxaym" bilan o'zini ishontirgan.[83]

Dastlabki 42 g'altakning asl nusxasini faqat o'n ikki kishi ko'rgan[b] versiyasi Ochko'zlik 1924 yil yanvar oyida o'tkazilgan maxsus namoyishda;[26] ular kiritilgan Garri Karr, Rex Ingram, Aileen Pringle, Karmel Mayers, Idval Jons, Jozef Jekson, Jek Jungmeyer, Fritz Tidden, Uelford Biton, Valentin Mandelshtam va Jan Bertin.[84] Jons namoyishi tugagandan so'ng, Karr va Ingramlar hozirgacha eng buyuk filmni ko'rganliklariga va bundan ham yaxshi filmning paydo bo'lishi ehtimoldan yiroq ekanliklariga kelishib oldilar.[85] Karr oldindan o'tkazilgan skrining tekshiruvini yozib, "u boshqa kuni hech kim ko'rmaydigan ajoyib rasmni ko'rganini ... u bilan nima qilishlarini tasavvur qila olmayman. Yomon baxtsizliklar. Sizningcha, bu voqeaga hech qanday aloqasi yo'q deb o'ylagan epizodlar paydo bo'ladi, keyin 12 yoki 14 g'altakka sizni urib tushiradi. Achchiq, dahshatli realizm va ajoyib rassomchilik uchun bu men ko'rgan eng buyuk rasm. Ammo 8 g'altakka qisqarganda qanday bo'lishini bilmayman. "[86] Jonathan Rozenbaum Karr, ehtimol filmning boshida MakTeag binosida yashovchi barcha belgilarni tanishtirgan kesilgan ketma-ketlikni nazarda tutgan deb taxmin qildi. Qirq daqiqali sahnada ijarachilar shanba kuni tushdan keyin nima qilganliklari tasvirlangan va syujetni kengaytirmasdan kinematik muhit yaratilgan. Rozenbaum kesilgan ketma-ketlikni 19-asr romanlari va birinchi soatlari bilan taqqosladi Jak Rivette "s Chiqish 1.[87] Jons oldindan namoyishlarni maqtadi va taqqosladi Ochko'zlik ga Doktor Kaligari kabineti va Doktor Mabuse Qimorboz.[86] Biroq, Welford Beaton of Film tomoshabin 42 silindrli versiyani yoqtirmadi va uning yaqin-atrofdagi tasvirlardan ortiqcha foydalanilishini tanqid qildi.[86]

Bu kabi ba'zi sahnalar edi oltin rang Von Stroxaymning o'zi tomonidan qo'lda rasmlarni shablonlar bilan bo'yash.

Ko'pgina manbalarning ta'kidlashicha, 42 g'altakning versiyasi faqat hech qachon qo'pol kesilgan bo'lishi kerak edi,[86] va Von Stroxaym 1924 yil 18-martgacha uni 24 g'altakka qisqartirishni tanladi,[23][61] uni ikki kecha davomida tanaffuslar bilan skrining qilish niyatida.[42] Rejissyor filmni qisqartirishda qiynaldi, do'sti Don Rayanga: "Men ketma-ketliklarni chiqarib, shu bilan bir kun ichida ishni tugatishim mumkin edi. Bu bolalar o'yini bo'lar edi. Ammo men buni qila olmayman. Bu bo'shliqlarni qoldiradi Faqatgina sarlavhalar orqali ko'prikni yaratish mumkin edi. Agar shunday qilsangiz, siz kinofilm o'rniga subtitrlarni ko'rsatgansiz. "[86] Keyinchalik Fon Stroxaymning ta'kidlashicha, bu vaqtda Goldwyn kompaniyasi undan McTeague-ning stomatologiya stulida uyg'ongan sahnasini suratga olishni istagan va filmning hammasi yomon tush bo'lganligini ko'rsatgan.[86] Fon Stroxaym Goldwyn Story departamentining boshlig'i bo'lgan 24-silindrli iyun oyi matrisini tahrir qilayotganda o'zining 13 g'altakning versiyasini yaratgan edi. Ochko'zlik 1924 yil 21-yanvargacha. U 29-yanvarda yana ham qisqartirishni buyurdi, ammo keyinchalik fevral oyining boshlarida Rimga ishlab chiqarishni nazorat qilish uchun jo'nab ketdi. Ben-Xur va bir necha oy davomida filmning tahririda qatnashmagan.[88]

24 g'altakni tugatgandan so'ng[c] kesilgan Ochko'zlik, fon Stroxaym Goldwyn rahbarlariga boshqa ramkani kesib bo'lmasligini aytdi.[42] Goldwyn ishlab chiqaruvchilari ushbu versiya hali ham uzoq deb o'ylashdi va uni boshqariladigan uzunlikka qisqartirishni aytdilar. Keyin Von Stroxaym filmni do'sti, rejissyor Reks Ingramga yubordi, u esa uni muharririga topshirdi, Grant Whytock.[42] Whytock fon Stroxaym bilan ishlagan Iblisning o'tish kaliti va rejissyorning uslubi va didi bilan tanish edi. Whytock dastlab uni ikkiga bo'lishni taklif qildi, bitta 8 silindrli film to'y bilan tugaydi va ikkinchi 7 silindrli film o'lim vodiysida tugaydi. Whytock oxir-oqibat filmni 18 ta g'altakka qisqartirdi.[d] Uning yagona katta kesimi Zerkov va Mariyaning barcha subplotidir, u "juda yoqimsiz" deb o'ylagan.[89] Aks holda u shunchaki sahnalarni kesib tashladi va bir necha kvadratgacha davom etgan 1200 fut (400 m) tezkor "flesh" suratlarni kesib tashladi. Biroq, Whytock versiyasi Ochko'zlik prologni va boshqa pastki qismlarni, shuningdek keyinchalik undan chiqib tashlangan hazilning katta qismini saqlab qoldi.[89]

Whytock and Ingram screened their version of Ochko'zlik to studio executives, who responded favorably to it but worried that the tragic ending would be hard to sell to the public.[88] Ingram then sent the 18-reel version to von Stroheim and told him, "If you cut one more frame I shall never speak to you again."[90] On April 10, 1924, the Goldwyn Company officially agreed to merge with Metro Pictures, putting von Stroheim's nemesis Thalberg directly in charge of Ochko'zlik.[91] Von Stroheim and Lui B. Mayer had a lengthy confrontation over the film's editing, which according to both men ended with von Stroheim claiming that all women were whores and Mayer punching him.[e][93] Mayer disliked the film because of its lack of glamor, optimism or morality and considered it to be a guaranteed flop.[94]

Studio editing

MGM executives screened Ochko'zlik at full length once to meet contractual obligations. Idwal Jones, a San Francisco critic, attended the all-day screening and wrote that while some of the scenes were compelling, Stroheim's desire that "every comma of the book [be] put in" was ultimately negative.[2] MGM then took control and re-edited it. The studio ordered June Mathis to cut it down further;[95] she assigned the job to an editor named Jozef V. Farnham. Farnham was a well-known "titles editor", who patched scenes together using title cards to keep continuity. Uning hissalari Ochko'zlik include the notorious title cards "Such was McTeague"va"Let's go over and sit on the sewer", which were snickered at for years.[96] Eventually Farnham reduced Ochko'zlik to 10 reels,[f][97] totaling 10,607 feet (3,233 m).[5] Von Stroheim said that the film "was cut by a hack with nothing on his mind but his hat."[42] He later bitterly lamented that Ochko'zlik was made before the financial success of Evgeniya O'Nil 's five-hour play G'alati intermediya 1928 yilda.[90] Von Stroheim angrily disowned the final version, blaming Mathis for destroying his masterpiece.[98]

Bir hafta oldin Ochko'zlik's release the New York State Motion Picture Committee (which censored films) demanded several more cuts on moral grounds. These cuts included the administration of efir in the dental scenes and certain instances of foul language. Although these cuts were made to prints that were screened in New York State, the footage was kept in many other prints.[96]

Difference between von Stroheim's cut and MGM's cut

The main cuts to Ochko'zlik were the elimination of its two sub-plots and other entire sequences, while individual scenes were often not touched.[99][100] Commenting about the cuts made in the film to the Los Anjeles Tayms, Thalberg stated:

This whole story is about greed—a progressive greed. It is the story of the way greed grew in Trina's heart until it obsessed her. I found that the junk dealer's greed was so much greater than hers that it almost destroyed the theme. His intense greed drowned out Trina's greed just as a steam whistle drowns out a small street noise. Instead of hurting the picture, throwing out this junk dealer's story made the picture stronger.[101]

Thalberg also stated that he "took no chances in cutting it. We took it around to different theaters in the suburbs, ran it at its enormous length, and then we took note of the places at which interest seemed to droop."[101]

Individual scenes or sequences that were cut include McTeague and Trina's early, happy years of marriage, the sequence showing McTeague and Trina eventually moving into their shack,[100] the family life of the Sieppe family before Trina's marriage, the prologue depicting McTeague's mother and father at the Big Dipper mine and McTeague's apprenticeship. Other cuts included the more suggestive and sexual close-up shots depicting McTeague and Trina's physical attraction to each other, the scenes after McTeague has murdered Trina and roams around San Francisco and Placer County, additional footage of Death Valley, additional footage of Trina with her money, and a more gradual version of Trina's descent into greed and miserly obsession.[102]

Qabul qilish

Release and critical reviews

Ochko'zlik premiered on December 4, 1924 at the Cosmopolitan Theatre in Kolumb doirasi, Nyu-York shahri tomonidan egalik qilgan Uilyam Randolf Xerst.[84] Frank Norris had once worked for Hearst as a foreign correspondent during the Ispaniya-Amerika urushi and Hearst praised Ochko'zlik, calling it the greatest film he had ever seen.[103] Hearst's newspapers promoted the film,[96] but MGM did very little advertising.[26] At the time of the release von Stroheim was in Los Angeles, having begun production on Quvnoq beva 1 dekabrda.[23] In May 1926 Ochko'zlik yilda chiqarilgan Berlin, where its premiere famously caused a riot at the theater that may have been instigated by members of the then-fledgling Natsistlar partiyasi.[82]

Ochko'zlik asosan salbiy baholashlar oldi. The trade paper Harrisonning hisoboti said that "[i]f a contest were to be held to determine which has been the filthiest, vilest, most putrid picture in the history of the motion picture business, I am sure that Ochko'zlik would win."[104] Varete haftalik called it "an out-and-out box office flop" only six days after its premiere and claimed that the film had taken two years to shoot, cost $700,000 and was originally 130 reels long.[105] The review went on to say that "nothing more morbid and senseless, from a commercial picture standpoint, has been seen on the screen for a long, long time" and that despite its "excellent acting, fine direction and the undoubted power of its story ... it does not entertain."[106] In its December 1924 – January 1925 issue, Exceptional Photoplays called it "one of the most uncompromising films ever shown on the screen. There have already been many criticisms of its brutality, its stark realism, its sordidness. But the point is that it was never intended to be a pleasant picture."[107] In the February 1925 issue of Teatr jurnali, Aileen St. John-Brenon wrote that "the persons in the photoplay are not characters, but types—they are well selected, weighed and completely drilled. But they did not act; they do not come to life. They perform their mission like so many uncouth images of miserliness and repugnant animalism."[106] Mordaunt Xoll ning Nyu-York Tayms gave the film a mostly positive review in regards to the acting and directing while criticizing how it was edited, writing that MGM "clipped this production as much as they dared ... and are to be congratulated on their efforts and the only pity is that they did not use the scissors more generously in the beginning."[108] A Hayot jurnali maqola, Robert E. Shervud also defended MGM's cutting of the film and called von Stroheim "a genius ... badly in need of a stopwatch."[82] Iris Barry ning Zamonaviy san'at muzeyi (MoMA) disliked the tinting, saying "a not very pleasing yellow tinge is smudged in."[82] A March 1925 review in Pictureplay magazine stated, "perhaps an American director would not have seen greed as a vice."[109]

A more favorable review came from Richard Uotts, kichik ning New York Herald Tribune, kim qo'ng'iroq qildi Ochko'zlik "the most important picture yet produced in America ... It is the one picture of the season that can hold its own as a work of dramatic art worthy of comparison with such stage plays as Shon-sharaf nima? va Kurtlar ostidagi istak."[82] The April 20, 1925 edition of Monreal gazetasi claimed it "impresses as a powerful film" and described the "capacity audience" screening as "one of the few pictures which are as worthy of serious consideration ... which offer a real and convincing study of life and character and that secure their ends by artistic and intellectual means rather than by writing down to the level of the groundlings." The review went on to describe the direction as "masterly", citing "its remarkable delineation of character development and the subtle touches which convey ideas through vision rather than the written word, an all too-rare employment of the possibilities of the cinema play as a distinct branch of art capable of truthful and convincing revelation and interpretation of life's realities."[110] In sharh Exceptional Photoplays stated that "Mr. von Stroheim has always been the realist as Rex Ingram is the romanticist and Griffith the sentimentalist of the screen, and in Ochko'zlik he has given us an example of realism at its starkest. Like the novel from which the plot was taken, Ochko'zlik is a terrible and wonderful thing."[111]

Teatr kassasi

Ochko'zlik was a financial disappointment.[26] On its initial run, it earned $224,500 in the United States, $3,063 in Canada and $47,264 in other markets. In total it earned $274,827.[112] Von Stroheim's biographer Arthur Lennig stated that according to MGM's records the final cost of Ochko'zlik was $546,883.[22] Another biographer, Richard Koszarski, stated that its final cost was $665,603: $585,250 for the production, $30,000 for von Stroheim's personal fee, $54,971 for processing and editing, $53,654 for advertising and $1,726 for Motion Picture dues.[112]

Arthur Lennig asserted that MGM's official budget for Ochko'zlik was suspiciously high for a film with no stars, no built sets, a small crew and inexpensive film stock. Lennig suspects that MGM averaged the film's cost with the more expensive Quvnoq beva in order to prevent von Stroheim from getting a percentage of the more profitable film.[22] Quvnoq beva ended up being a hit and earned more profits than Ochko'zlik had lost;[113] it cost $614,961 but earned $996,226 on its initial run.[112]

Meros

In his final years, von Stroheim said that "of all my films, only Ochko'zlik was a fully realized work; faqat Ochko'zlik had a total validity."[114] In 1926 a British foundation of arts and sciences requested a copy of the original version of Ochko'zlik to keep in their archive, but their request was denied by MGM.[115] Anri Langlyo screened the studio version of Ochko'zlik for von Stroheim in 1950. Von Stroheim said, "It was for me an exhumation. It was like opening a coffin in which there was just dust, giving off a terrible stench, a couple of vertebra and a piece of shoulder bone."[3] He went on to say that "It was as if a man's beloved was run over by a truck, maimed beyond recognition. He goes to see her in the morgue. Of course, he still loves her but it's only the memory of her that he can love—because he doesn't recognize her anymore."[114]

1950-yillarning boshlarida Ochko'zlik's reputation began to grow and it appeared on several lists of the greatest films ever made. In 1952 at the Festival Mondial du Film et des Beaux Arts de Belgique, Ochko'zlik was named the fifth greatest film ever made, with such directors as Luchino Viskonti, Orson Uells, Luis Buyuel va Billi Uaylder voting for it. Later in 1952 Ko'z va tovush magazine published its first list of the "ten greatest films ever made". Ochko'zlik was tied for 7th place on that list, with such critics as Andre Bazin, Lotte Eisner, Kertis Xarrington, Penelopa Xyuston va Gevin Lambert voting for it.[116] In 1962 it was tied for 4th on the same list. Since 1972 it has failed to reach a spot on the top ten.[115] The Cinémathèque royale de Belgique released a list of "the most important and misappreciated American films of all time" in 1978. Ochko'zlik was third on its list after Fuqaro Keyn va Quyosh chiqishi: Ikki odamning qo'shig'i.[115] A Janubiy Kaliforniya universiteti list of the "50 Most Significant American Films" made by the school's Performing Arts Council, Ochko'zlik was listed as number 21.[117] 1991 yilda Ochko'zlik Qo'shma Shtatlarda saqlash uchun tanlangan Milliy filmlar registri tomonidan Kongress kutubxonasi sifatida "madaniy, tarixiy yoki estetik ahamiyatga ega".[118][119]

Among those who have praised Ochko'zlik over the years are Sergey Eyzenshteyn;[120] Jozef fon Sternberg, who said, "We were all influenced by Ochko'zlik";[80] Jan Renoir, who called it "the film of films";[121] va Ernst Lyubits, who called von Stroheim "the only true 'novelist'" in films.[122] Yaqinda Gilyermo del Toro called it "a perfect reflection of the anxiety permeating the passage into the 20th century and the absolute dehumanization that was to come",[123] va Norbert Pfaffenbichler said that "the last shot of the movie is unforgettable."[124] American writer, filmmaker, faylasuf and political activist, Syuzan Sontag nomlangan Ochko'zlik as one of her favorite films.[125] Jonathan Rosenbaum has stated that Ochko'zlik was a major influence on the style and content of many films. Stroheim's shots filming the sun predated Akira Kurosava 's better-known uses of the technique in Rashomon (1950). Rosenbaum compared specific shot set-ups in Ochko'zlik to shots in Qirol Vidor "s Olomon, Jean Renoir's Le Crime de Monsieur Lange, Orson Welles's The Magnificent Ambersons, Xovard Xoks ' Bo'lishi va bo'lmasligi va Mikelanjelo Antonioni "s Avventura. In addition, he likened certain plot elements or characters in Ochko'zlik ga Jon Xuston "s Sierra Madrening xazinasi (1948), Alfred Xitkok "s Orqa oyna (1954), Klod Chabrol "s Les Bonnes Femmes (1960) va Elaine May "s Mikey va Nikki (1975). Rosenbaum singled out Stroheim's influence on May, an American director, with Mikey va Nikki centering on the disintegration of a friendship over money and sex, and including grotesque elements and characters caught between innocence and corruption. Rosenbaum also asserts that Orson Welles' use of satirical caricatures in all of his films is in "the spirit of von Stroheim".[126]

The two films most commonly compared to Ochko'zlik are Huston's Sierra Madrening xazinasi and Welles' The Magnificent Ambersons. Rosenbaum believes that besides Huston's film ending with gold being lost in the desert and similarities between Trina's descent into madness with Fred C. Dobbs own obsessions, the two films have little else in common. The Magnificent Ambersons va Ochko'zlik both have characters who struggle with class differences that lead to their downfall. Ambersons was famously edited down drastically by its studio and the cut footage is now lost. Rosenbaum goes on to state that Ochko'zlik influenced the methods in which novels are adapted into films and filmmakers like Welles, Huston and Bill Forsit followed von Stroheim's example by re-arranging the plot and adding new scenes to their films while still remaining faithful to the intentions of the original novels.[127] Louis McMahon "s Captain Celluloid vs. the Film Pirates (1966) uses the uncut version of Ochko'zlik as a plot device, having been found in a city dump and being taken across the country for film preservation, the evil Master Duper tries to steal it from the shipment but is defeated by Captain Celluloid.[128] 1994 yil Jonatan Lin film Ochko'zlik pays tribute to the film by giving the main characters the last name McTeague.[129]

Attempts to reconstruct the uncut version of Ochko'zlik without use of the lost footage first began in 1958. At the Brussels International Exposition, the Cinémathèque royale de Belgique nomlangan Ochko'zlik as one of the twelve greatest films ever made and simultaneously published von Stroheim's original, uncut script for Ochko'zlik, which came directly from von Stroheim's personal copy preserved by his widow Denise Vernac.[130] This publication led to three separate books that all used von Stroheim's script in order to reconstruct the original version of the film and compare it to the released version: a French book edited by Jacques-G. Perret in 1968 and two versions edited by Joel Finler and Herman G. Vaynberg, both in 1972. Weinberg's book utilized 400 individual stills and production photos to reconstruct the uncut version of Ochko'zlik, the first time that images from the uncut version were publicly available.[131]

1999 yilda, Turner Entertainment decided to recreate, as closely as possible, the original version by combining the existing footage with over 650 still photographs of the lost scenes (many of which had been used in Weinberg's book),[132] in accordance with an original continuity outline written by von Stroheim. All materials were provided by the Margaret Herrik kutubxonasi.[132] This restoration runs almost four hours. U tomonidan ishlab chiqarilgan film preservationist Rick Schmidlin and edited by Glenn Morgan.[133][134] Schmidlin restored many characters and sub-plots from the original version. A new musical score was composed by Robert Israel. The reconstruction cost $100,000 to produce. Schmidlin called the finished product "a reconstruction of Von Stroheim's lost narrative."[135] Uning premyerasi 1999 yilda bo'lib o'tgan Tellurid kinofestivali va keyinchalik ekranlangan Venetsiya kinofestivali va Pordenone Silent Film Festival before being aired on Tyorner klassik filmlari on December 5, 1999.[136] Film tanqidchisi Todd Makkarti called the restored version of Ochko'zlik a triumph.[133] Rojer Ebert deb nomlangan Ochko'zlik a masterpiece and said that the restored Schmidlin cut illustrates the "prudish sensibilities [that] went into MGM's chop job."[2] Rosenbaum praised the project, but claimed it could only be considered a "study version".[137] The reconstruction won a special citation from the Los-Anjeles kino tanqidchilari assotsiatsiyasi mukofotlari.[138]

In 2020, the film's copyright lapsed, entering into the jamoat mulki.[139]

Myths and misconceptions

Stroheim was known to exaggerate events from his life and create myths about himself, such as his fictitious aristocratic origins and military record in Avstriya.[140] He claimed that shortly after having moved to the US in the early 1910s, he had found a copy of McTeague in a motel in New York and had read it in one sitting. He also said that wanting to adapt the book inspired him to make a career in filmmaking.[85] Jorj Sadul later stated that Stroheim had first read the novel in 1914, while living in poverty in Los Angeles.[19]

Claims that Stroheim's original cut was a completely unabridged version of McTeague are not accurate. Stroheim's 300-page script was almost as long as the original novel, but he rethought the entire story and invented new scenes, as well as extensively elaborating existing ones.[141] In the Norris novel, McTeague's back story in Placer County and relationships with his father, mother and Potter were remembered as a flashback and took two paragraphs. In Stroheim's original Ochko'zlik, this sequence took up the first hour of the film and was not a flashback.[142] Stroheim also modernized the novel's time span to between 1908 and 1923, a quarter-century later than the novel.[141]

Ochko'zlik has sometimes been said to be over 100 reels long. Stroheim said that his initial edit was 42 reels, although several of the people who saw this cut remembered it as being anywhere from 42 to 47 reels.[143] Grant Whytock remembered the edited version that Stroheim initially sent to him as between 26 and 28 reels.[89] MGM's official studio files list the original cut of the film at 22 reels.[144] As recently as 1992, former MGM Story Editor Samuel Marks erroneously claimed that the original version of Ochko'zlik was 70 reels.[145]

June Mathis is credited with co-writing the script due to her work on the 10-reel version. Mathis was the head of the Story Department at MGM and her contract stipulated that she would receive writing credit for all MGM films. She did not actually write any part of the screenplay.[27] She is said to have changed its title from McTeague ga Ochko'zlik during post-production;[146] however, a publicity still of the cast and crew taken during production clearly indicates that it was titled Ochko'zlik before the MGM merger even took place.[147] The film's working title was "Greedy Wives", a nod towards Stroheim's previous film Ahmoq xotinlar; this working title never was considered as the film's actual title.[14]

Ning asl nusxasi Ochko'zlik has been called the "holy grail" for film archivists.[23] Various reports of the original version being uncovered have proved to be unfounded. Among these "sightings" are a claim that a copy existed in a vault in South America that only was screened once a year for invited guests on New Year's Eve. Another claim was that a copy in the possession of a Texan millionaire was sold to Henri Langlois of Cinémathèque Française. Other claims include that a film society in Boston held a private screening of a print found by a World War II veteran in Berlin from a tip by Emil Jannings, bu Devid Cho'pon ning Amerika kino instituti had found a copy at a garage sale, and that the head of a film society in Redvud Siti, Kaliforniya owned "the longest existing version of Ochko'zlik (purchased in Europe)." Stroheim himself once stated that Benito Mussolini owned a personal copy of the film.[148] Stroheim's son Joseph von Stroheim once claimed that when he was in the Army during World War II, he saw a version of the film that took two nights to fully screen, although he could not remember exactly how long it was.[149]

There were also reports that MGM had retained a copy of the original version. Iris Barry of the Museum of Modern Art claimed that a copy was locked in the MGM vaults, although Thalberg denied it. Shuningdek, bu haqida xabar berilgan John Houseman had a private screening at MGM and that MGM owned two copies stored in a vault in a Utah salt mine.[148] Lotte Eisner once claimed that in the 1950s and 1960s, several cans of films labeled "McTeague" were found in MGM's vaults and destroyed by executives who did not know that it was footage from Ochko'zlik.[150] MGM executive Al Lewin said that several years after the film's release Stroheim asked him for the cut footage. Lewin and editor Margaret But searched MGM's vault but could not find any missing footage.[151]

Shuningdek qarang

Izohlar

  1. ^ Approximately $75,000 in 2019 dollars according to the Bureau of Labor Statistics.
  2. ^ It is traditional to discuss the length of theatrical motion pictures in terms of "makaralar ". The standard length of a 35 mm motion picture reel is 1,000 feet (300 meters). This length runs approximately 11 minutes at sound speed (24 frames per second) and slightly longer at silent film speed (which may vary from approximately 16 to 22 frames per second). Therefore the 42-reel version of Ochko'zlik was 462 minutes (8 hours) at 24 fps, 551 minutes (9 hours) at 20 fps and longer at other speeds.
  3. ^ 264 minutes (4 hours and 20 minutes) at 24 fps and 315 minutes (5 hours and 15 minutes) at 20 fps.
  4. ^ 198 minutes (3 hours and 20 minutes) at 24 fps and 236 minutes (3 hours and 56 minutes) at 20 fps.
  5. ^ In a remarkably similar story, screen actor Jon Gilbert once told Mayer that his own mother was a whore and Mayer allegedly chased him with a knife.[92]
  6. ^ 110 minutes (1 hour and 50 minutes) at 24 fps.

Adabiyotlar

Iqtiboslar

  1. ^ Weinberg 1972, p. 61.
  2. ^ a b v d Ebert, Rojer (1999 yil 12-dekabr). "Greed (1925)". Chikago Sun-Times. Chikago: Sun-Times Media Group. Arxivlandi asl nusxasi 2010 yil 23 dekabrda. Olingan 1 dekabr, 2010.
  3. ^ a b Weinberg 1972, 17-18 betlar.
  4. ^ Lennig 2000, 187-188 betlar.
  5. ^ a b Koszarski 1983, p. 327.
  6. ^ Finler 1972, p. 7.
  7. ^ a b Lennig 2000, p. 188.
  8. ^ a b v Lennig 2000, p. 186.
  9. ^ Lennig 2000, pp. 25–58.
  10. ^ Lennig 2000, p. 122.
  11. ^ Wakeman 1987, p. 1073; Lennig 2000, p. 188.
  12. ^ Koszarski 1983, p. 114.
  13. ^ Lennig 2000, 189-190 betlar.
  14. ^ a b Koszarski 1983, p. 116.
  15. ^ a b Lennig 2000, p. 189.
  16. ^ a b v d e Lennig 2000, p. 190.
  17. ^ Rosenbaum 1993, p. 31.
  18. ^ Koszarski 1983, 116–117-betlar.
  19. ^ a b Rosenbaum 1993, p. 20.
  20. ^ Lennig 2000, 8-9 betlar.
  21. ^ Lennig 2000, p. 2018-04-02 121 2.
  22. ^ a b v Lennig 2000, p. 217.
  23. ^ a b v d e Wakeman 1987, p. 1074.
  24. ^ Curtiss 1971, p. 164; Koszarski 1983, p. 122.
  25. ^ Koszarski 1983, 156-159 betlar.
  26. ^ a b v d Finler 1972, p. 29.
  27. ^ a b Finler 1972, p. 16.
  28. ^ Rosenbaum 1993, p. 16.
  29. ^ a b v Koszarski 1983, p. 124.
  30. ^ Koszarski 1983, p. 127.
  31. ^ a b Finler 1972, 17-18 betlar.
  32. ^ Curtiss 1971, p. 165.
  33. ^ Finler 1972, p. 17; Koszarski 1983, p. 119; Wakeman 1987, p. 1074.
  34. ^ Finler 1972, 22-23 betlar.
  35. ^ Koszarski 1983, p. 119.
  36. ^ Koszarski 1983, p. 122.
  37. ^ a b v Koszarski 1983, p. 135.
  38. ^ Rosenbaum 1993, pp. 21, 37.
  39. ^ Finler 1972, p. 27.
  40. ^ a b Koszarski 1983, p. 129.
  41. ^ Finler 1968, p. 52.
  42. ^ a b v d e f Finler 1972, p. 18.
  43. ^ Koszarski 1983, p. 136.
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  45. ^ a b Finler 1972, p. 23.
  46. ^ a b Finler 1972, p. 24.
  47. ^ Lennig 2000, p. 81.
  48. ^ Curtiss 1971, p. 173.
  49. ^ Koszarski 1983, 138-139-betlar.
  50. ^ Finler 1972, p. 26.
  51. ^ a b Koszarski 1983, p. 140.
  52. ^ Lennig 2000, p. 215.
  53. ^ Lennig 2000, p. 219.
  54. ^ Lennig 2000, pp. 76, 202.
  55. ^ Finler 1972, p. 26; Lennig 2000, p. 77.
  56. ^ Lennig 2000, p. 206.
  57. ^ Koszarski 1983, p. 134.
  58. ^ Lennig 2000, p. 77.
  59. ^ Weinberg 1972, p. 21.
  60. ^ Lennig 2000, pp. 75–76, 202.
  61. ^ a b v Koszarski 1983, p. 142.
  62. ^ Rosenbaum 1993, p. 22.
  63. ^ a b Lennig 2000, p. 187.
  64. ^ Wakeman 1987, p. 1073.
  65. ^ a b Koszarski 1983, p. 118.
  66. ^ Rosenbaum 1993, 16-18 betlar.
  67. ^ a b Lennig 2000, 195-196 betlar.
  68. ^ a b Lennig 2000, p. 198.
  69. ^ Lennig 2000, p. 214.
  70. ^ Lennig 2000, 198, 200-betlar.
  71. ^ Finler 1968, pp. 31, 38.
  72. ^ Lennig 2000, 87-88 betlar.
  73. ^ Lennig 2000, 204–206 betlar.
  74. ^ Lennig 2000, p. 211.
  75. ^ Lennig 2000, p. 95.
  76. ^ Lennig 2000, p. 91.
  77. ^ Lennig 2000, p. 90.
  78. ^ Lennig 2000, p. 193.
  79. ^ Lennig 2000, p. 194.
  80. ^ a b Weinberg 1972, p. 15.
  81. ^ Finler 1972, p. 29; Koszarski 1983, p. 326.
  82. ^ a b v d e Koszarski 1983, p. 147.
  83. ^ Rosenbaum 1993, p. 41.
  84. ^ a b Weinberg 1972, p. 13.
  85. ^ a b Finler 1972, p. 14.
  86. ^ a b v d e f Koszarski 1983, p. 141.
  87. ^ Rosenbaum 1993, p. 29.
  88. ^ a b Koszarski 1983, p. 144.
  89. ^ a b v Koszarski 1983, p. 143.
  90. ^ a b Finler 1972, p. 28.
  91. ^ Koszarski 1983, 142–143 betlar.
  92. ^ Flamini 1994, 85-86-betlar.
  93. ^ Rosenbaum 1993, p. 38.
  94. ^ Curtiss 1971, p. 178.
  95. ^ Unterburger, Amy L.; Foster, Gwendolyn Audrey (1999). The St. James Women Filmmakers Encyclopedia: Women on the Other Side of the Camera. Ko'rinadigan siyoh matbuoti. p.270. ISBN  1-57859-092-2.
  96. ^ a b v Koszarski 1983, p. 145.
  97. ^ Koszarski 1983, 144-145-betlar.
  98. ^ Ward Mahar, Karen (2006). Women Filmmakers in Early Hollywood. JHU Press. p.200. ISBN  0-8018-8436-5.
  99. ^ Finler 1972, p. 11.
  100. ^ a b Finler 1972, p. 12.
  101. ^ a b Vieira 2010, p. 47.
  102. ^ Finler 1972, 19-20 betlar.
  103. ^ Curtiss 1971, p. 181.
  104. ^ Koszarski 1983, p. 146.
  105. ^ Finler 1972, p. 31.
  106. ^ a b Lennig 2000, p. 218.
  107. ^ Finler 1972, p. 32.
  108. ^ Xolda, Mordaunt (December 5, 1924). "Greed (1924)". The New York Times. Nyu-York shahri: The New York Times kompaniyasi. Olingan 19 yanvar, 2013.
  109. ^ Rosenbaum 1993, p. 36.
  110. ^ "'Greed' Impresses as Powerful Film". Gazeta. Monreal: Postmedia Network. 1925 yil 20-aprel. Olingan 16 yanvar, 2013.
  111. ^ Vieira 2010, p. 48.
  112. ^ a b v Koszarski 1983, p. 173.
  113. ^ Finler 1972, p. 10.
  114. ^ a b Weinberg 1972, p. 18.
  115. ^ a b v Koszarski 1983, p. 148.
  116. ^ Rosenbaum 1993, p. 50.
  117. ^ Rosenbaum 1993, p. 51.
  118. ^ Ker, Deyv. "AQSh FILM Ro'yxatga olish kitobi 25 ta" ahamiyatli "filmni qo'shmoqda". chicagotribune.com. Olingan 13 oktyabr, 2020.
  119. ^ "To'liq milliy filmlar ro'yxati ro'yxati | Filmlar reyestri | Milliy filmlarni saqlash kengashi | Kongress kutubxonasidagi dasturlar | Kongress kutubxonasi". Kongress kutubxonasi, Vashington, DC 20540 AQSh. Olingan 13 oktyabr, 2020.
  120. ^ Weinberg 1972, p. 10.
  121. ^ Weinberg 1972, p. 16.
  122. ^ Weinberg 1972, p. 17.
  123. ^ "Gilyermo del Toro". Britaniya kino instituti. Arxivlandi asl nusxasi 2014 yil 16 iyunda. Olingan 11 iyun, 2014.
  124. ^ "Norbert Pfaffenbichler". Britaniya kino instituti. Arxivlandi asl nusxasi 2014 yil 14 iyulda. Olingan 11 iyun, 2014.
  125. ^ "Susan Sontag's 50 Favorite Films (and Her Own Cinematic Creations)". Ochiq madaniyat. 2012 yil 4-dekabr.
  126. ^ Rosenbaum 1993, 52-58 betlar.
  127. ^ Rosenbaum 1993, 58-59 betlar.
  128. ^ http://www.grapevinevideo.com/Cpt_Celluloid_vs_Film_Pirates.html
  129. ^ Ebert, Rojer (1994 yil 4 mart). "Greedy". Chikago Sun-Times. Chikago: Sun-Times Media Group. Arxivlandi asl nusxasi 2007 yil 21 aprelda. Olingan 1 oktyabr, 2013.
  130. ^ Finler 1972, p. 6; Weinberg 1972, p. 15.
  131. ^ Rosenbaum 1993, 25-26 betlar.
  132. ^ a b Rosenbaum, Jonathan (November 26, 1999). "Fables of the Reconstruction: The 4-Hour GREED". Chikagodagi o'quvchi. Arxivlandi asl nusxasi 2013 yil 19-dekabrda. Olingan 8 aprel, 2014.
  133. ^ a b McCarthy, Todd (September 7, 1999). "Review: 'Greed'". Turli xillik. Arxivlandi asl nusxasi 2014 yil 7 aprelda. Olingan 2 aprel, 2014.
  134. ^ Steffen, Jeyms. "Ochko'zlik". Tyorner klassik filmlari. Arxivlandi asl nusxasi 2014 yil 7 aprelda. Olingan 9 sentyabr, 2012.
  135. ^ "Restored 'Greed' Comes To Turner Classic Movies". Sietl Tayms. December 5, 1999. Archived from asl nusxasi 2014 yil 7 aprelda. Olingan 28 mart, 2014.
  136. ^ Mills, Michael (1999). "Resurrection on Polk Street". ~Greed~ Von Stroheim's Silent Movie Classic. Arxivlandi asl nusxasi 2000 yil 11 aprelda. Olingan 22 sentyabr, 2016.
  137. ^ 2013 Greater St. Louis Humanities Festival — Greed Screening. Missisipi Gumanitar Kengashi. April 6, 2013. Rosenbaum asserts this around 43 minutes in. Olingan 22 yanvar, 2016 - orqali YouTube.
  138. ^ "25th Annual Los Angeles Film Critics Association Awards". The Los Angeles Film Critics Association. Arxivlandi asl nusxasi 2014 yil 6 oktyabrda. Olingan 6 iyun, 2014.
  139. ^ "Class of 2020: New in the Public Domain today!". Jamoat mulki sharhi. Olingan 20 may, 2020.
  140. ^ Lennig 2000, p. xii.
  141. ^ a b Lennig 2000, p. 191.
  142. ^ Lennig 2000, p. 192.
  143. ^ Rosenbaum 1993, p. 24.
  144. ^ Rosenbaum 1993, p. 25.
  145. ^ Rosenbaum 1993, p. 10.
  146. ^ Weinberg 1972, p. 41.
  147. ^ Weinberg 1972, p. 30.
  148. ^ a b Weinberg 1972, p. 9.
  149. ^ Koszarski 1983, p. 149.
  150. ^ Rosenbaum 1993, 38-39 betlar.
  151. ^ Flamini 1994, p. 56.

Bibliografiya

Tashqi havolalar