GARBO TALKS

Garbo Anna Christie Garbo talks Anna Christie

As successful as Greta Garbo’s pre-talkie films were in the states, they were even more popular in Europe where sound was not a barrier. Louis B. Mayer, nervous about Garbo’s American market in the coming sound era, spared no expense and devised a simple campaign slogan for her first speaking role: “Garbo Talks.” In Anna Christie (1930) she takes half of forever to appear and when she does, she delivers a classic line in her inimitable, husky, accented voice: “Gif me a visky, ginger ale on the side. And don’t be stingy, baby.” Unfortunately, it is the only classic thing about the film. Based on one of Eugene O’ Neil’s most mediocre seafaring plays, Anna Christie is hopelessly stagebound and static. Worse, Garbo is cast as an earthy, as opposed to exotic, prostitute, which was a misstep. By this time, Clarence Brown’s directing had shifted to autopilot. The film is, naturally, beautifully photographed. Marie Dressler, through hammy acting, does the impossible and steals the film from Garbo. Still, 193o audiences, unsurprisingly, bought into the publicity and made it a huge hit. Garbo received an Oscar nomination for this film. It was the first of four nominations, none of which she won.

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Garbo’s second talkie, Romance (1930) is an even more stilted affair, directed again by Brown. She is an opera star in love with a priest (a miscast Gavin Gordon). Things go south when he discovers she is not a virgin (the Hays production code was not yet being enforced). There is a lot of chatter, and Garbo looks ravishing, but her performance was hardly one of her best, despite a second Oscar nomination. As Cornelius, Lewis Stone steals everything but the camera.

GARBO ROMANCE (DANIELS)GARBO ROMANCE

Inspiration (1931) finds Brown again asleep in the director’s chair in a film that, amazingly, seems a pale imitation of her previous film, which wasn’t good to begin with. Garbo and Lewis Stone are refreshing, despite clunky dialogue. Robert Montgomery looks bored.

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GARBO: CINEMA’S COOL AND IMMORTAL SPHINX

“What, when drunk, one sees in other women, one sees in Garbo sober.”–Kenneth Tynan.

GARBO

As many critics have pointed out, the films of Greta Garbo (1905-1990) have dated considerably, and few are actually good. Yet, Garbo remains pure cinema, an idea created through light, mirrors, and form for the celluloid dreams of her audience, who waxed ecstatic over her face alone.

GARBO (DANIELS)

Garbo came from poverty and started modeling at an early age before breaking into Swedish film. Among her early supporting roles was G.W. Pabst‘s The Joyless Street (1925) (with sets by Edgar G. ULmer). Despite sounding like a hidden treasure, it is an unremarkable film. After catching her performance in Mauritz Stiller’s The Saga of Gosta Berling (1925), Louis B. Mayer was struck with the actress’ star magnetism and wasted no time bringing her to Hollywood. Garbo was actually part of a package deal, as Mayer had originally wanted the brilliant Stiller as well. Mayer sent Garbo to the dentist, put her on a diet, and gave her English lessons to help her with taking direction. Her first assignment was Torrent (1926), directed by Monta Bell. Garbo had hoped for Stiller to direct. Disappointed, she accepted the assignment and worked on her lines at night. Bell was involved with actress Norma Shearer at the time, and antagonized Garbo. Yet, despite the tension, from her first frame, Garbo exuded an air of exoticism and European pathos. She burned up the screen in an otherwise unmemorable American debut.

GARBO

Stiller was assigned to direct his protege in The Temptress (1926). Unfortunately the director was unable to adapt to studio methods and was fired. Crushed, Stiller headed back to Sweden. Garbo wanted to leave with him, but he convinced her to remain in Hollywood. Within two years, Stiller was dead at 45. Garbo was devastated, and a pattern developed. Fred Niblo took over direction of the movie. The Temptress secured Garbo’s stardom. Seen today, it is, undeniably, a dated melodrama. She does not elicit sympathy, yet the 21-year-old star still commands our attention. Mayer was reportedly bewitched by her eyes; they gush torpid sex. She is a silent man-eater here, without ever resorting to vamp cliches. The only thing one remembers about it is her and the way she physically laid into her leading men as no other actress has before or since. Understandably, The Temptress made her a star. Continue reading