yiannisfrance

I have to agree with you about that scene in "Ninotschka", when she comes with that white tulle décolleté gown at Café de Lutèce with Melvyn Douglas and confronts the Grande Duchess, something is wrong, for once Adrian missed a point with Garbo who for once looks less than stunning (according to the Grabo criteria for stunning), whereas she looks better as you said with her "Soviet" outfits and wonderful with the very last outfit when she visits her comrades in Istanbul. About Delphine Seyrig, she started her theatre career in the 1950s and went on most successfully almost up to her death (I believ she died in 1990, the same year as Garbo). She was known on stage for her portrayals in Marguerite Duras plays but also other great playwrights like Tchekhov "The seagull", Tourgueniev "A month in the country", Pinter "The collection", "The lover" etc. Regarding Garbo's encounters with her admirers, this is always an intriguguin question. I can see as you say that she might be frightened at times with people following her and I simply cannot see her being aggressive towards someone. I think your friend's attitute towards her was right since he stopped following her by the time he sensed that he was intruding and scaring her. It seems that sometimes she could even be humorous about it, as she told her walking compagnion Sam Green during their walks in New York, whenever there was a fan (she would refer to them as "customers") coming towards them she would say: "My Green I think we have a customer".

It si nice to disagree from time to time. The uncompromising element, the way I see it has something to do with the image of the Divine which she kept intact throughout her career. Personally, I am not among those people who complain wbout the quality of the Garbo vehicles in general, I think she had a wonderful career. Maybe I am not totally objective, but I suppose who can be objective when falling in love? C'est ça la passion. What I mean is even in vehicles which were not necessarily great films like" The single standard" or "Inspiration" or "Romance" you had that feeling that you were in presnece of a great artist, star and beauty who was lovingly and carefully surrounded by other giftes artists. This was mainly due to Garbo herself but also to that visual context created especially for her and lovingly supported by Adrian for costumes, William Daniels (or Oliver Marsh in "The Single standard") as cameraman and Cedric Gibbons for the sets. You can take some mediocre films of other stars of that era, it is hard to say that let us say a medicore film of Joan Crawford has any redeeming qualities about it. Plus, Garbo did not make so many films as the other stars of that era. Which brings us to another issue brought up here when people think that Garbo's appeal was fading due to the heavy historical costumes he made from "Queen Christina" onwards. Actually counting "Queen Christina" between 1933 and 1941, Garbo made 4 films in costumes (not so many) "Queen Christina", "Anna Karenina", "Camille" and "Conquest". And during the same period she made three films in modern costumes "The painted veil" (many people hate it, but personally it is a favorite of mine), "Ninotschka" and "Two Faced woman"). If one takes another example of another film great let us say Bette Davis, just between 1938 and 1940 she made 6 films in costumes: "The sisters", "Jezebel", "Elizabeth and Essex", "Juarez", "The old maid" and "All this and <Heaven too". Also disagree about the perspective of Dorian Gray or Hamlet being a bad idea for a comeback for her. I think she would have been extraordinary in these parts. Another part that made her dream for a comeback was the Empress Elizabeth of Austria known as Sissi.

This is a valid hypothesis. The war years would have been "difficult" for Garbo to flourish in MGM or in other studios as well. This was the time for pin-ups and sex symbols like Bette Grable or Rita Hayworth or warm-hearted, kindly figures like Greer Garson and Ingrid Bergman. Garbo represented a much more sophisticated and complex personality not necessarily easy to grasp for the average American audience. It is hard to imagine Garbo in "patriotic" feautures of the era, although she could have easily have picked some of Greer Garson's vehicles. Also true that Thalberg's death was a menace for most of MGM stars like Garbo or Shearer (both women ended their careers just a few years after his death). Thalberg assured some artistic protection for most of the main stars of MGM and I think his death brought a sense of fatality for most of the grandes dames of the MGM. I have read that Albert Lewin who did "The portrait of Dorian Gray" was interested in having Garbo for the main part (Dorian Gray was the part wanted to portray the most), but he could not go ahead with this, given the particular context of the times (in the 1940s) since audiences would accept with difficulty Garbo in a male part). Interestingly enough Lewin also conceived his later film "Pandora and the Flying Dutschman" with Garbo in the Ava Gardner part. The first serious attempts to bring Garbo back to the screen actually occur near the end of the forties and it is interesting enough to see that Garbo accepted to return to the screen for another costume drama "La Duchesse de Langeais" under the direction of a truly great director Max Ophuls. Since the project collapsed I think she lost her courage to continue fighting with producers. This was possibly the time where she could have started a second career, through the fifties and even sixties, but more probably orientated towards European cinema than American cinema (film directors like Ophuls, or Visconti and later Igmar Bergman would have been ideal for her). But hese are just more "ifs" that we add to this tantadlising and fascinating legendary puzzle that is Garbo. One of the secrets of the fascination she continues to hold on us is that she still has the power to make us dream. One always says about her. "Can you imagine what she would be like in the part of Dorian Gray, Cleopatra, Masha, Hedda Gabler etc? Or in a film of David Lean, Ohuls or Visconti?". But after all the movies are the ideal place for our wildest dreams to come true even if this remains a magical illusion.

This is true. "Two Faced Woman" was not a success but her previous film "Ninotschka" was a big hit. Garbo could easily have stayed with MGM or she could have chosen another studio (I am certain all the other studios would be more than pleased to engage her). But the context of the time was difficult. For "Two Faced Woman" it was more the attacks directed towards Garbo than the relative commercial failure of the film which affected her and gradually alienated her from the movie sets. It was the first time that she saw really unkind things from religious groups, the censors and critics especially directed against her. She was not used to it and was deeply hurt. Unlike other actresses of her ear like Crawford, or Davis Garbo did not have that fighting spirit within her to go on unless things were perfectly arranged for her. This is what Callas says at the end of the above interview and I think she hits a good point. We know of course that she could easily continue but she was un uncompromising artist (which si part of ehr charm). With ehr it was all or nothing, no compromises. If she would return to the screen it had to be a perfect come back. Not an ordinary one, something like Dorian Gray, Hamlet or La Duchesse de Langeais of Balzac. Plus, she did not have a financial problem so there was no need to continue working unless she found something that really appealed to her. I am personally glad that she kept her legend intact (although I would have loved to see her in other parts as well) and especially knowing that she simply enjoyed her life as a woman far from the movie sets and their ups and downs.

Thank you for sharing your thoughts on the silent « Camille » with Nazimova and Valentino. This is a strange film indeed, interesting, though never wholly satisfying, especially given the inevitable comparisons with the Garbo masterpiece included on the same DVD. As you say, surprisingly the print transfer of the silent “Camille” is clearer than the Garbo (which proves unfortunately that Warner Bros did a hasty job for many of the DVD transfers of classic films which is a big shame). I remember showing the Nazimova film to a friend who loves the Garbo version and his reaction was like:” How could you do this to me?”, although he laughed a lot with the extravagant, somehow exaggerated style of Nazimova’s acting and her fancy hairstyyle. There are a couple of things which are interesting about this film though. First, the 1920s art-deco style which give it some original touch. Second, this follows more closely the novel “La Dame aux Camelias” whereas the Garbo film, like the opera “La Traviata”, follows more closely the play. Dumas fils first created his novel “La Dame aux Camelias” where Marguerite dies alone without her reunion at the final scene with Armand. After the huge success of the novel he did a theatre play where at the end Marguerite is reunited with her lover. This is the best known version for all the grandes dames of the theatre and film, although the stage version I saw in Paris with Isabelle Adjani was more closely based to the novel, so we see Marguerite die alone on stage. To go back to Nazimova’s “Camille”, it is indeed interesting to see the huge difference in acting styles between the two films and Nazimova, more than other film actresses of her era tends to really overact, contrary to, let us say, Lillian Gish. There is also another bizarre though interesting film with Nazimova of that era “Salome” which shows the avant-garde style which Nazimova loves (she was actively involved in the production of these films). I believe Nazimova must have been more at ease on stage, she was considered one of the greatest stage actresses of the first quarter of the 20th century and she was best known for her portrayals in Ibsen’s plays like “Nora. A Doll’s house” or “Hedda Gabler”. Also worth noticing one of her last screen role in the 1941 film directed by Rouben Mamoulian “Blood and sand” where she portrays Tyrone Power’s mother, also starring Linda Darnell and the explosive and sensual Rita Hayworth. Nazimova is very moving and wonderful in that part. Just to mention a couple of things about some of the previous posts with regards to Garbo’s box office appeal. It is interesting to notice that Garbo’s films were in general profitable whether her silents or talkies. “The Temptress” lost some money but not a lot but also earned a lot (the reason it lost money was mostly due to the production schedule. Mauritz Stiller, Garbo’s friend and mentor who was initially cast as the director could not keep up to the production schedule and was replaced by Fred Niblo was re-shot all the scenes that stiller filmed). Among her talkies, only “Conquest” best known in Europe as “Marie Walewska” lost an important amount of money (it would be interesting to talk about this film as well, which is available on DVD on the Warner Bros archives) as it is the film which follows “Camille”. Even her last film “Two Faced Woman” despite the loss of the European market due to Second World War, only lost a small amount of money which was mostly due to the silly retakes they did to satisfy the censors. And one final thought, since we mentioned other artists like Maria Callas and her admiration for Garbo. This is the video where she is interviewed in French (with English subtitles) along Luchino Visconti and she expresses some of her thoughts and admiration on Garbo and Laurence Olivier. http://www.youtube.com/watch?v=26Be9Ql4DHM

I also like Glenda Jackson very much as an actress and I would not necessarily agree with Losey although he was quite right about Garbo and Vanessa. I am glad you mentionned "Les temps qui changent" by Techiné with Deneuve and Depardieu, I think this is my favorite of his films mostly due to the tender and touching partnership of Depardieu and Deneuve, these two are marvellous together. I have mixed feelings about "Moulin Rouge" but I think they did try to copy "Camille" (not successfully since the dramatic element was not convincing in the Kidman film). It is hard to say what makes someone considered as great and a true legend apart from others like Garbo was. I think you hit a point about the mystery and wordly element of Garbo and I think there are so many things that are hard to explain. Some people simply hold a greater fascination than others, call it charisma, mystery, charm, genius etc. What is certain is that regarding Garbo one can talk about her for hours as we do here and very interestingly so. We can talk about her acting achievements, her beauty, her mystery, her charisma, her special relationship to the camera, her film partners (the good ones and even the awful ones or the ones who never made it opposite her) etc. We can talk about Garbo and also talk about Arletty, or Vanessa or Deneuve or Michèle Morgan or Callas, ballet, opera, since she was such a huge cultural influence in films, fashion and popular culture in general. Not everyone loves her equally (par exemple like I do) which is understandable, but at least and I am glad that on this forum people respect her and have a true curiosity about her and about other people's opinion which is most welcoming.

I did not know that you were a Deneuve admirer. I saw her most recent film "Potiche" directed by François Ozon based on a play by Barillet and Grédy (who have written "Cactus flower" as well) and where she appears opposite Gérard Depardieu. It is quite a hit and Deneve and Depardieu are wonderful in it. I also love her too, especially her personality and style. As for Redgrave I do consider her as the greatest actress of our times. What I especially love about her is that "absence" of "obvious technique" in her acting and that radiant, glowing humanity she has, which is something that Garbo had as well. Joseph Losey who directed Vanessa once referred to Glenda Jackson whom he directed in "The Romanctic Englmish woman" and sais something like that. He felt that Glenda Jackson, although post strong and powerful as an actress lacked that capacity of Vanessa to go deep into her parts and explore their utmost depths. He also added that Vanessa was like Garbo in that respect, they both had the capacity to go deep into their characters and explore them. I do not have the exact quote and it is around these lines, I remember reading it in a Joseph Losey biography a long time ago. To go back to "Camille" I am glad that we all love it, especially Garbo's performance and I think it would be just to praise Cukor's direction as well. True, without Garbo this would not have been the great film it is but Cukor also manages to skilfully accompagny this performance a create quite a convencing visual universe around her. Just to mention a few of the scenes which illustrate this. The opening scene at the carriage, with Marguerite's appearance with the camelias lovingly framing her exquisite face; The scene at the theatre where she mistakes Armand with the Baron de Varville (a scene which was copied at the film "Moulin Rouge" with Nicole Kidman!); the scene where Marguerite starts to cough when she dances and she is cruelly abandonned by everybody except Armand etc.

Thank you all for your kind remarks and most interesting thoughts on this subject. To go a bit further on the Lubitsch story about Garbo and Cooper he also said that there was never anyone more beautiful than Cooper in Hollywood (man ro woman), with one exception, Garbo. Of all the possible potential film partners for Garbo, Cooper is in my opinion one of the most regrettable losses, more I would say than another movie great Cary Grant (there was a lot of talk of reuniting Garbo and Grant at the time of "Ninotschka"). Cooper like Garbo ahs that extreme sensitive beauty, not just a physical one, but a most quiet, sensitive beautiful way of acting in front of the camera. Their faces literally fill the screen with beauty and poetry. Since I am a Garbo worshipper (surprise!), I can see no other actress achieving the incredible depths of her performance in "Camille". I would have loved to see Callas in "La Traviata", although this is just a fantasy. Although I like Ashton’s ballet “Marguerite and Armand” it is not utterly satisfying to me on a dramatic level (too short perhaps). I even saw my adored Sylvie Guillem in this ballet in London and although she was wonderful, I did not feel as many critics felt at the time that this was the part of a lifetime. On the other hand, I did get that feeling when I saw her as MacMillan’s Manon’s ( a character who sort of announces the character of Marguerite in “La Dame aux Camélias”. To me Sylvie remains the definitive Manon. I have seen her in this part three times and hopefully I will go and see her again in La Scala in Milan at the end of January 2011 when she will reprise her sublime Manon. To go back to the part of Marguerite I even saw Isabelle Adjani on stage in Paris a few years ago as “La Dame aux Camélias” and was disappointed. Although you could feel that Adjani has the makings of a great stage actress (the voice, stage presence), she did not succeed in giving us a multi-dimensional Marguerite. This is part of the problem with such a tricky character like that of Marguerite. Many opera singers or actresses have a hard time giving meaning to this part and often end up being either too obvious as the demi-mondaine of the beginning of the story, becoming too obviously in love and too obviously self-sacrificing and melodramatic towards the end. There is no such risk with Garbo since she managed to give such complexity, grandeur and subtlety to the part that each scene becomes a fascinating emotional journeyinto the very soul of Marguerite and Garbo the artist and woman. Regarding Vanessa, an actress I worship especially on stage, unfortunately I did not have the chance to see her as Mary Tyrone when she performed the part on Broadway but I did see her on stage in other parts as Isadora Duncan (unforgettable) in “When she danced”, or in “Orpheus Descending” (shattering with emotion and absolutely fascinating despite the fake Italian accent), “John Gabriel Borgman” and she is indeed an extraordinary and magical figure on stage. But honestly, I cannot see her as “Camille”, perhaps the Romanesque side is not there for me. As for Katharine Hepburn I do feel that she did give her greatest performance in “Long Day’s journey into night”.

It was interesting that Olivier was mentioned as a potential Armand. He could have been ideal, naturally. I have always regretted that these two great artists, Garbo and Olivier never performed together, although in Queen Christina Olivier was not yet sufficiently mature for the part (and I am also glad Garbo gave Gilbert a second chance, they fit together and it just makes a wonderful, generous gesture on Garbo's part since Gilbert was so helpful to her in the past). For Camille he would have been ideal, it was the time he made As you like it with Elizabeth Bergner I believe. Not certain about Tyrone Power, though incredibly handsome like Taylor, he would be at least as American as Taylor if not more. Remember him as Fernsen in Marie Antoinette opposite Norma Shearer? I love Gary Cooper too and I think he would have been an ideal film partner for Garbo, although not for Camille. I think it was Lubitsch who said that these two were born to play together in films. I am glad Arletty was mentioned in Les enfants du paradis, one of the great French films of all times. You know that Arletty as well worshiped Garbo as an actress. She met her in the US, in New York around 1947, I believe a couple of times. Arletty was sitting near Garbo at a party and told her that she was just going to spend the evening staring at her and Garbo just laughed and laughed. Arletty said that she never saw anyone in her life as beautiful as Garbo.

Very interesting remarks. Regarding Callas and Garbo there was this interview on French television in 1968 I believe when Callas was interviwed with Luchino Visconti and when asked about the artists she admired most she mentioned two, Garbo and Laurence Olivier. I also remember Callas saying in an interview that the first time she was fascinated by films was after seeing Garbo in Camille. It is not hard to see the connection between these two unique artists although very different in looks and temperament. Although there is no imitation, some parallels are interesting to see. Callas was fascinated by heroic, self-sacrificing romantic heroines like Violetta, Norma or Lucia. Garbo was equally attracted by tragic, noble romantic heroines like Marruerite, Karenina or Diana in Woman of Affairs. They were both believers in creating beauty, Callas through the bel-canto and Garbo through her Face and cinematic presence in tragic romantic films. I think Callas like many women in the fifties was influenced by Audrey's look in Roman Holiday. Remember this was the time when she declared that she wanted to become as thin as Audrey. But this had more to do with the woman than the artist, she just wanted to become more attractive both as an artist on stage and woman. Although the approach to roles might be different, it is interesting that you mentioned Tosca. Whenever I see Callas in the 1964 film kiling Scarpia and the disgust she displays as she removes the documents from the corpse I cannot feel but thinking of Garbo in a very similar and magnificent scene of The mysterious Lady and the disgust and fear she displays as she approaches Boriss' corpse. It would not surprise me if Callas had seen the Garbo film. About Garbo and movement, I think she did have that innate genius for movement that dancers have but probably as you said in an unconventional way not as a dancer-dancer but as an actress-dancer. Many privileged scenes in her films show that. The death scene in Camille with that fragile way she moves her ailing body and the way she falls into Armand's hands. The scene where she memorizes the room in Queen Christian or the scene with the flowers in Woman of Affairs. To go back to poor Robert Taylor, I still have a tendency to defend him. Armand is like Alfredo in La Traviata a very hard part to defend by an actor even a most competent one since everything is about Marguerite or Violetta. Cukor was right in that respect when he defended Taylor's performance saying that he made Armand very appealing by his youth and beauty and impetuous manners. And I think that youthful impetuous romanticism of Robert Taylor create quite a magical contrast with Garbo's mature tragic persona in the film. And Taylor's immature, romantic image creates an interesting contrast with the magnificent cynical performance of Henry Daniel as the Baron de Varville ( I would be tempted to say that Henry Danniel is almost Garbo's best acting partner in all of her films). Could another actor do justice to Armand at this time? Hard to say. Gerard Philippe would be right, but he really started his career in the mid-forties in France so it was too early, and maybe even Boyer was not totally physically right for the part, although most charming and a wonderful actor.

This is a very interesting observation. I have always wondered about whether Garbo felt close to dance or opera for that matter since her Camille and most of her performances can be seen like music, the intonations of her voice, low at times, then melodious, harsh and even soprano like as when Nanine announces her at the death scene that Armand has come to see her. He is here she asks? She also has in her movements the grace of a dancer, but we know very little about Garbo's tastes in dance despite the claims of various biographers who tend to to indicate that she was rather indifferent to these forms of art. At any rate, many opera signers, dancers and choreographers loved Garbo and were inspired by her, especially in Camille. Callas worshiped her (interestingly enough the two women knew each other and met on several occasions on the Onassis boat). The other Divina alwas expressed her admiration for Garbo's Camille which inspired her own great Violetta in La Traviata. Fredric Ashton was inspired from both Garbo and Anna Pavlova for Marguerite and Armand and I believe John Neuimeier was inspired as well for his Lady of the Camellias ballet. Also worthy of note, Bejart created Divine, a modern dance piece in the eighties I believe inspired by Garbo films including Camille which was performed by Marcia Haydée. To go back to the initial question, it might simply be that Garbo had that instinctive genius which allowed her to express herself in movement as Louise Brooks has said about her, like a dancer, an actress-dancer. Maybe she was not even fully aware of this extraordinary gift.

Hello Just to apologise for my first message on "Camille", it was not edited and full of mistakes and I edited it on the board by mistake, so please refer to my second message.

Welcome back (bienvenue à nouveau), so glad to hear from you again. I too have been very busy lately and travelling around, but is is always such a pleasure to return to this forum and talk about the Divine. A marvelous coincidence e by the way, last night I watched "Camille" with a friend (I should keep account but I have no idea how many times I have seen this film, countless and as always I rediscover it with awe each time I watch it especially with regards to the genious of Garbo’s performance). Garbo is as you said the definitive Marguerite of all times. There is so much detail, feeling and delicacy in her performance that she leaves me speechless. This is one of the very few films that even if I know it by heart I still feel overwhelmed and I am always in tears even if I know each syllable, each expression of Garbo's performance by heart. I believe one of the secrets of her performance, what makes her so timeless is that she plays (contre-courant as we say, against the current). When she laughs at the piano scene for example, you feel her tormented feelings, she way she pulls back her head it really is heartbreaking. At her birthday party when she is joined by Armand at the room after her coughing scene and he declares his love for her she says "What a child you are" and yet there is a tender softness in her voice. This is the only "Camille" or "Traviata" I have seen with a sense of humor which is dazzling in the opening scenes at the theatre. This Marguerite knows that she lives in a frivolous, superficial world (the demi-monde) with shallow superficial friends (with the exception of her faithful adorable Nanine and later Gaston and of course Armand and her friend Nichette), yet she laughs at all this as if she knows and feels that she will not live much longer. Garbo laughs or smiles and yet behind that radiant shile we see the shadow of fate or even death. I love the scene at the auction when she sees Nichette and then tells her charmingly as she leaves her (“I always look well when I am near death”). She delivers the line with an infinite grace and charm and yet you feel that she is laughing at death which is not far away. And when she sees Armand you can feel the light emanating from her whole being as she says so beautifully with Chopin’s music accompanying her "Armand Duval where are my marrons glacés?". The piano scene with the magnificent Henry Daniel as the Baron de Varville is justly brilliant (wonderful dialogues) and you can see the inner torment of Marguerite, sacrificing temporarily love (in the person of Armand whom she has locked outside) for the wealth that the Baron de Varville can offer her. By the moment Garbo as Marguerite accepts the fact that she is truly in love with Armandf her transformation is complete and dazzling. When she joins Armand at his apartment as he is preparing to leave town, her voice has a tender, generous touch which is heartbreaking. Her beautiful line "You know once I had a little dog, and he always looked sad when I was sad and I loved him so. And when your teras fell on my hand I loved you all at once". Simple beautiful, simply heartbreaking. When she asks the Baron for money so that she can leave with her lover in the country and he slaps her as she thanks him, Garbo offers us one of her most profound and beautiful close-ups of her entire filmography. Shocked, dignified, humiliated and yet pleased at the prospect that this money will allow her to live some happy moments with her lover in the country. The scene where she confronts Armand’s father is masterfully played with such tragic dignity and Garbo never falls into the trap of being melodramatic as she also proves in the subsequent tricky scene where she leaves Armand to join the Baron de Varville. Garbo’s voice has become harsh, but she is actually harsher on herself as we can feel than on her lover who ignores the truth when she tells him “Was it one summer all you wanted?”. In the gambling scene she is but a tragic shadow of her old self as she picks up her fan that the Baron refuses to pick up for her. In her black, dark gown she looks like a tragic queen in mourning, who has lost the spark of life and love and the courage to live. As for her celebrated death scene, this remains a privileged piece in all the Garbo filmography beautiful beyond any words of description. It has been said that we see her very soul leaving her exquisite flesh as she dies and this is so true. And she leaves this world with a slight touch of a smile, in peace, as if she found herself caught in a moment of eternity. I am personally less harsh on Taylor’s performance than many people, since, true, he is so beautiful but healso manages to convey that boyish immature romantic passion of Armand despite his American accent. All actors are brilliant with special mentions to Henry Daniel as the Baron or the magnificent Laura Hope Crews as Prudence and Jessie Ralph as the tender Nanine. Adrian’s costumes are exquisite and they really are an integral part of drama in the film since each costume and the way Garbo wears it tells us something about the character and its evolution, as is Cukor’s direction (this is by far my favorite of all his films).

Welcome back (bienvenue à nouveau), so glad to hear from you again. I too have been very busy lately and travelling around, but is is always such a pleasure to return to this forum and talk about the Divine. A marvellous coincidenc e by the way, last night I watched "Camille" with a friend (I shouold keep account but I have no idea how many times I have seen this film, countless and as always I rediscover it each time I watch it). Garbo is as you said the definitive Marguerite of all times. There is so much detail, feeling and delicacy in her performance that she leaves me speechless. This is one fo the very few films that even if I know it by heart I still feel overwelmed and I am always in tears even if I know each syllable, each expression of Garbo's performance by heart. I believe one of the secrets of her performance, what makes her so timeless is that she plays (contre-courant as we say, against the current. When she laughs at the piano scene for example, you feel her torment feelings, she way she pulls back her head it really is heartbreaking. At her birthday party when she is joined by Armand at the room after her coughing scene and he declares his love for her she says "What a child you are" and yet there is a tender softness in her voice. This is the only "Camille" or "traviata" I have seen with a sense of humour which is dazzling in the opening scenes at the theatre. This Marguerite knows that she lives in a frivolous, superficial world (the demi-monde) with shallow superficial friends (with the exception of her faitful adorable Nanine and later Gaston and of course Armand and her firend Nichette), yet she laughs at all this as if she knows and feels that she will not live much longer. Garbo laughs or smiles and yet behind that shime we see the shadow of fate or even death. I love the scene at the auction when she sees Nichette and then tells her charmingly as she leaves her (I always look well when I am near death. She delivers the line with an infinite grace and charm and yet you feel that she is laughing at death which is not far away. And when she sees Armand you can feel the light emanating from her whole being "Armand Duval where are my marrons glacés?". The piano scene with the mazgnificent Henry Daniel as the Baron de Varvilel is justly brilliant (wonderful dialogues) and you can see the inner torment of Marguerite, sacrifising temporarirly love (in the person of Armand whom she has locked outside) for the wealth that the Baron de Varville can offer her. By the moment Garboa s Marguerite accepts the fact that she is truly in love with Armandf her transformation is complete and dazzling. When she joins Armand at hsi apartment as he is rpeparing to leave town, her voice has a tender, generous touch which is heartbreaking. Her beautiful line "You know once I had a little dog, who always looked sad when I was sad and I loved him so. And whenyour teras fell on my hand I loved you all at once". Simple beautiful, simply heartbreaking. When she asks the Baron for money so sthat she can leave with her lover in the country and he slaps her as she thanks him, Grabo offers us one of her most profunf a

Oh, merci Monsieur. I am trully glad you like this film, I love it and really feel protective towards it (maybe because so many people dislike it, ot simply ignore it) and it is so enjoyable in every way. I wish Garbo had made more films with Gable. I will be going on vacation for a week tomorrow but I will be back soon and hope to hear more on Garbo's films. A bientôt.

The other day since it was Garbo's birthday on the 18th I watched a couple of her films. "Susan Lennox Her Fall and rise" with a young Clark Gable is a film usually neglected and dismissed by critics in Grabo's filmography. I personally love it. Garbo and Gable are marvellous together. Garbo's early scenes when she finds refuge at Gable's cabin are astonishing, so natural, sensual and pure at the same time. It is tempting to say that Garbo was rarely photographed as brilliantly by her favorite cameraman William Daniels as in this film (and this says much as he awlays did an astonishong job). "Caviar", asks Gable a relaxed Garbo dressed in his art-deco pyjamas. "Is that to eat" she asks with amazement and then bursts into an adorable contagious laughter.When they go fishing the next day, the fun and open sensuality is stille evident in their interaction. When Gable prepares to leave for an architect's contest leaving Garbo alone, we have a series of playful moments with her hiding his shaving things and running like a happy kid around the room (another blow to the widely spread Garbo myth which assumes that Garbo is a humorless and cold femme fatale. See these scenes and you will see just the opposite). She is even capable of creating something moving out of nowhere as when she grasps a photo of Gable's parents loooks at it attentively and says with sadness and tenderness. "I never had a picture of my mother, I guess she never had one taken, just like she never had a ring". Only Grabo can give meaning to such sentences creating something moving and magical. Even when the film becomes what we may call an exotic melodrama, the charm still operates, thanks to Grabo's acting, beauty and magnetic presence and her interaction with Gable (a sort of love and hate relationship) I highly recommend this film to any Garbo and/or Gable fans and unfortunately it was not released on DVD yet.

Very true Garbo is a true tragic heroine and like every genuine tragic figure she meets her fate which very often takes the form of death. In "woman of Affairs" this is particularly true, but what is more striking is that despite the moral outcry which makes Garbo un outcast, the audience always is on her side. This is so because Garbo makes us fully understand her motivations of her character and allow us to share her inner world. It also has something to do with Garbo's generous and radiant nature as an actress and her capacity to understand others and forgive (eneven her foes like Gilbert's father). And above all she is her own master, both strong and vulnerable at the same time she decides for her own fate, so her suicide does not seem like a punishment but rather becomes a victorious act over a society of hypocrites. Also agree regarding the previous post on Valentino he was marvellous in the "Four horsement of the Apocalypse" his best performance in my opinion.

Hello dirac Poor Gilbert. I remember talking to different member pf the audience of the Film Festival of La rochelle most people did not even know who he was or did no even care to put it bluntly. And I did encounter the same indifference when I presented a silent film festival in Forssa Finland dedicated to Garbo where they screened "Flesh and the Devil", "The mysteriosu Lady" and "Woman of Affairs". Inevitably, when you have Garbo and Gilbert on the scren poeple will talk about Garbo. They will pmention Gilbet as part of that scren pair and Garbo's legend at the very bestSo his legacy today largely stems from that partnership which was electric and wonderful. To be fair, as I mentionned before, I found Gilbert at his very best in the neglected film "Downstairs" which was well received by the critics at th time but was not a commercial hit. Gilbert plays the "immoral" part of the chauffer to perfection. I think due to his drinking and animosity with Louis B Mayer, he probably lost quite a few occasions during the talkies to revive his carrer. True, one can imagine him playing the baron in "Grand hotel" (although John Barrymore is magnifiecent in the part). But I think the problem was also due to his type, the persona of the screen. In the 1930s people were more impressed by a new kind of male persona (virile and strong) like that of Clark Gable or Gary Cooper. Gilbert had difficulty in creating or re-creating for the talkies a new persona who combined his romantic appeal in the silents and accomodate this to the new era. On the other hand, Garbo had not problem in doing that, the talkies even enhanced her mystique and screen image. To be fair, compared o varios romantic silent leads Gilbert stands up pretty well. I personally prefer him to Valentino and I think that his films should be shown more often (like "The big parade"" or "La boheme" besides his Garbo vehicles).

Dear Sapphire Circle Seeing a cince-concert conducted by Carl Davis is indeed a fascinating experience, you get the impression that you see the film come to life with music and the audience participating n that experience. I have seen "Flesh and the Devil" this year as well in Luxembourg also conducted by Davis and "I have also seen "Woman of Affairs" (with the Carl Davis score) on a couple of occasions in Germany and Austria conducted by Frank Strobel. Davis' scores underline the undeniable qualities of these films and make them even more accessible to the public. Regarding the screenings of Garbo's films "Romance" is one of the few which have escaped me (i have seen it several times but never on the big screen). Garbo is radiant as Rita Cavalinni and I love her subtle way, when she is forced to tell the truth to Gavin Gordon's character about her past, how beautifully she displays her inner conflict and torment and anxiety as she plays nervously with her pearls and her hands. Dear Gold Circle Regaring "Love" it is a pity that they did not restore the film (including the tragic ending) for the DVD and I think they could avoid including the audience's laughter which is distracting at times. But you are right, it is interesting that as the film progresses the laughter dies out. When Garbo as Anna pays a visit to her son after she has been banished from her house, you can feel the audience silence, everyone is holding his breath with emotion. It is fair to say that time has not been kind to Gilbert. I think very few people know him today and one can still see some unkind things about the actor in books (some people remember him just as Garbo's partner in life and films). I think he deserves better but what to say.

Hello and thank you again Yes of course I absolutely love Sylvie Guillem. I have seen her several times on stage and her performances in ballets like “L’histoire de Manon”, “Romeo and Juliet”, “Giselle”, “Carmen”, “Sleeping Beauty” “Bolero”, “Sissi” etc remain among the great treasures I always carry in my memory. Regarding Garbo, the interesting thing in my case is that it took me some time to really understand and love her. At the beginning I did not really get her appeal. It was at the time of her death in 1990 (at that time I was in the US studying in Boston). So I got a chance to see most of her films even the ones I never heard of like “Inspiration”, “As you desire me”, “The painted veil” etc and I really fell under her spell. So I watched all of her films including the silents and really understood her and loved her deeply. I also started following up various events on her in Europe (by the time I came to love in France). One of the most memorable events was the screening of “Flesh and the Devil” at the Royal Festival Hall in London back in 2000 with Carl Davis conducting the orchestra. And there was a lovely touch with none other than Leatrice Fountain Gilbert, Gilbert’s daughter who introduced the film to the audience. She spoke very lovingly about her father but then she mostly raved and raved about Garbo. I also attended various events on Garbo’s centennial and it was at the Cinémathèque de Bruxelles that I watched with amazement the uncensored version of “Mata Hari” containing various scenes that we do not see in the widely circulated version on TCM and the DVD (as you know the film was censored during its re-release in 1939). This is also another fascinating thing regarding Garbo. It is wonderful to watch her films on TV or a small screen but If you get a chance go and see her on the big screen, there is something magical and overwhelming when you see films like “Queen Christina” (her face lights up the screen and you can feel the audience holding its breath when she appears in close-up) or in her silents like “The mysterious Lady”, “Woman of Affairs” or “The kiss” on the big screen. And since I mentioned events related to Garbo, there was (the event is still going on until October) a wonderful exhibition on Garbo with her private wardrobe at the Ferragamo Museum in Florence. They first presented the exhibition in Milan (that is where I saw it!). This is the first time that Garbo’s private wardrobe is exhibited in public (her family has lent the clothes at the Ferragamo Museum for the exhibition). Also on display one can see costumes from her films like “Queen Christina,” Anna Karenina,” “Conquest”, “Inspiration”, “The Saga of Goesta Berling” an extracts from her films. Most magical! There is a magnificent book on this which you can get from amazon for those of you who are interested here is the link: « Greta Garbo the mystery of style » http://www.amazon.com/Greta-Garbo-Mystery-Stefania-Ricci/dp/8857205800/ref=sr_1_1?s=books&ie=UTF8&qid=1283896603&sr=1-1

Thank you for your kind reply and observations. Of course my words (somehow clumsy at times) may see exaggerated, I can understand that, but you know that last phrase I sort of wrote it out in a somehow (slumsy) poetic (perhaps not very successful) way when I talk about this mythological goddess and things that make you aware of human beings, feelings, emotional states etc. But you know I have this attitude about beauty in its pure and symbolic form in general. It is like listening to Chopin's music for example, or reading a novel by Balzac, or Proust or seing Sylvie Guillem performing (for me at least). These are things which make me aware about so many things. It may sound delirious and a bit too much, but as far as I am concerned it is true for me at least (I am not a Garbomaniac for nothing after all). There were also several books on Garbo, for example a French one by Henry Agel who would describe the Garbo effect on a goddess like and mythological side. Also true that I rate Garbo higher than any other actor or actress I have ever seen either on stage or screen. It is personal, I feel her acting, her presence, her interior rythme more than enyone else I have ever seen. I personally feel that no other performer went as far in her acting like she did in "Camille" (and I would add "Woman of Affairs" as well). I like Delphine Seyrig quite a lot and from French actresses I think I love most Simone Signoret. My favorite stage actress is Vanessa Redgrave, who also has that raw, radiant quality in her acting, something mysterious. I suppose I am unable hide the fact that I am a true Garbomaniac in the true sense of the word.

Hello everyone. My sincere thnaks for your kind welcoming words. Dear Diamonds Circle. "The painted veil" is definitely a film worth seeing. It is also quite unusual for a Garbo vehicle (especially knowing that she made this right after her androgynous majestic Christina) since as I have mentionned before, there is nothing utterly tragic or femme fatale about her character. Yet, I personally feel that this is one of her most representatif films both for the actress and icon (now I also know that there are many Garbo fans who hate the film but what to say?). It is a matter of taste, but here I find her utterly enchanting and so beautiful (hte scene where she dresses up in white to go to the Chinese festival and puts that white turban is quite simply divine). As for her acting is miraculious and for once she has a most charming and wonderful partner Herbert Marshall. The film was not yet released on DVD but you can still get on on VHS at amazon: http://www.amazon.com/Painted-Veil-VHS-Greta-Garbo/dp/6301972260/ref=sr_1_3?s=dvd&ie=UTF8&qid=1283864422&sr=1-3 It is also interesting to compare it to the other versions. You know there is also a second version of "The painted veil" made in 1957 starring Eleanor Parker called "The seventh sinn". Interesting film but not very satisfactory on a dramatic level. The most interesting parts are the secondary ones (George Sanders as Waddington and Françoise rosay as the mother superior). And then of course you have the most recent one with Naomi Waats, an interesting version. Definitely worth seeing worth seeing and it is a film which gains in terms of dramatic weight as the story progresses. Dear Gold Circle, thank you for your comments. I am glad we disagree on some matters (imagine if we all agrred on everything). Now the Festival at La Rochelle was passionate and the Garbo tribute trully enchanted the audience. People (many young ones as well) were in awe and after the screenings you could hear people raving about Garbo, her acting,her magic, her beauty. On the other hand, most people were not very kind with Gilbert and sometimes I found myself defening him since I like him very much (but i guess I suppose I am more fond of Gilbert's personality than the actor whom I find uneven). But as I said I love his screen couple with Garbo and I think he helped her immensely in developing as an actress and woman in the Hollywood film industry. I also found Gilbert wonderful in films like "La boheme "with Lillian Gish and in one of his talkies "Downstairs" where he plays an "immoral" character. With regards to the screening of "Love" at La Rochelle, it is quite funny. They actually showed one ending after the other without any explanation or inermission. So there you see Garbo-Anna committing suicide and one minute later she is back to life againg and you seer the happy ending. Many people who did not know anything about the existence oft he alternate endings were quite perplexed. Of course the sad ending is much more appropriete to the general mood of the film. Now since we mentiooned my favorite silent "Woman of Affairs" I have written a sort of analysis on this film. This is a film which I highly recommend to every single Garbo admirer. In my opinion this is the Film who defines her most magically as an actress, icon and personality. You can get it as a VHS on amazon on the following link: http://www.amazon.com/Woman-Affairs-Silent-Greta-Garbo/dp/6302004497/ref=sr_1_sc_1?ie=UTF8&qid=1283865038&sr=1-1-spell And here is my analysis on "Woman of Affairs". I hope I will not bore you with this and please forgive me for any spelling mistakes: Garbo the ultimate modern heroine: “Woman of Affairs” After a few successful years in Hollywood, Garbo has firmly established herself as actress and icon. Critics and audiences alike loved her and flogged to see her films. Her partnership with John Gilbert was still sending shivers to female and male cinemagoers around the world. But despite her success, something was still missing. It had probably something to do with her cinematographic image which did not yet fully capture the complexity and modernity of her persona. This would come just in time with her next film and her next important professional encounter with costume designer Adrian. “The Green hat” by Michael Arlen was one of the most talked about bestsellers of the 1920s and its tragic heroine Iris March who was reckless, daring, modern and romantic at the same time fully captured the ambiance of the era where women were beginning to emancipate themselves. It was not surprising that Garbo, after having seen Catherine Cornell portray the part on Broadway expressed her desire to play the part if a film was made. Irving Thalberg jumped on the occasion and they closed the deal buying the rights for the film version. Clarence Brown was chosen to direct and Gilbert was to portray Iris love interest (Napier in the original book). The main problems the studio encountered had to deal with the censors. There were several elements in the “Green Hat” which would raise quite a few eyebrows among the censors who pointed out every single one of them. The most serious objections had to do with the death of the Boy (Iris first husband) who commits suicide because he has contracted syphilis. There was no way for the censors that they would let pass such a word and so in the film the husband simply became an embezzler who kills himself for decency. They also had to suppress any direct references to the fact about the stillborn baby of Iris a result of her reunion with Napier. The studio changed the title which became “Woman of Affairs” as well as the characters names. Iris March became Diana Merrick. Napier became Neville, his wife Venice became Constance. But despite these changes the essential remained especially its fascinating heroine. In my humble opinion the film is better structured than the book and more easy to follow since Clarence Brown and the studio kept the most interesting and central elements and restructured the story into a more coherent ensemble which gives greater depth to the principal characters. It is quite common for both film critics and even many Garbo fans in our days to look down at most of the star’s vehicles, constantly nagging at MGM’s inability to cast the actress in other parts other than the fallen woman or the absence of great film directors guiding her Hollywood career. This is where I beg to differ and “Woman of Affairs” is a marvellous example which illustrates Garbo’s incomparable gifts and special contribution to film. It is above all the film which allows her to fully come into her own both as an actress as well as personality with a tantalising modern touch. There are several reasons for this ultimate transformation. For the first time Garbo was given the chance to play a modern woman of her own times, the epitome of the 1920s heroine, brave, reckless, fascinating, defiant of conventions, true and brave always living on the edge of danger and excitement. It was a golden role and Garbo was ideally cast. It was also the first time in her career that she was given the chance to bring out her dual or should I say multi dimensional nature. A part which allowed her to be modern and strong with a slight touch of masculinity yet ultimately feminine, spiritual, romantic and vulnerable. Adrian who designed Garbo’s costumes for the first time and who subsequently designed her costumes for all her films up to her retirement in 1941 was largely responsible for this miraculous transformation. He was the first who understood Garbo’s unique appeal and was not afraid to underline her large shoulders with a marvellous trench coat which made her look more secure and confident than ever in her movement with what was to become her trademark the famous slouch hat which underlined the youthfulness of her face and its divine features. But costume for Adrian as well as for Garbo was above all a most valuable tool for dramatic action, a key for storytelling and character definition. His costumes for Diana in “Woman of Affairs” are actually very close to the description of Irish March in “The green hat”, but what is more important is that each costume and the way Garbo moves through it tell the audience something important about the character she is portraying in the film. The trench coat, slouch hat in the opening scenes allow Garbo to establish the modern and confident part of the heroine, playful, standing on an equal feet with men in a man’s world, shaking hands with them like a true gentleman. Even her enemies see that gentleman nature of her character, most notably John Gilbert’s father played by Hobart Hobsworth. As fate weights more and more heavily on Diana, her wardrobe becomes more feminine, bringing out the vulnerable and ethereal part of her character. In the admirable scene where Diana confronts her brother Jeffrey (accompanied by Gilbert, his father as well as her best friend played by Lewis Stone) after her husband’s suicide on their honeymoon at Deauville, she is dressed in a simple stark black dress and moves with tragic and moving dignity in it desperately bending towards her brother’s side in search for some consolation only to sink in resignation in an armchair in order to take all the blame for her husband’s death in order to save her brother’s ideal. What Garbo does in every single scene of this admirable yet still neglected film is nothing short of miraculous. She invests every single gesture, expression of her character with beauty, conviction making us share with her every single thought and emotion of Diana. It is a performance which re-establishes the art of film acting and which should be seen by many people who tend to claim that silent films are caricatures with exaggerated acting and that Garbo was simply a legend who wanted to be alone or left alone with no enduring film legacy. Look at her early scenes how playfully she imitates her brother at the couch when he is angry at her and how she burst into laughter turning her back on him until he finally perceives her laughing in the mirror. See the touching girlish expression in her face as she shares a secret with her best friend (Lewis Stone) when she thinks in vain that she will marry Gilbert in secret, her desperation and moving pride as she confronts Gilbert’s father who unexpectedly comes to announce her that his son has left for Egypt and has no intention in marrying her. Garbo’s Diana is a strong yet extremely gentle and generous nature and this touch of generosity is one of her biggest strengths. How many so called “great” performers of our days have shown one ounce of generosity and understanding for human nature in her “big” acting? Garbo’s key element in her performances especially in this one is her capacity to open up her soul into everything which surrounds her: people, flowers inanimate objects. She displays a rare spiritual quality of understanding and eventually accepting human beings with all their shortcomings and mistakes like a gentle human goddess who has descended to earth to grace and lighten up our dim world only to disappear again from our mortal site. Her face shows sadness yet understanding and generosity when her husband embraces her during their doomed wedding night. He is in love with her, but not her with him as she still loves Gilbert. Yet she understands him and genuinely feels his love and desperation for her. Her generosity is the key element which guides her admirable subsequent scene when she confronts her brother who furiously and unjustifiably believes that she is responsible for his best friend’s death. Garbo performs the entire scene with an amazing tragic dignity. She emerges from her room where she is supported by a nurse. She stretches her head and hands towards her brother’s direction clearly perceiving his rejection and then desperately sinking in an armchair determined to accept all the blame for something she did not commit. The execution of the scene is like a graceful, slow tragic dance. Garbo performs this dance with slight movements, subtle facial expressions passing from helplessness and vulnerability to resignation, dignity and doom. She is the tragic muse, Sophocle’s Antigone knowing that she will sacrifice herself in order to save her ideals and those she loves. Another wonderful example of her generous nature is displayed during her reunification scene with Gilbert when she enters his rooms and perceives a photograph of his fiancée Constance (portrayed by Dorothy Sebastian). Her face glows with gentleness and understanding as she contemplates the picture of the girl, intuitively understanding that Constance is also a generous, brave nature with whom she already establishes a special bond. The wonderful and subtle playing with objects continues as Garbo answers to Gilbert’s claim that her “ring is loose” that she was told that she was “like this ring up to fall but that with a little effort she can keep it). Garbo sinks on the couch and the two lovers embrace as her ring falls from her finger. Brown films the scene with astonishing fluidity and grace admirably contemplating Garbo’s special gift with the camera as well as her ability to convey emotions and thoughts with inanimate objects. The film’s most memorable scene occurs at the French hospital where Diana lies ill after a miscarriage she has suffered (from Gilbert’s child). Gilbert pays her a visit with Constance and has already sent her a bouquet of roses which are removed from her room. He is unable to make her recognize her and the recognition will come through once more through an object the bouquet of roses. Suddenly with perceive in a long shot a frenzied Garbo in delirium frantically searching the bouquet of roses which was taken away from her room. Her panic and desperation are dissolved as she sees the bouquet of flowers and stretches her hands moving like a dancer towards her beloved objects’ direction. In what remains one of the most privileged moments in all Garbo filmography she takes the flowers in her hands caresses it preciously as if it were her lover or her lost child. Through the shock of this discovery she will eventually recognize Gilbert as well as Constance though the memory of the photograph she has seen of her. We are definitely entering into Proust’s territory here, and Garbo is the most eloquent performer to suggest sensations, memories of the past mingling with the present as well as the future. Out of a single scene which in the hands of another performer it would probably end up as pure melodrama, she has created poetry, something utterly divine. As she lies back in her hospital bed sleeping in peace clutching her flowers which lovingly frame her perfect face she looks more like Ophelia in her death bed than someone who has come to life and this would very likely be described as a death scene without death actually taking place. Garbo’s Diana is a mythological yet utterly human creature which tells us as much as we need to know about human nature. Garbo’s Diana makes us as aware to human beings as well as all inanimate objects and the universe that surround our existence. She makes us see and feel that everything which surrounds us has its own meaning and truth and that life like the art of film is a fascinating mystery which only she as true goddess has the key to it.

Hello I am new to this forum as you can see (I have been trying to register for some time now). I live in France and I love ballet (Sylvie Guillem is my favorite dancer) but I love Garbo above anything else. I was reading with great interest the various appreciations of the Garbo films described here. Just recenbtly, I attended the International Film Festival of La Rochelle (at the beginnings of July) where they paid tribute to Garbo' silents (they showd "Goesta Berliong's Saga", "The street of sorrow", "Flesh and the Devil", "Love", "The mysterious Lady", "Woman of Affairs", "The kiss" and the extract from "The Divine Woman". "Love" was one of the films shown there and the audience loved it. The house was packed and what they did love above all was Garbo. I have to respectfully disagree with the above review, especially regarding Garbo's performance in the film. For sure she was a bit young for the part, but her youth combined with her inner maturity and mystique make wonders in this film. I personally find her heartbreaking in "Love". She si passionate in her films with Gilbert, but she also shows a touching venrerabilty which is very appealing and which is close to Tolstoy's description of Anna. Whern she realises that she has fallen in love with Vronsky-Gilbert, there is a wonderful scene in her room where she is deeply lost in her thoughts and she touchingly tries to convince her husband to go away for some time (in vain) so she can run away from Vronsky (and escape from her feelings for him). Garbo tells the audience everything in this scene: her doubts, her growing love for Vronsky, her alienation from her husband and she is all movement and grace (as Luise Brooks so wisely said about Garbo's acting). Her scenes with Philippe de Lacy, wonderfully portraying her son, are breattaking. Innocent, moving and most sensual. The scene where she pays a stolen visit to her son after her return to St Petersburg allows us to see Garbo at her very best as a tragedienne. She is constantly exposed to our scrutiny through Goudling's direction and yet she never fails to move us and make us share with her her feelings, her love for her son, her sadness, her tragic destiny and social destitution as faces her cold and severe husband who will chase her out of her house. Gilbert reportedly directed their subsequent farewell scene where Anna sacrifices herself so that she will not ruin Vronsky's career. Garbo does the scene beautifully, lovignly kissing and touching Gilbert and kissing his sword with sensuality. As he leaves the door she raises her hands in desperation, an extraordinary gesture towards his direction, a tragic woman who has lost everything and as she turns towards us, her fatalistic suicidal intentions are most clear and striking (In La Rochelle they showed both endings of the film, the tragic and happy ending at the same time!). Although she was very young at the time (22) I believe that she made the part of Anna unforgettable and although I love her later portrayal of Karenina (where she is more mature and "perfect" on a dramatic level) I tend to prefer this vertsion since there is an open sensuality and a radiant quality about Grabo here which is most appealing to me. Regarding Gilbert I think that although he works wonderfully with Garbo as a couple, his acting is uneven as Vronsky. He does have tendencies to fall into some traps of "silent" acting (as opening wide his eyes whenever he sees Garbo as he did this in "Flesh and the Devil"). Garbo even when she loses a scene (as in the race chases) she never falls into this kind of trap, she never plays a scene as a "typical silent actress" would play it. And she always regains a scene with in a majestuous way. Just a few more thoughts on Garbo. I personally consider her a genious of acting (the greatest) and a most fascinating and radiant actress. her genious lies int he fact that she does not just "acts up" her parts, but she goes deeply into them and manages to express all sorts of different feelings, as well as various physical and mental states which she shares with her audience. Once sensitive to her acting each member of the audience sees not only the character before him/her but also his/her own life and feelings. A close up of Garbo is never just an instrument to show us how extraordinarily ebautiful she is but above all a privilidged moment where we enter her inner world and through that we see our own life and feelings. Contrary to what often is written about her, she is a most diversified actress. She can be convincing as a femme fatale as in "Flesh and the Devil", sensual and enigmatic in a very feminine way as in "The mysterious Lady", modern and fascinating as in "Woman of Affairs". And she can handle with ease great stage parts as in "Anna Christie" (especially in the German version) or "As youd desire me". "Queen Christina" is one of the most powerful female screen portrayals of all times. What is amazing in this film is that Mamoulian tells us the story of Queen Christian (and Garbo's personna) thourh Garbo's point of view in each single scene. We have a feminist point of view throughout the film. Garbo is incomparable in the part. Majestic in her scenes with the crowd, she displays a great sense of humour in her private scenes and at the inn where she glows with a fascinating touch of androgyny she makes us dream of her in Shakesperean parts (As you like it" or "Twelfth night). What to say about "Camille"? The performance of a lifetime and any lifetime I would say (the subject will come up later). Simply love her in one of her least known and neglected parts in "The painted veil" where she is divinely simple and compex at the same time. Nothing tragic, or femme fatale here, just a simple, torn woman who discovers the mysteries of life little by little. As played by Garbo this "ordinary" character becomes trully extraordinary. A pity also that "Woman fo Affairs" was not included in the DVD box wih Garbo. It was the first time that she adopted a modern look thanks to her collaboration with Adrian and this in my opinion is by far her greatest performance in her silent films and also among her very greatest (with "Camille").