Erich von Stroheim believed in Realism. He was an outsider
of his epoch, as he lived in an age when most directors were not willing to
represent reality in a naturalistic manner, and even more audience were not
courageous enough to confront the raw truths of human nature. Stroheim was able
to think outside the box, and he used a number of pioneering cinematic
techniques to convey a sense of Realism in ‘Greed’. These techniques
foreshadowed the later works of Eisenstein, Renoir, Welles and many others. At
cinema’s earliest days, Stroheim’s masterpiece represented an apex of cinematic
naturalism.
In order to expose the many truths of the human condition,
Stroheim employed various mise-en-scenes
that I would summarize in a catch phrase – ‘Compare and Contrast’.’ Compare’
entailed the use of symbolism, and Stroheim’s pioneering use of Montage Editing
served the purpose. ‘Contrast’ entailed the conflict of various aspects of
human nature, and this was the most innovative sides of Stroheim’s
contribution. Stroheim employed deep-focus photography, high contrast lighting,
and meticulous choices of mise-en-scene to show us the inherent contradictions
evident in a real and brutal universe.
Compare
In order to allow audience to associate ideas to the film,
Stroheim made wise and informed use of symbolism in order to relate to his
characters. Different characters were compared to different animals, and they
to be honest acted like ‘human beasts’ – during the wedding banquet, the diners
had their meals in the most bestial manner, and this was indeed considered
rather shocking to contemporary audience as they used associated the idea of a
dinner party to ideas like elegance and
family. Not in here – Stroheim reduced his characters to animals, and that very
much summarized the actions the 3 major characters enacted in the film – pure
animal instincts. Thanks to a relevant use of symbols, he audience not only
were capable of reconciling ideas and plot, and these symbols indeed
facilitated the viewers to construct the meaning behind the story.
Contrast
But if there were reasons to remember Stroheim as an artist,
it was because of the style he used to illustrate the various contrasts in
life. Stroheim could be considered one of the first to employ extensive use of
deep focus photography, and it was rather evident in ‘Greed’. In his case, deep
focus photography served a special role of illustrating the internal conflicts
in human lives. In the wedding scene, when the ceremony was taking place,
interesting enough (!) a funeral was taking place outside the window. Both incidents were shot at sharp focus
(independent of the distance from the viewer), and with the use of the window
as a re-framing device, this scene provided an intense contrast of 2 completely
different situations taking place together. This style was also subsequently
used by Renoir in ‘The Grand Illusion’, for which 2 strings of actions were
simultaneously carrying out inside and outside, only separated by a window or a
door. The use of lighting was also essential, in particular for a black and
white film. Stroheim used low key, and hence high contrast lighting, to
heighten the mood and expose the uncertainty behind the myth of human condition.
The use of high contrast lighting meant in a given frame, it was occupied by
both brightly-lit and dark images, that created an extreme contrast to the
overall image. To me, this type of mise-en-scene conveyed a layered impression and
seemed to suggest the unpredictability of human sentiments - certain aspects of
human characters were obvious, but then other hidden characters were at a low
repose, ready to leap at any time to take the viewers off guard. That’s the old
saying – people are not what they appear, and Stroheim has long had this
insight and was able to portray that in an artistic manner.
Mise-en-scene Composition
One of the most iconic images in Greed is shown above, and I
would love to share some thoughts about that. This image represented a prime example
of deep focus photography – both McTeague and Trina were shown in sharp focus,
even those their respective distances and height levels were extremely
different from the audience. At first sight, it appeared as if the screen has
been flattened and the distance between the couple has become closer. But has
it? The high contrast lighting employed in this scene suggested a Devil’s
advocate. The closer McTeague’s face was stern and darkly lit, and Trina’s face
was a bit distanced, yet brightly lit. These were complimented by the stylized
back shadows at the wall. McTeague’s darkened face suggested his
unpredictability – the many little secrets he wanted to repress from exposing
to his wife. Trina was far from above and she was desperate. She would like to
understand more about her husband, but it was pretty clear there was a long way
to go. Both characters could not get deeper into each other’s psyches and
appreciate each other’s feelings. This stagnate in the lack of communication
would eventually end in tragedy. Through
his innovative use of deep focus and high contrast lighting, Stroheim’s
mise-en-scene could convey such a rich meaning and that would contribute to the
viewer’s understanding of the underlying messages of the film. The judicious
applications of mise-en-scene would prove a powerful tool for many of the
future auteurs, and Erich von Stroheim could be rightfully considered a
founding thinker in this style.
Final Words
It is painful to be forgotten, and I can identify with
Stroheim’s pain. Yet if you dare to be original, you will be rewarded – the
future generations will remember you,
and will continue to sing praises to you.
(2/2)
By Ed Law
27/4/2015
Film Analysis – 42
