An interesting lesson in the "Greed" controversy is the reminder that in Hollywood, the emphasis is basically upon "merchandise," whereas in New York it is on "talent." What happened to von Stronheim is the same pattern of Welles, Cukor, and other great artists of true genius, who attempted in vain to place art above business interests.
It's really all about profit, box office, ratings in Hollywood. If one can create art while turning in a product under budget, under schedule -- and do good box office, fine. But, to this very day, those still living production folk who were at RKO during the "Citizen Kane" era, speak lowly of Welles. Not because the film has long been hailed as a great milestone, but because it failed to turn in the profit they expected.
Welles suffered from that experience to the extent he never fully recovered, and his "Magnificent Ambersons" underwent a similar studio hacking.
Cukor disavowed "A Star Is Born" and died before he could ever see the "restored" version -- not that that would have necessarily have pleased him. His cut footage was destroyed and no one will ever see the Cukor version again.
von Stronheim's "Greed" is the same. One may speculate, but the film is forever gone, thanks to the attitude and actions of Thalberg, along with Mayer's approval.
Hollywood is no place for the genuine artist . . . unless he can somehow "sneak" in the art (as Welles did cleverly with "Kane").
So, the rhetorical debate over lost footage remains purely theoretical. It pays to be a writer, composer or painter ... at least their work can't be easily destroyed. ###
It's really all about profit, box office, ratings in Hollywood. If one can create art while turning in a product under budget, under schedule -- and do good box office, fine. But, to this very day, those still living production folk who were at RKO during the "Citizen Kane" era, speak lowly of Welles. Not because the film has long been hailed as a great milestone, but because it failed to turn in the profit they expected.
Welles suffered from that experience to the extent he never fully recovered, and his "Magnificent Ambersons" underwent a similar studio hacking.
Cukor disavowed "A Star Is Born" and died before he could ever see the "restored" version -- not that that would have necessarily have pleased him. His cut footage was destroyed and no one will ever see the Cukor version again.
von Stronheim's "Greed" is the same. One may speculate, but the film is forever gone, thanks to the attitude and actions of Thalberg, along with Mayer's approval.
Hollywood is no place for the genuine artist . . . unless he can somehow "sneak" in the art (as Welles did cleverly with "Kane").
So, the rhetorical debate over lost footage remains purely theoretical. It pays to be a writer, composer or painter ... at least their work can't be easily destroyed. ###