The Wedding March is, like its “creator,” uncompromising. Full of cruelty and perversion, this is not the vision of the world that the Hollywood of the 1920s projected. (Ironically, it certainly was the preferred off-screen lifestyle of the Hollywood of the 1920s.) Naivety is an alien concept, and innocence long since abandoned. And the token “happy ending”? Nowhere to be found. If this doesn’t sound like the Hollywood that you’re used to seeing, then Erich von Stroheim achieved his goal.
Cullen Gallagher is a Brooklyn-based writer, musician, and curator whose work has appeared in The Los Angeles Review of Books, The Life Sentence, Moving Image Source, Bright Lights Film Journal, Beat to a Pulp, NoirCon, Crimefactory, Film Comment, The L Magazine, The Brooklyn Rail, Fandor, Not Coming to a Theater Near You, Hammer to Nail, Spinetingler, Between Lavas, Reverse Shot, and Guitar Review. He records instrumental music as Modern Silent Cinema and plays in the hardcore band Night Squad.