Austria, part of the Axis powers defeated in World War One, was experiencing the economic trauma all the other European countries aligned with Germany were suffering. High unemployment and stagflation were making materials cheap to come by in Austria. Film producer Alexander Kolowrat-Krakowsky saw an opportunity to make a long-held dream a reality to create an epic motion picture with literally a cast of thousands. His October 1922 film, "Sodom and Gomorrah,' directed by Michael Curtiz (his Austrian name at the time was Mihaly Kertész), became Austria's largest and most expensive movie ever produced.
Kolowrat's film is a modern story with dreamy episodes of historic flashbacks, including the ancient Biblical story of the destruction of Sodom described in Genesis. These historical sequences are included within the framework of the movie to teach the film's main character, Mary, played by Curtiz's wife, actress Lucy Doraine, the lessons pertaining to her wayward, confused romantic life. The morality tale of a daughter who is persuaded by her poverty-ridden family to marry an older rich banker was a common theme in silent films. These plots invariably entail young women in love with a financially-strapped handsome young men, but are grudgingly steered towards unhappy marriages to older, pudgy rich millionaires who have a yen for young females. Although she agrees, Mary's lascivious personality sends her on a seductive frenzy aimed at her future fiancé's son and even at his guiding priest.
"Sodom and Gomorrah's" primary expense went into the construction-and destruction-of the reproduction of the Biblical city and temples of Sodom. Thousands of laborers working on the cheap, mainly because there were so few jobs to be found in Austria, spent close to three years constructing enormous sets in a muddy stretch of empty land. An estimated 10,000 to 14,000 extras, all clothed in ancient attire, were filmed worshipping their gods and scattering helter skelter when God decided to teach them a lesson. Thousands of skilled craftsmen, from sculptors to decorators, carpenters, painters, all collaborated to what one witness described the entire production scene as "prop madness." The original budget was blown up five times its estimate.
The final print, which premiered in Berlin, Germany, was three hours long. Because of censorship cuts and theater owners demanding brevity, the more common version seen today is a mere 98 minutes. But the movie proved to be an international success For Curtiz, a native Austrian-Hungarian helming films since 1912, "Sodom and Gomorrah" shed more light on his rising star. His expertise in filmmaking had made him by 1918 as one of Hungary's top directors with 45 films under his belt. Facing a nationalization of the Hungarian film industry after the Great War, he returned to Austria to secure more freedom of choice in his movie selection. He jumped at the chance to make "Sodom and Gomorrah," which added to Curtiz' already impressive resume.
Kolowrat's film is a modern story with dreamy episodes of historic flashbacks, including the ancient Biblical story of the destruction of Sodom described in Genesis. These historical sequences are included within the framework of the movie to teach the film's main character, Mary, played by Curtiz's wife, actress Lucy Doraine, the lessons pertaining to her wayward, confused romantic life. The morality tale of a daughter who is persuaded by her poverty-ridden family to marry an older rich banker was a common theme in silent films. These plots invariably entail young women in love with a financially-strapped handsome young men, but are grudgingly steered towards unhappy marriages to older, pudgy rich millionaires who have a yen for young females. Although she agrees, Mary's lascivious personality sends her on a seductive frenzy aimed at her future fiancé's son and even at his guiding priest.
"Sodom and Gomorrah's" primary expense went into the construction-and destruction-of the reproduction of the Biblical city and temples of Sodom. Thousands of laborers working on the cheap, mainly because there were so few jobs to be found in Austria, spent close to three years constructing enormous sets in a muddy stretch of empty land. An estimated 10,000 to 14,000 extras, all clothed in ancient attire, were filmed worshipping their gods and scattering helter skelter when God decided to teach them a lesson. Thousands of skilled craftsmen, from sculptors to decorators, carpenters, painters, all collaborated to what one witness described the entire production scene as "prop madness." The original budget was blown up five times its estimate.
The final print, which premiered in Berlin, Germany, was three hours long. Because of censorship cuts and theater owners demanding brevity, the more common version seen today is a mere 98 minutes. But the movie proved to be an international success For Curtiz, a native Austrian-Hungarian helming films since 1912, "Sodom and Gomorrah" shed more light on his rising star. His expertise in filmmaking had made him by 1918 as one of Hungary's top directors with 45 films under his belt. Facing a nationalization of the Hungarian film industry after the Great War, he returned to Austria to secure more freedom of choice in his movie selection. He jumped at the chance to make "Sodom and Gomorrah," which added to Curtiz' already impressive resume.