Saturday, October 25, 2014

Greta Garbo in Love (Anna Karenina, Edmund Goulding, 1927)

Greta Garbo Greta Garbo Photoplay magazine reviewed Love, "Anna Karenina? Not so's you could notice it. But John Gilbert and Greta Garbo melt the Russian snow with their love scenes. Will it be popular? Don't be silly." The present author understably has every need to impart John Bainbridge's quoting of Bengt Idestam Almquist in its near entirety, "Greta Garbo has never been better. In her first American pictures she was something different than this: a sensual body, thin and wriggling like an exotic liana, plus a couple of heavy eyelids that hinted all kins of picturesque lusts. But gradually Miss Garbo has worked her way towards becoming a real actress with depth and sincerity." Kenneth Macpherson of Close-Up magazine reviewed the performance of Greta Garbo in the film, "As this is the rottenest possible film, it is clear that its success is due to the beauty of Greta Garbo, who has a Belle Bennett part of mother love. In twenty years they will be trying vainly to give her those parts for which her youth and beauty now make her suited. As I say, the film is just tripe and Greta's clothes are an abomination...but for the fact of Greta's lovliness and her utter inabilbity to look like anything but an overgrown adolescent dressing up for the school play." That year, for the same magazine, H. D. begged to differ, writing, "Let's put Miss Garbo out of it entirely and say that Greta Garbo, under Pabst, was a Nordic ice-flower. Under preceeding and succeeding directors she was an over-grown hoyden or a buffet Guiness-please-miss. The performance of Greta Garbo in that subtle masterpiece Anna Karenina (Love) was inexplicably vulgar and incredibly dull. It was only by the greatest effort of will that one could visulaize in that lifeless and dough-like visage a trace of the glamour, the chizselled purity, the dazzling, almost unearthly beauty...Greta Garbo in The Joyless Street...remained an aristocrat. Greta Garbo as the wife of a Russian Court official and mistress of a man of the world, diademed and in sweeping robes in the palace of Karenin, waa a house-maide at a carnival." The magazine The Film Spectator in 1928 highlighted the films editing, "There is one cleaver feature in Love, the close up debauch in which Metro presents Jack Gilbert and Greta Garbo. In the way it places the closing title to one sequence serves as an introductory tile to the sequence that succeeds it. There is a fade out after the title, 'Then I will see you at the grand Duke's ball;' and a fade in on the ball without any further explanatory title." Greta Garbo During June of 1927, Motion Picture magazine reported, "Greta Garbo's week of sulking and refusing to appear at the Metro studios has availed her nothing. The immigration authorities decided that Greta would have to go to work or be deported...She will begin work on Anna Karenina, the story that story that caused her final tempermental guesture and her desertion of the studios is to be directed by Dimitri Buchowetski and Richard Cortez was signed after his recent break with Paramount, to play the male lead." Cortez at the time was married to Alma Rubens. Motion Picture News during 1927 announced that Greta Garbo had signed a five year contract with M.G.M., "Her first story is from the pen of Count Tolstoy. The star is not yet twenty one years of age, but has won considerable popularity both in this country and abraod." It claimed that Garbo was to be given the starring role in Anna Karenina, which was to be directed by Dimitri Buchowetzki, "also under contract at M.G.M." Author and curator Jan-Christopher Horak gives a fairly uncontested account of the replacement of directors on the film, "Buchowetzki went to M.G.M. where he directed Valentia (1927) with Mae Murray, all of them costume films. In February 1927 he was assigned to direct Greta Garbo and Victor Varconi in Love (1927), the film that proved to be his Waterloo. Given the fact that he was Russian and had directed several other films set in Imperial Russia, Buchowetszki was the logical first choice. While Garbo supposedly held out for more money and a different co-star (Richard Cortez eventually replaced Varconi), Buchowetski began production in April, shooting a substantial amount of footage with Cortez. In the first week of May Garbo called in sick and stayed that way at John Gilbert's house untill the studio gave in...the director's original had been scrapped in its entirety." If this is accurate, for all intensive purposes, although only one film starring Greta Garbo, The Divine Woman (Victor Seastrom, 1928), is presently lost, the fragment of Greta Garbo in Love that were earlier filmed rushes, can be added to that. John Bainbridge merely writes that Dimitri Buchowetsky was dismissed as director of the film because of an inability to remain compatible, or amicable, with his actors before having had been being replaced by Edmund Goulding, but the biographer then quotes a nameless source that had been present as part of the filming, "'(John Gilbert) wanted to show Garbo how clever he was. Every scene meant his interference with Goulding. He insisted on trying to direct the picture. Garbo insisted that she could not act if anyone watched her.'..Whatever the state of their private relations, Miss Garbo habitually deferred to Jack Gilbert on all professional matters. Whenever a question arose, her customary remark was, 'I ask Jack.'" Motion Picture News quietly reported during July of 1927, "Production of Love will be resumed shortly with Greta Garbo and John Gilbert in the leads. The Picture was halted because of Miss Garbo's illness." Back to John Gilbert and Greta Garbo Greta Garbo Greta Garbo