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Programmaboekje : the Wedding March

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Stille Film Live Orkest Carl Davis . Koninklijk Filharmonisch Orkest van Vlaanderen Erich von Stroheim . The Wedding March vrijdag 24 november 2000 Stille Film Live Orkest – Seizoen 2000-2001 Beethoven Academie . Carl Davis An Eastern Westerner . Safety Last woensdag 4 oktober 2000 Carl Davis . Koninklijk Filharmonisch Orkest van Vlaanderen The Wedding March vrijdag 24 november 2000 Het Brabants Orkest . Gillian B. Anderson The Ten Commandments maandag 29 januari 2001 Koninklijk Filharmonisch Orkest van Vlaanderen Carl Davis muziek en leiding Erich von Stroheim . The Wedding March Cast Erich von Stroheim Prins Nicki von Wildeliebe-Rauffenburg Fay Wray Mitzi Schrammell George Fawcett Prins Ottokar von Wildeliebe-Rauffenburg Maude George Prinses Maria von Wildeliebe-Rauffenburg George Nichols Fortunat Schweisser ZaSu Pitts Cecilia Schweiser Matthew Betz Schani Eberle Cesare Gravina Martin Schrammell Dale Fuller Katerina Schrammel Sidney Bracey Navratil Anton Vaverka Keizer Franz-Josef Hughie Mack Schani’s vader Lucille van Lent Nicki’s meid Lurie Weiss Cecilia’s meid Carolynne Snowden Zwart meisje in bordeel Lulee Wilson Dienaar Captain John Peters, Captain Carl von Hartman, Carey Harrison, Ferdi- nand Schumann-Heink, Heinrich Reinhardt, Albert Conti, Wilhelm von ism. KFOvV Brincken Offi cieren begin voorstelling 20.00 uur Credits er is geen pauze Erich von Stroheim Regie einde omstreeks 22.00 uur Harry Carr, Erich von Stroheim Scenario Pat Powers Productie inleiding door Theodore van Houten . 19.15 uur . Foyer Hal Mohr, Ben F. Reynolds, B. Sorenson Cinematografi e tekst programmaboekje KFOvV Josef von Sternberg, Erich von Stroheim Film Editing coördinatie programmaboekje deSingel Richard Day, Erich von Stroheim Art directie druk programmaboekje Tegendruk Richard Day, Max Rée, Erich von Stroheim Kostuums Edward Sowders Assistant gelieve uw GSM uit te schakelen! Het Koninklijk Filharmonisch Orkest van Vlaanderen geniet de steun van de Vlaamse Gemeenschap, de stad en de provincie Antwerpen. Het seizoen 2000-2001 werd mede mogelijk gemaakt door: De muziek van Carl Davis bij The Wedding March wordt uitgegeven en verdeeld door Faber Music Limited. The Wedding March werd geproduceerd door Photo- play Productions voor Channel Four. Erich von Stroheim (1885-1975) Vele verhalen doen de ronde over Stroheims kennismaking met en eerste jaren in Hollywood. Documenten tonen aan dat hij de zoon was van een joodse hoedenmaker uit Gleiwitz en geen cavalerieof- fi cier in het Oostenrijks-Hongaarse leger. Onderweg van Bremen naar New York veranderde hij zijn naam van Erich Oswald Stroheim in Erich Oswald Carl Maria von Stroheim. Carl Laemmle van Universal fi nancierde Stroheims eerste fi lm, Blind Husbands (1919). Deze vertelt het verhaal van een heimelijke lief- desaffaire en Stroheim zelf vertolkte er de rol in van een cynische Oostenrijkse offi cier die stoeide met een doktersvrouw. De fi lm lapte op een opvallende manier de morele waarden en het goede fatsoen van die tijd aan zijn laars. De Amerikanen verdrongen zich om hem te zien. In zijn behandeling van het thema sex, was Blind Husbands revolutionair. Stroheim sloot in zijn fi lm symbolen en ver- wijzingen in die overduidelijk waren voor gesofi sticeerde kijkers, maar totaal ontsnapten aan de aandacht van de censoren. Ook aan Universal zijn ze blijkbaar voorbijgegaan, want de fi lm werd gead- verteerd als “een liefdesverhaal, zó aanlokkelijk als de mooiste romance uit je geheugen...” Blind Husbands werd geloofd als een meesterwerk, maar meteen al in zijn eerste werk kampte Stroheim met problemen. Zo kwam in de loop van de fi lm een fi gurerende hond aan zijn einde, waardoor alle reeds opgenomen scènes met dat beest moesten worden overge- daan. Het moederexemplaar van de defi nitieve beeldband werd beschadigd net vóór hij naar de Oostkust vertrok om gekopieerd te worden. Stroheim schreef: “Toen mijn tweede prent, The Devil’s Pass Key, naar het laboratorium ging, zaten mijn assistent en ik er met geladen Winchesters naast tot hij helemaal klaar was.” Hoe meer Stroheim kreeg, hoe meer hij vroeg. Universals publici- © Photoplay Productions teitsafdeling sloeg munt uit die extravagantie door de exorbitante eerste visionering van Greed, rapporteerde Harry Carr: “Wat rea- productiekosten van Stroheims derde fi lm, Foolish Wives (1922), via lisme en artisticiteit betreft is dit de grootste fi lm die ik ooit heb grote lichtreclames op Times Square wereldkundig te maken. Het gezien. Maar ik weet niet waar hij op zal lijken wanneer de tweeën- kostenplaatje was ongezien en de lengte van de fi lm was totaal in veertig spoelen worden herleid tot acht.” Von Stroheim hield een strijd met alle commerciële principes. Stroheim stond erop dat de pleidooi bij Goldwyn om de fi lm in twee delen uit te brengen, maar fi lm in zijn originele lengte van vierendertig spoelen werd uitge- het bedrijf was inmiddels gefusioneerd met Metro & Mayer en Von bracht, maar Irving Thalberg, Laemmles assistent bij Universal, liet Stroheim zag zich dus weer maar eens geconfronteerd met Irving hem buitensluiten uit de montagekamer. Monteur Arthur Ripley Thalberg en Louis B. Mayer. Zij stonden erop dat de omvang werd verknipte de fi lm tot tien spoelen. teruggebracht tot tien spoelen. “De man die mijn fi lm monteerde, Thalberg en Stroheim kwamen opnieuw in botsing naar aanleiding had zaagsel in zijn hoofd”, aldus Stroheim, die zijn huis, zijn auto en van Merry-Go-Round (1923), het in Wenen gesitueerde liefdesver- zijn levensverzekering in pand had gegeven om zonder loon te wer- haal van een aristocraat en een gewone burgervrouw. Universal ken. kocht niet alleen Centraal-Europese uniformen van oorlogsvetera- Nog meer confl icten met Thalberg kwamen er over The Merry Widow nen, maar wist ook de staatsiekoets van de overleden Keizer op de (1925). Na geruzie met Mae Murray, werd Stroheim vervangen door kop te tikken. Toen hij die hoge standaard van authenticiteit bereikt Monta Bell. Na protest van de cast mocht Stroheim dan toch zijn fi lm had, begon Stroheim zijn troepen te drillen. Dit was niet echt een afwerken. Het werd een succes. “Ze applaudisseerden”, aldus Stro- opdracht waarvoor een regisseur goed betaald werd. Thalberg heim, “maar ik kromp in elkaar van schaamte.” Woedend trok hij de haalde Stroheim van de fi lm af en verving hem door Rupert Julian. deur van MGM achter zich dicht. Julian verscheurde het script en keilde twintigduizend voet van The Wedding March (1928) werd gemaakt voor een onafhankelijk Stroheims materiaal in de vuilnisbak. Motion Picture Magazine producent, Pat Powers. Stroheim vertrok van de Merry-Go-Round- schreef: “Het zal niet moeilijk zijn von Stroheims originele scènes te plot en herwerkte hem. De aftiteling verkondigt met onverholen herkennen. Ze zijn briljant, met die typische mengeling van verfi jnd- trots: “In zijn geheel een Erich von Stroheim-creatie.” Maar ook die heid, cynisme en ironie van het oude continent.” fi lm werd van hem afgenomen. Von Stroheim verhuisde naar Goldwyn, waar June Mathis de plak Stroheims carrière bereikte zijn eindpunt. Gloria Swanson vroeg zwaaide. In zijn volgende fi lm, Greed (1925), negeerde hij alle cli- hem een fi lm voor haar te regisseren, Queen Kelly (1928). Ze werd chés van de speelfi lmproductie. Hij verliet de studio en ging in echte gesteund door Joseph Kennedy, een miljonair en vader van de huizen opnemen in Death Valley. Hij schreef: “Ik had het gevoel dat latere president. Het hele project werd op de lange baan geschoven het fi lmpubliek de banale verhaaltjes met hun popperige en eeuwig en de verantwoordelijkheid daarvoor ligt geheel bij Stroheim. Hij maagdelijke heldinnen en hun steriele helden beu was.” Na een fi lmde scènes die zich afspeelden in een Afrikaans bordeel, een The Wedding March gegeven dat in 1928 geen enkele kans maakte de censuur te overle- Verhaal ven. Leden van het Hays Offi ce – het orgaan voor zelfcensuur dat de Prins Nicki, luitenant in het Oostenrijks-Hongaarse leger van vóór Amerikaanse fi lmproducenten in de jaren twintig hadden opgericht de Eerste Wereldoorlog, is blut. Het enige advies dat hij van zijn om aan de dreigende ingrepen van de overheid te ontsnappen – ouders krijgt, is dat hij zich een kogel door het hoofd moet jagen of haalden er scènes uit die Stroheim er achteraf opnieuw in smok- een rijke vrouw zoeken. Tijdens de Corpus Christi-parade verwondt kelde. Gloria Swanson trok zich terug. “Het probleem was”, zo zei zijn paard per ongeluk de arme Mitzi, de dochter van een herber- ze, “dat Stroheim altijd met invaliden wilde werken. Dit keer was gier in een Weense voorstad, die, volgens de wensen van haar het Tully Marshall, die tabakssap aan het kwijlen was. Het was me ouders, gaat huwen met de slager Schani. Wanneer Nicki haar in een beetje te vroeg in de ochtend voor zoiets.” het ziekenhuis bezoekt, worden ze verliefd, zeer tot ongenoegen Swanson en Stroheim werkten niet meer samen tot in 1950, in Billy van Schani en haar ouders. Nicki’s ouders hebben inmiddels een Wilders Sunset Boulevard. Gloria Swanson speelde de hoofdrol, huwelijk geregeld met Cecilia, de kreupele dochter van een zeer een ouder wordende fi lmster, en Stroheim was haar butler, voor- rijke, niet-aristocratische industrieel. Alleen al het feit dat Nicki’s malig echtgenoot en regisseur. Het meest aangrijpende moment in vader generaal is in het Oostenrijks-Hongaarse leger, maakt elk ver- de fi lm toont Stroheim tussen de camera’s, terwijl hij de gestoorde zet overbodig. Wanneer Mitzi, ook al verneemt ze het nieuws van ster ‘regisseert’ die van een trap afkomt. Het was de eerste keer dat Nicki’s nakende huwelijk, alsnog Schani afwijst, neemt die laatste hij ‘Camera!’ riep sinds zijn vertrek bij Fox, waar hem zijn laatste zich voor Nicki neer te schieten wanneer hij de kerk verlaat... project, Walking Down Broadway (1933), uit handen werd geno- men. Waar Hollywood hem versmaadde, daar werd hij in Frankrijk aan- beden. Bij zijn begrafenis in 1957 werd het kruis van het Légion d’honneur achter zijn kist gedragen.
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    I I-- !' '•••• NAT. C. f-fl'j r • " "I P ! The World's Greatest Actor as k r Charles Dicken's Master Character in I OLIVER TWIST NAT. C. GOODWIN—Just broughtl to a finish the most prosperous Broadway revival ever made and has shown con- clusively how dear Charles Dickens is to the hearts of the people. MOVING PICTURE FANS PAY EXTRA TO SEE . c. IN t\3 MOVING PICTURES GENERAL FILM PUBLICITY & SALtS CO. 145 W. 45th Street New Yorl J. H. SPELLMIRE, PRES. CHAS. OLSON, SEC. A. BECK, GEN. MGR. Central Film Service Company INCORPORATED MOVING PICTURE SUPPL ES New Address: 113-115 West Georgia Street ndianapolis, Ind. EVERYTHING USED IN THE MOVING PICTURE BUSI> ss Indiana and Kentucky Renters for 101 Boso \ Films Write for Prices Ask About Our Special Featu Circuit Proposition If -You Enjoy Photoplays You Certainly hould Read the Interesting Book entitled MOVING PICTURES BY FREDERICK A. TALBOT The first motion picture camera Trick pictures and how th are manufactured Developing and printing film Animation in n. aralcolors How a piny is produced Moving pictures in the '. me These are just a few chapter titles found in the bo Order Your Copy Today. Price $1.50 PHOTOPLAY MAGAZINE Suite 4O1 Heisen Building GHIGAGO, ILL. ; THE GREAT FEATURE v Paradise and Purgatory IN FOUR REELS is now open for booking to exhibitors all over he country Send to us for vacant dates Advertising matter consists of PHOTOS #.138 14 Kinds 1 3 8 BOOKLETS POSTERS 3STERS POSTAL CARDS 32 Kinds Superior Feature Fim Co.