plot elements or characters in Greed to John Huston's The Treasure of the Sierra Madre (1948), Alfred Hitchcock's Rear Window (1954), Claude Chabrol's Les Bonnes Femmes (1960) and Elaine May's Mikey and Nicky (1975). Rosenbaum singled out von Stroheim's influence on May, an American director, with Mikey and Nicky centering on the disintegration of a friendship over money and sex, and including grotesque elements and characters caught between innocence and corruption. Rosenbaum also asserts that Orson Welles's use of satirical caricatures in all of his films is in "the spirit of von Stroheim". The two films most commonly compared to Greed are Huston's The Treasure of the Sierra Madre and Welles's The Magnificent Ambersons. Rosenbaum believes that besides Huston's film ending with gold being lost in the desert and similarities between Trina's descent into madness with Fred C. Dobbs own obsessions, the two films have little else in common. The Magnificent Ambersons and Greed both have characters who struggle with class differences that lead to their downfall. Ambersons was famously edited down drastically by its studio and the cut footage is now lost. Rosenbaum goes on to state that Greed influenced the methods in which novels are adapted into films and filmmakers like Welles, Huston and Bill Forsyth followed von Stroheim's example by re-arranging the plot and adding new scenes to their films while still remaining faithful to the intentions of the original novels. In the first chapter of the 1966 serial film Captain Celluloid vs. the Film Pirates, the uncut version of Greed is used as a plot device. The 1994 Jonathan Lynn film Greedy pays tribute to the film by giving the main characters the last name McTeague. Reconstruction Attempts to reconstruct the uncut version of Greed without use of the lost footage first began in 1958. At the Brussels International Exposition, the Cinémathèque royale de Belgique named Greed as one of the twelve greatest films ever made and simultaneously published von Stroheim's original, uncut script for Greed, which came directly from von Stroheim's personal copy preserved by his widow Denise Vernac. This publication led to three separate books that all used von Stroheim's script in order to reconstruct the original version of the film and compare it to the released version: a French book edited by Jacques-G. Perret in 1968 and two versions edited by Joel Finler and Herman G. Weinberg, both in 1972. Weinberg's book utilized