yiannisfrance

Some sublime extracts from a report on Greek television with Sylvie Guillem and Massimo Murru for the premiere of "Marguerite et Armand" presented at Megaron Mousikis in Athens this Christmas. Sylvie also presented there "Sacred Monsters" (7 performances + 6 of "Marguerite et Armand" in about 10 days. A true Greek marathon). http://www.megatv.com/megagegonota/summary.asp?catid=27386&subid=2&pubid=32796782

Wonderful to have such a great artist back. I am really looking forward to her upcoming collaboration at La Scala with Neumeier based on Eleanor Duse.

For those of you who will be in Athens, Greece during Christmas time, you have a rare chance to catch Sylvie Guilem in two very different facets, in modern and classical dance. She will be presenting at the Megaron Mousikis (Megaron Concert Hall) in Athens from December 19th to December 23rd "Sacred Monsters" with Akhram Khan and then, even more dazzingly "Marguerite et Armand" with Massimo Murru and the Tokyo Ballet from December 25th to December 30th. For more information, look at the following link (4 pages with Sylvie's performances) http://www.megaron.gr/default.asp?pid=35&la=2&cy=14&pct=3

Wonderful Since official recordings of Guillem's performances are more than rare, these glimpses are all the more precious.

Actually that "stunning" quality is still very much present, like when she reprised her Manon at La Scala in 2011; it was a summit by anyone's standards and having seen her in that part in the past I would very safely say that not only she had lost none of her stunning qualities, she gained with time and the result was utterly amazing. The same would be said when she did "Steptext" recently in Florence she really was extraordinary. I can understand people's hesitations about more recent repertory (although I can take anything with Sylvie) but she still ventures into the classical or neoclassical repertory and it seems that she will portray Marguerite in "Marguerite et Armand" in the near future in Athens. More on the subject will come up soon hopefully.

Sylvie is now appearing until June 25th at the Chekhov International Theatre Festival at the Mossovet Theatre in Moscow with "6000 miles away". Her partner for Forsythe's "Rearray" is Nicolas Le Riche. They added two extra performances for her shows due to the demand for tickets. http://www.chekhovfest.ru/en/program/ Right away after Moscow, next stop Paris at the Théâtre des Champs Elysées where she is reprising her hit show "Sacred Monsters" for 3 performances, June28th, June 29th and June 30th 2013. http://www.theatrechampselysees.fr/danse/sylvie-guillem-akram-khan

1) With regards to Sylvie Guillem, she now has besides her official web page, an official Facebook page. This is the address: https://www.facebook.com/pages/Sylvie-Guillem/206175282869244 2) I saw the performance of Sylvie in "Steptext" in Florence twice. Unfortunately due to a strike movement, the premiere was cancelled and various problems of organisation arose since the compagny of the MaggioFiorentino is in danger of closing down. But fortunately the Divine Sylvie was there to grace the stage for three nights. The ensemble program was of great quality. The first piece was Balanchine's "The Four temperaments" (there was also Kylian's "Sechs Tänze" and Stravinsky's "Les Noces" choreographed by Andonis Foniadakis wonderfullly performed by the members of the MaggioDanza compagny. After the Balanchine piece came Sylvie in "Steptext". It is hard to find the right words to describe her. Although she has not danced this most demanding piece for more than 17 or so years, she has lost none of her extraordinary ability to infuse life, rigor and passion in each Forsythe step. People were gasping with awe at her undiminished powers as she lifted her legs exquisitely as if to reach the sky, but what really impresses is how movement simply flows naturally and beautifully, her tempo is right on target, her musicality is without equal and her stage presence elecrifying. I honestly hope that we will have another chance in the future to see the Divina Sylvie in "Steptext" since it remains in my mind a perfect moment of absolute grace.

Sylvie Guillem will be performing William Forsythe's "Steptext" a piece she has not performed for many years (so this makes the event all the more rare and exceptionnal) at an evening on great choreographers which will take place in Florence at the Teatro Communale, from June 10th to June 13th. Also in the program, pieces of Balanchine, Kylian and Foniadakis. Here is the link for more information on the event: http://www.maggiofiorentino.it/content/grandi-coreografi

I would hardly call Sylvie Guillem a "dull" dancer as she is considered as elegant and "cool" as any dancer can be, with an extraordinary diversity both in classical and modern dancing and she sure has personality on and off stage. I know that some people do not like her, but there can be no doubt that there is an era before and one after Sylvie Guillem. Most dancing schools around the world and most dancers single her out as a model (people like Vishneva, Zakharova, Lopatkina, Rojo, Cojocaru, Letestu etc) and she has inspired so many great choreographers and directors (Nureev, Bejart, Forsythe, Mats Ek, Maliphant, A. Kahn, Robert Wilson, Lepage etc). Give me more "dull" dancers like Sylvie and I will never complain about a single "dull" moment in a theater again> When she portrayed her Manon at La Scala at the end of January 2011 beginninings of February she rbought the house down and everyone in the theater was transfixed by awe and emotion> And she has proved in her latest show "Sylvie Guillem 6000 miles away" (which will be presented in New York in the spring) that she remains on top form and still inspires great choreographers around the world

I hope they do that. Many people are dreaming see Sylvie Guillem returning to the Paris Opera where she made her sensational debuts many years ago (her last visit there was 2003 if I am not mistaken for her sentational Manon). Nothing is certain, but there is hope and Sylvie seems willing to dance Manon (she is still at the peak of her powers as she proved during the triumphant performances of "Manon" at la Scala in Milan recently). Le Riche is still dancing, not that much at this season though at the Paris Opera House but he is still a possibility. There is also Massimo Murru who after Laurent Hilaire's and Jonathan Cope's retirement is Guillem's most frequent partner in "Manon". On the other hand, I think Le Riche will dance with Sylvie (in the Forsythe piece) in the new program she is presenting at Sadler's Theater in London next July. Is sounds really exciting: http://www.ballet.co.uk/dcforum/news/4969.html

Thank you for sharing this, it made me live the Manon representation at La Scala all over again. Amazing, isn't it? She is still as light as a feather, a heavenly dream, sensual, fascinating, unique and I could go on and on.

Yes, it is indeed wonderful to see in in the classical repertory. I was lucky enough to see her several times when I was living in Paris at the Paris Opera House and in London as well as Manon, Juliet (in the MacMillan and Nureyev version), Giselle, Sleeping Beauty, Marguerite and Armand). I honestly hope that her triumphant return at La Scala as Manon will convince Sylvie to do more classical work in the near future, since there is no doubt that she is still at the peak of her powers, but I am not certain that she will. What is certain is that she is preparing a new work with three great choreographers (Matts Ekk, Forsythe and Kyllian) which I believe will be presented at the Sadler's Theatre in London in July. The work created by her by Matts Ekk was presented at a world premiere in Stockholm last December and was a huge success. I think it is called "AJO" (Adieu) with a music on Beethoven. At any rate, "Mademoiselle Non" has still a lot to offer to the dance world.

Thank you as well. It was such a magical experience, I am still in heaven thanks to "Mademoiselle Non", who said "oui" and returned at last to the classical repertory.

I was at La Scala for the première of "L'histoire de Manon" with Sylvie Guillem and it was in every sense of the word an unforgettable experience. Even while entering the prestigious theatre of La Scala one was aware that this was a very special event indeed. Was I apprehensive too? Yes, with no doubt. I was scared to death. Adoring Sylvie like I do, still I was wondering. Would she be able to pull it off? I had already seen Sylvie in her incomparable Manon three times before this performance, the first being in 1998 forn her triuphant return at the Paris Opera at the Palais Garnier where she portrayed the part with the marvellous Laurent Hilaire. But from the moment she entered the stage magic worked like a miracle and my fears were gone. I have never seen or heard an audience welcoming a performer on stage like they did at La Scala for Sylvie's entrance with such thunderous applause. Everyone was thrilled to see her again on stage, especially in this wonderful ballet, one of her signature roles. Her dancing was divine but what realy impresses always is how fluid and natural it all seems. Every single movement seems to occupy the entire space of the stage, every single extension is part of the dramatic characterisation of the part of Manon. Guillem a dancer of genious has only deepened her characterisation of Manon over the years. And she is such a great actress-dancer. Every single expression of her face, her hands, everything tells us something about Manon's free and naive nature, her inner conflicts, her desire to be loved by De Grieux but also unable to resist the temptations of a luxury life. During the brothel scene she danced her solo (I believe it is called Manon's variation) and you could feel that no one was breathing in the audience. Everyone was suspended at her movements, her seduction, her charm. And at the end someone cried from the audience "Diviina!" and everyone burst into applause. A wonderful, unforgettable moment. Her death scene will certainly remain one of the greatest moments in dance, a heartbreaking, magnificent moment of desperation and virtuoso dancing which seems to be caught in a moment of eternity. Sylvie's partner was the wonderful Massimo Murru from the Scala. A wonderful, true magic couple. The evening was a great triumph, everyone rose to his feet and applauded like mad and Sylvie was the Divina of that night. At the stage door there was such a crowd waiting to see her, to take her photograph and sign autographs and Sylvie was trully happy to have this warm contact with her audience again. When I told her that it was such a wonderful magical experience to see her again as Manon, even more so at La Scala, such a mythical, prestigious theatre she smiled and said maliciously and charmingly (Oui c'est mon théâtre), "Oh yes it is my theatre". She is right. One could feel tghat she was indeed at home that night. The triuphant return of an artist of genious to a legendary part, in a mythical theatre. Merci Sylvie.

The scenes censored in the widely circulated print of "Mata Hari" and included in the original print make a lot of difference for comprehending both the characters of Mata Hari and Rosanoff played by Novarro. Even the first dance scene of Mata seems much more sensual and original if seen in its longer version. On the DVD released by Warner Bros and the print shown on TCM (and in most repertory movie houses), the dance scene seems short and even awkward. But the additional footage adds something, an element of eroticism, a provocative and ambiguous touch which would be in line both with Garbo's personna on screen and even the real Mata Hari. If you add to that the two love scenes cut (the first when Rosanoff follows Mata to her apartments and the second one when she asks him to put out the Madonna's light) you get a better understanding of what goes on between the two characters and especially Mata Hari's progressive transformation from a distant, calculating ormented with gold goddess to a human self-sacrifising goddess. In the first love scene deleted you can see that when Mata Hari says goodnight and slowly closes suggestively the golden satin curtains, she leaves enough space for Rosanoff to follow her and as he prepares to leave he hesitates and then unfortunately... cut. When he sees her the next day and she is cold and indifferent to him he says to her disoriented : "I am sorry but last night you told me that you love me". "Oh did I she says cynical? Well that was last night, today I am very busy"; and we understand that they spent the night together. This time Garbo's character is still calculating but her ultimate transformation will come during their second love scene together. What is a fascinating too, is that in the uncensored version we get to see Garbo in one of her most provocative and sensual outfits (you have a photo of this in the Mark Viera book). The same goes for the second love scene cut. In the original version Rosanoff kisses Mata Hari passionately and we see him carrying her to his rooms and then we hear the two lovers in the dark only lit with the cigarette smoke talking tenderly about their future together. So the next morning when Mata Hari walks out of his rooms we see that she is beginning to melt down from her expression as she leaves his room and as she writes him a note. In the cut version, it is hard to guess why she has changed like that but if you add the love scene you can see that the lady has fallen in love so she is a different woman.

I love Rita Hayworth, especially in "Gilda". She has a certain quality, an element of sensuality which with her vulnerability makes her very appealing. And she is never vulgar on film. Her "Put the blame on Mame boys" is justly famous and memorable and belongs to the most dazzling moments of eroticism in the history of films. Rita Hayworth's presence fills up the screen and you can see why she became such a huge star and symbol of eroticism around the world. In many ways, people always identify Hayworth with Gilda and this is for sure the one film movie fans mention in connection with Rita Hayworth. She did make other important films, but this is the one which lingers in people's memories. From her other films, I did like "Blood and sand" directed by Mamoulian, her two Astaire films and also "Cover girl" with Gene Kelly". And I think she was most believable as Carmen opposite Glenn Ford in "The loves of Carmen" by Charles Vidor who also directed her in Gilda. And she proved a fine actress once more in one of her latter parts in "Separate Tables". On the other hand, I am not crazy about her one collaboration with Orson Welles in "The Lady from Shanghai". Somehow, I find it impossible to relate to this film. She is a very moving actress in my mind, more so if one feels her vulnerability in interviews. This has nothing to do with Marylin's vulnerability, to give an example, but rather something to do with a girl who became a love goddess, perhaps without wanting to be one, and found herself imprisoned by that image and by the reflexion of that image from the men's gaze on the private Rita Hayworth who could not live up to their fantasies.

Hello everyone I thought I would also bring up another subject relating to Garbo's filmography which might be of interest to you. This has to do with censorship with the Code Hays. Two of Garbo's films which suffered from the censors were "Mata Hari" and "Two Faced Woman". As you probably know "Mata Hari" was reissued in 1939 and at the time the censors were at the peak of their powers (unfortunately!), so they basically cut every single erotic or sensual scene of the film. So the print we see today on TCM or DVD is based on that version. "Two Faced Woman", as you know, also severely suffered from the censors and was reissued as well the same year (1941) with numerous retakes. I had the rare chance to watch both films in their uncut versions. "Mata Hari" in Brussels (Cinémathèque de Bruxelles) back in 2005 on the occasion of Garbo's centennial and "Two Faced Woman" back in 2004 at the National Film Theatren in London during a Cukor retrospective (at the same night "Camille" plus the uncensored "Two Faced Woman". It was quite a treat!). Now, I have contacted various persons since then and the only person, this I have to undeline since I am always grateful to him and who took some real interest was Mark Viera who was most kind and even contacted himself George Feltenstein at Warner Bros so they would do something with those rare prints (it seems that the "Mata Hari" one is the most rare one whereas quite a few people have the uncut "Two Faced Woman" but for some strange reasons Warner bros has not bother to so something to restore the film). At any rate, here is a description of some fo the differences I observed during the screenings of those films. Let us hope that one day we will see the films reissued in restored versions on DVD. So here we go: In May 2005 I had the opportunity to attend a Garbo revival at the Brussels Cinémathèque. One night I saw with amazement a print of “Mata Hari” that looked like the original 1931 version. It had several scenes not in the currently available [1939 reissue] version. This longer version of “Mata Hari” was shown at the Brussels Cinémathèque on May 6, 2005. It was in English with subtitles in French and Dutch. The print belongs to the Brussels Cinémathèque. In Mark’s Viera book Sin in Soft Focus the description the author gives to the cut sequences totally matches those I saw at the Brussels Cinémathèque in 2005. My first surprise—I almost got up from my seat and screamed—was at the dance scene, you know when we see Mata Hari dance. In the version I saw there was even a shot in which we see two staff members from the nightclub kitchen; one is watching Mata Hari dance through the keyhole, and the other, a girl, expresses some jealousy. Then the camera moves back to Garbo and the dance goes on, more frenetic and much more suggestive, ending with her throwing off the veil and stripping. The other scenes also match what I saw in Brussels: when Novarro goes to her apartment for the first time and the first love scene there, as well as the love scene after the Madonna icon. Also, during a George Cukor retrospective at the National Film Theatre in London in 2004, I had the opportunity to watch the uncensored version of "Two Faced Woman" which is quite different than the version shown on TCM. I have written below a description of the most significant differences I have signaled for both films as compared to the "censored" versions. « Mata Hari » Mata Hari's dance scene at the beginning is much longer than in the version most of us know. That is in the version shown by TCM she moves a bit, then we have a few close ups of her as she goes towards the statue of Shiva, then she kneels down and then applause. Well not in this one! The dance goes on and on, most revealing as Garbo continues in a frenetic dance to approach the statue of Shiva in such a suggestive way, that she seems to imply that she actually makes love with it and the last shot she takes the costume off and we see her from behind—totally nude. In this version we see the scene where Garbo goes into her bedroom after closing a satin curtain and then changes into a most revealing negligee (you see that in a photo in Mark Vieira's book on Garbo) and then she emerges to initiate a wonderful love scene with Ramon Novarro. There was also another scene included in the copy I saw in Brussels which follows the celebrated scene where Garbo tells Novarro to put out the candle on the Madonna icon and Novarro obeys. After the candle goes out, we see a wonderful close up of Garbo, the two lovers embrace and Novarro picks her up in his arms and carries her to his room. « Two-Faced Woman » The first difference is visible in the scene after Larry (M. Douglas) and Karen (G. Garbo) return to their chalet. When she asks for her pajamas, this scene is slightly different. In the uncensored version we see her hand suggestively coming out of the bathroom to pick up the top of her pajamas. The second and more important significant difference occurs after Karen appears in New York where Miss Elli (R. Gordon) is advising Karen (Garbo) how to look more glamorous. Karen goes to the Broadway theater to surprise her husband and finds him with Griselda. When the rehearsal ends she actually sees them kissing as they leave the theater (whereas in the censored version we do not see the kiss) and cries. There is no telephone scene of course where Larry at the nightclub scene calls Snow Lodge and finds out that his wife has left for New York. The confrontation scene in the powder room with Griselda (although the dialogues are pretty much the same is shot differently. Those are different shots and angles, the voice delivery is different; it was obviously re-shot for the censored version. The scene after the chica-choca when she goes with Douglas to her hotel room. The moment where she says: "Not even a sisterly kiss." He approaches and says: "You are Karen ". In the uncensored version, she says slyly: "You think so?” and gives him a real sensual kiss which of course is missing from the censored version. In the same scene after she puts on her "serious" costume, Garbo is far more provocative (the way she lies down on the sofa, stretches her legs) it is really much more sensual and suggestive than in the censored version. Some of the lines are different, (“How does my position affect your position?”), different close-ups etc. It was obvious that the scene was re-shot for the censored version and the same goes for Karen’s second visit at Larry’s apartment. The reunion scene at Snow Lodge between Garbo and Larry is very different. In the uncensored version we first see Douglas at the chalet actually rehearsing a speech of a break-up something like "Dear Karen, I think we made a mistake and must put and end to our marriage and so on” and then we see her and she is actually doing the same thing something like "Our marriage was a mistake." It is wholly different concept. The two are there to admit that they made a mistake, and he does not yet know that his wife is also the twin sister who has seduced him. Then he comes down and they end up sleeping together and it is only in the morning when he wakes up and sees her toenail polish that he realizes he is with the same person.

I forgot about La Loi, I have not seen this film for a long time. Another wonderful film of hers was Celui qui doit mourir based on the Kazantzakis book with Pierre Vaneck, in 1956. And she was also a great stage actress. Among her best known roles was Blanche Dubois in Streetcar, Alexandra del Lago in Sweet bird of youth and Euripide's Medea. Melina was extremely fond and protective towards Antony Perkins with whom she co-starred in Phaedra. The two became tender friends. Melina was always fond of telling stories about the people she met and who left an indelible mark on her. Garbo always came first, she was her ideal and their meeting was magical in every sense of the world. She also said that she dearly loved Brando who charmed her with his unconventional charm and was impressed by Gerard Philippe. On the other hand, he meeting with Chaplin whom she totally idolized on the screen was disappointing. This happened in Switzernad in the sixties i believe. And regarding La loi, apparently and according to Melina she and Lolobridgita had an intense mutual dislike during filming. To go back to Ninotschka, the laughter scene is certainly not the best scene in the film. But other than that I think that Garbo is admirable in the part and although this is definitely not one of the Garbo films I love watching all the time, I have to admit that I cannot imagine any other actress doing her part. Actually Lubitsch did this film especially for Garbo and he said he would not have done it for another actress. As it was mentioned before, this works though well as an ensemble film more than just a Garbo vehicle, which can be one of its strengths but also for others one of its weaknesses. It has been said by some, Mick Lassale included, that Ninotschka is the one Garbo film that the non Garbo fans love and there is some truth in this I guess. The thing is, if one who has never seen a Garbo film in his life and wishes has to experience the Garbo magic, to comprehend why she was called the Divine, this would not be the film I would personally recommend, although I do consider it a great one. Besides Camille or Queen Christina or even Karenina, Flesh and the Devil one can get more easily the Divine touch even from lesser known titles like Susan Lennox, or The painted veil, or As you desire me, The Kiss, Woman of Affairs and The mysterious Lady. And I always feel a sort of guilty pleasure watching Mata Hari, although many people dismiss it, I simply love it and Garbo in it. And then there is the almost inexplicable charm of Two Faced Woman (we can discuss this film after Ninotschka if you like) where her charm, besides the Americanization process, the weird hairstyle and the not always inspiring wardrobe, strangely and magically works. Garbo shines in it and proves to have an even more striking comic flair than she displayed in Ninotschka. Maybe since she was directed by Cukor, like in Camille she seems to have in this film that "unguarded" quality who struck Thalberg when he saw the first rushes of Camille, she seems to be completely free in her acting.

Just a small parenthesis as we are discussing "Ninotschka". We have often brought up other actors and actresses either we tend to link with Garbo or that we admire or both. I always loved the Greek actress Melina Merkouri (best known perhaps from the film "Never on Sunday" by Jules Dassin (she is also known for "the 1955 Michael Cacoyannis film "Stella" and other Dassin films like "Topkapi" with Peter Ustinov and Maximilian Schell or "Phaidra" a modern dau version of the Greek tragedy with Anthony Perkins and her political activism against the Greek dictatorship regime at the end of the sixties and early seventies). One of the other things Melina was known was her total passion with Garbo and it is always beautiful to hear her talk about the Divine. Here she is in a interview in 1979 and talks about meeting the Divine, this happened at the island of Spetses in Greece in 1967. I think it tells a lot of what Garbo represented to fellow actors and audiences as an actress, icon and personality, something that can never be repeated:

As I have mentionned in an earlier post, it took me years to warm up to "Ninotschka". I remember the first time I watched it, I was a student in the US, I did not particularly liked it, did not find it funny and did not see what the fuss was about. But since then I have gradually changed my mind. Although not one of my favorite Garbo films (and you know that I love all of her films), I do regard it (and many critics do as well) as a truly great film. Tyhe dialogues are absolutely brillian, witty and subtel and the same can be said about Lubitsch's masterful direction and the cast, from the camarades to Ina Clair as well as the two leads. I also think that this is a film which works on many levels: comedy, romantic comedy, satire of the stalinist regime and the capitalistic one, satire on the public Garbo persona (perceived as stern from the outside and then slowly breaking it up in order to reconstruct it. It also makes subtle fun of Garbo who at the time was following a strict vegetarian diet just before hshe met dietician Gaylord Hauser who was to become one of her closest firends and a steady influence in ehr lihealth life style. The scene at the parisian bistro where she asks the waitor" raw peas and carrots" and he answers "Madame this is a restaurant not a mellow" is very clever and funny indeed). Her laughter at the restaurant although charming is not one of the strongest moments of the film, I think it lacks spontaneity unlike her most charming laugh in "Queen Christina" when she sees John Gilbert's carriage caught in the snow. But Garbo quickly makes up for this in the subsequent scene, when she breaks into a soft, quiet laugh sayign to the laywers and camarades who watch ehr in disbelief: "The other day I heard such a funny story it still makes me laugh, it is so funny". She is utterly delightful in this. And when she goes to Dougals apartment she is pure magic (the way she enters that door with her shy look and then slowly melting down, thi is one of her finest scenes in the film). The scene at the Café de Lutèce is beautifully done and the confrontation between the two women is masterfully done. Witty, brilliant dialogues, tough as well and then that total abandon to the pleasures of life and the champagne. Just before Garbo confronts the Grand Duchess she tastes champagne for the first time in her life. There is a wonderful spontaneity in her performance. She takes a sip, closes her eyes as she feels the alcohol, then opens her eys slowly and with a big smile like a happy kid she declares: 'Its good". Absolutely charming. The only thing which does not work with me in th scene is her gown, wrong choice by Adrian for once. But in general I think Garbo handles the drunk scene with wonderful authority (it is along scene and not an easy one, but she is always in command and when she makes a speech "Camarades people of the world..the rovolution is on the march" she is stunning. The trip back to Moscow gives us some of the most emotional passages of the film and these are probably Garbo's best moments in the film as well. I have to say that although I am not one of Melvyn Dougla's biggest fans in general but I find him absolutely charming and wonderfl in this film. Light, charming, funny, romantic. And he was wonderful as well in Garbo's next film and her final "Two Faced Woman". I am not crazy about the musical remake of "Ninotschka" "Sil Stockings". I find Cyd Charisse colorless when speaking the role (although as always magnificent and sensual when dancing) and the musical numbers are few and not as satisfactory as they could have been. The bottom line is I strongly urge people to see more than once the Garbo films. Speaking from experience I came to reevaluate most of her films after having seen them several times. There are a lot of subleties in her performances which one does not necessarily see the first time. And also strongly recommend, if ever you get a chance to see some of her other films unfortunately not included in the box set. From the silents "Woman of Affairs" (her greatest silent in my opinion) or "The kiss". Friom the talkies "The painted veil" (un unjustly forgotten film although Garbo is extraordinary in it and is marvellously accompanied by Herbert Marshall also one of her best film partners), "As you desire me", "Susan Lennox Her Fall and rise" (she is magical in this with Gable) "Two Faced Woman", "Conquest". "Conquest", "The single standard", "The kiss" and "Wild orchids" were released by the Warner Archices on DVD some time ago. Also her first two important European films "The saga of Goesta Berling" by her mentor Mauritz Stiller and "Pabst's "The street of sorrow" were released on restored versions recently in beautiful prints on DVD.

Thank you so much for your kind words and all this insight about Dietrich, Deneuve, Delphine Seyrig etc. With regards to "The Blue angel" to be more precise, although I am not crazy about the film (I think we can see it as a document for its time and Berlin at the end of the twenties) but it feels too dated now. But, on the other hand, Dietrich comes off a very lively earthy Fraulein as we have rarely seen her in her next films. And of course she is in her element, the cabaret, this is totally her. About my little phrase feel free to use it whenever you like! Strange, I think I was watching an extract from a concert Marlene gave in the sixties in Paris and right before she sang Lili Marlene she was speaking with nostalgia about the difficult though courageous times during the war when she joined the allied forces to entertain the troops and you could feel that nostalgia in her voice when she spoke and when she sang "Lili Marlene". That is why I felt about "what memories used to be about". Regarding having been born for the camera. In films the most evident choices from female stars would be Garbo and Marilyn I suppose. Garbo seemed to dream about going on stage but her great fame and fear of fans and the press prevented her from doing so. Since she did have a solid training at the Royal Dramatic School in Stockholm I think if circunstances were different she could have made it. Interestingly enough, one of the parts she acted (an extract) for her entrance at the Academy as a young girl was Ibsen's "Lady from the sea" (the other ones were "Madame sans gêne" by Sardou and a poem by Selma Lagerloff) one of Vanessa's great triumphs at the end of the 1970s. And I could totally see her in that part. But it has to remain a dream. Vanessa you are right, one has to experience her on stage to really feel her greatness, although she has given us some extraordinary film performances. But besides her film work I would also add even more her TV work especially in "Playng for time" and "Second serve" where she plays Rene Richards and I find her in both parts truly extraordinary. Interestingly enough, Deneuve when asked in interviews even today always says how she is afraid to face an audience and go on the stage. On the other hand, Deneuve did not have that theatrical training of other actresses, so I am not certain how she would be on stage. Delphine Seying was considered quite extraordinary on stage, one of the greatest. And so was M%aria Casares especially in parts like Phèdre or Lady Macbeth. In "Les enfants du parais" she is sort of oveshadowed by the other performers (plus she has a thankless part) like the magnificent Arletty, and Jean Louis Barrault. She is much better cast in Jean Cocreau's Orphéee with Jean Marais and "Les Dames du Bois de Boulogne".

I almost forgot about "Kismet". That was a big joke! Horrible, worse than "The garden of Allah". With regards to Dietrich, I always liked her. I admire the star, the personality, I respect her contribution, I like her songs. I would never consider her as one of the greatest actresses in films, but on the other hand I think this is not what matters with Dietrich. She was this huge star who knew how to do "her thing" in films, on stage when singing. She was this striking personality who goes through the decades and despite the marks and passage of time she touchingly reminds audiences what memories used to be about. It is touching to see or hear Dietrich singing in the 1960s or 1970s. Even with her limited voice, with some whispers she makes people think of Berlin before the war, the "Blue Angel" (I am not crazy about this film), her contribution during the war, Lili Marlene etc. From her films my favorite is the Billy Wilder "Witness for the prosecution" based on Agatha Christie and starring the great Charles Laughton. In that film she is absolutely marvellous in a "double" role. I also liked her in Lubitsch's "Angel", Borzage's "Desire" opposite Cooper and "Morocco" by Strenberg once again with Cooper. Not crazy though about "The scarlett empress" or "The Devil is A Woman" and "Blonde Venus" although I can understand that people watch these films and enjoy them for various reasons. Yes, her remarks are often outrageous byt funny too. Poor Loretta Young. I do not know what got into Dietrich with Loretta Young. I never considered her to be Garbo's "riva"l, although one can understand why people kept comparing them and trying to put one against the other (which is absurd since there is place for both of them and they are totally different both as actresses and personalities). I think what Dietrich loved above all was the cabaret, the idea of singing and seducing her audiences, this is whay she was always nostalgic about her Berlin years as a cabaret singer and the war years when she entertained the allied troops. Garbo would never go and seduce her admirers in person, she was this artist of genious whose's seduction and genious would touch the audience only when she performed a part and through the camera lens.

I am glad you like Boyer. Besides "Conquest" and "Mayerling", I also found him marvellous in several other films like": Gaslight" with Ingrid Bergman, "All this and heaven too" with Bette Davis, "Lilliom" by Fritz Lang, "Madame De" by Max Ophuls opposite Danielle Darrieux, "Love Affair" with Irenne Dunne etc. On the other hand, not fond of his partnership with Dietrich in "The Garden of Allah" (the two stars deserved better material, the film is too kitsch and never believeable on a dramatic level). As for Gable, the more I watch "Susan Lennox" the more I love the film and the couple Garbo-Gable in it. Not too many people mention this among their top preferences in the Garbo or Gable filmography, which is unfair, but as far as I am concerned it is one of my very favorites for both stars.

Yes, your are right about Boyer, I honestly think he was one of her very best film partners with regards to acting ability and this shows in the film. I would add John Barrymore in Grand Hotel and also the marvelous Henry Daniel in Camille. Amd I also hugely enjoy her partnership with Gable in Susan Lennox. Strange but sizzling. It was almost impossible to include all of Boyers prestigious female stars, but I am glad you mentioned Ingrid Thulin. There was also Jane Fonda. One of his best films in my mind was Mayerling opposite the young Danielle Darrieux. He was perfect in the part of Rudolphe who commits suicide with his mistress Marie Vetsera. The irony of the sort is that Boyer himself commited suicide after the death of his wife British actress Pat paterson in 1978 I believe. Boyer was fond of telling a story about his meeting and marriage Pat, it was around 1933. He said that he had to thank Garbo for his marriage to his wife Pat. He had a date with Pat and they were supposed to go and see Queen Christina with Garbo which opened nationwide. When they arrived at the cinema. it was sold out, so they decided to get married instead. Its is sad but true about Boyer and France. People barely mention him here, besides maybe in Ophuls film Madame De with Danielle Darrieux. This is unjust as he was one of the best and most charming leading men in Hollywood and his impressive list of leading actresses certainly says a lot to this subject. I remember at his centennial , I was at his birthplace at Figeac, at the south west of France, and was at a small phto shop whrere the owner was paying a private tribute to Boyer with the screening in French of Conquest and he was lamenting that there was not a single tribute in France to celebrate Boyer's centennial. Also true what you have mentioned about the extraordinary Gilbert Becaud one of France's greatest singers. Almost mo one mentions him today and yet he contributed immensely in popular culture and the music scene in France for decades,

Since we have discussed Camille and while expecting Ninotschka coming next, I thought it would be interesting to talk about Conquest (we can also talk about other Garbo films as well), known in Europe as Marie Walewska which was Garbo’s next film after her immortal Dame aux Camelias. Conquest is interesting for many reasons. This was to be the star’s final collaboration with Clarence Brown who directed her in 7 films. It was also her last dramatic part, her swan song to the great tragic romantic heroines which made her famous before her two final comedies. It was also the first and last time that Garbo made a film with French romantic male lead Charles Boyer who must have the record of appearing next to almost every single great star and actress in Hollywood and France (with a few exceptions of course. His list of female partners is impressive. Besides Garbo, Marlene Dietrich, Bette Davis, Katharine Hepburn. Ingrid Bergman, Claudette Colbert, Margaret Sullavan, Barbara Stanwyck, Irene Dunne, Rita Hayworth, Laureen Bacall, Arletty, Lillian Gish, Jean Harlow, Michele Morgan, Audrey Hepburn, Brigitte Bardot, Danielle Darrieux etc). Sadly Boyer despite his illustrious career is a figure almost and unjustly forgotten in his native France. But back to Conquest. This film was also the first important film with Garbo in the US which lost a lot of money at the box office. It also cost a lot of money, mainly due to the eternal rewrites of the script and a series of scriptwriters who worked on the script. The film focuses on the love affair between Napoleon and his Polish mistress Marie Walewska with whom he had a son who would later become an important figure in political affairs in France. The opening scene with the Cossacks invading the residence of the Walewskis is impressively filmed and Garbo looks radiant and youthful as she descends the stairs to affront the invaders next to her older husband the count Walewski. There is a wonderful, quiet quality in Garbo’s performance in this film which is particularly appealing. A simple, deep, generous warmth which Garbo radiates throughout the film. Her beauty is dazzling and she conveys a touching spiritual quality in her look and beautiful, melodious voice, whose sadness and quiet pathos makes one think of Chopin’s nocturnes. Her first meeting with Napoleon in the snow is magical and Boyer rises to the challenge of his Divine co-star. The two actors are quite contrasted, she quiet and poetic, he full of energy and Gallic charm, but they click together. Apparently the two actors knew each other at Salka Viertel’s (cho collaborated in the script for Conquest) salon who was Garbo’s best friend and they got on marvellously well during filming. There is a wonderful and moving moment after Garbo as Walewska is forced to sleep with Napoleon, in order to save her country. She returns at home and confronts her husband. “I came back to hear my sentence Anastase”, murmurs Garbo with a tragic resignation before sinking to the floor awaiting her sentence. One thinks of this scene as a summary of all those tragic romantic heroines she played cast out from society as her Anna Karenina, both in the silent and talking version (when she confronts her husband after her stolen visit for her son’s birthday) and Garbo has that miraculous quality of conveying doom and fatalism which is breathtaking. When convinced of Napoleon’s love and hers for him, her abandon at the scene of the balcony is exquisite. “I shall never long for spring again” says Garbo in such a poetic melodious way as she quietly and gently abandons herself in Boyer’s arms. Before this scene we also have a wonderful confrontation between Boyer and the marvelous Russian actress Maria Ouspenskaya with whom he plays cards and they have quite fight as she finds him cheating. The lady has lost her memory and remembers nothing for the last forty years so she ignores who Napoleon is. One of the most memorable scenes in the film occurs when Napoleo’s mother played by Dame May Witty visits Marie in her apartment in Paris and the latter announces her that she is expecting a Napoleon’s child. What joy and quiet wisdom we find in Garbo’s voice as she announces the news to Napoleon’s mother. And what a contrast when from this scene we go to the next scene with Garbo and Boyer in Vienna when she, filled with joy goes to announce him that she is expecting his child and just stops abruptly as he announces her that he will marry Marie Louise, in order to assure his dynasty. Garbo sinks to the floor, struck with sorrow and deception, a deception and sadness which has more to do with her realizing that Napoleon is no longer the patriotic figure she loves but an ambitious politician willing to sacrifice everything for his ambition. But she still loves him and that quiet eternal love of hers still burns for the rest of the film. Boyer is magnificent as Napoleon and his interacting with Garbo is magical. Many people do not like this film since Garbo has a less showy part than let us say her precedent roles like Camille, Christina or Karenina. But there is a lot to treasure and an indescribable moving, spiritual quality about her acting and beauty which personally I find most appealing. Also worthy of note, this film was not photographed by her favourite cameraman William Daniels but by Karl Freund. The film was recently released on DVD from the Warner Bros Archives.