S u n d a y, F e b r u a r y 2 5 , 2 0 1 8
Greta Garbo in The Torrent
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Victor Sjostrom as
Seastrom- Greta
Garbo, Mauritz
Stiller
"The Image Makers see
their images emerge out of
the story. And then
suddenly: darkness."- Per
Olov Enquist in
Bildmakarna, a...
During the summer of 1925, Metro Goldwyn
advertised Victor Seastrom's "Tower of Lies" with
Norma Shearer and Lon Chaney as "Selma Lagerlof's
world prize novel with the outstanding
personalities of 'He Who Gets Slapped'". Using
the front and inside covers of Moving Picture
World Magazine, it also advertised "Bardleys the
Magnificient", starring John Gilbert as a
"colossal production in full technicolor",
"Lights of Old Broadway", starring Marion Davies
and directed by Monta Bell, and advertised two
Cosmolitan Productions, The Temptress, "backed by
intensive national publicity promotions of
Cosmopolitan Productions, and "The Torrent""with Aileen Pringle in a cast of big names". To
readers beginning with the recent biography by
Robert Dance, Pringle was "displaced" by Greta
Garbo.
Isabelle and Therese
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Victor Sjostrom
Scott Lord:Under the Red Robe(Victor…
Victor Seastrom Swedish
Silent Film More properly
the headlines should read,
"Garbo Talks, Seastrom
Returns Home." Victor
Seastrom, who had worked
in the Swedish theater
before pioneering in
Swedish Film, returned to
Sweden with the advent of
the sound film, not to
direct, but to act. As in
Hollywood, the exterior of
the Swedish landscape that
had established Sjostrom,
Stiller and Molander
during the golden age of
Swedish Silent Film, had
taken the innovation of
sound back to the
proscenium arc of the
interior with Molander
managing the transition to
dialogue centered films.
Film
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Victor Seastrom Silent
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Film
Scott Lord -the beautiful Virginia Bruc…
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Scott Lord Art History: Rembrandt va…
Greta Garbo arrives from
Europe
When refilmed, her hollywood screentest would by
filmed by Mauritz Stiller and purportedly spliced
into the rushes of Torrent and was then, in turn,
seen by Monta Bell, who insisted the script be
given to Garbo. Greta Garbo's second screentest
had been photographed by Henrik Sartov, who later
explained that the earlier test had lacked proper
lighting and that a lens he had devised had
allowed him to articulate depth while filming
her. Cameraman William Daniels had photographed
the earlier test. Lillian Gish relates a
conversation between her and Sartov where Gish
asked him if he could photograph a screentest of
Garbo, "Garbo's temperment reflected the rain and
gloom of the long, dark Scandinavian winters."
It skips any personal contact made between
its author, Hedda Hopper, and actress Greta Garbo
up untill a phone call from Ina Claire during her
marriage to John Gilbert when Hopper had been
visiting the set of His Glorious Night and, even
then, when giving an account of Greta Garbo
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Greta Garbo
walking off the set when Arthur Brisbane had
stepped on to it, it makes no claim that Hopper
had ever spoken to the actress while at contract
at M.G.M., but as an autobiography, From Under My
Hat, the personal memoir of the events of Hedda
Hopper's career in Hollywood, leaves us with a
question. Why was Hedda Hopper compelled to
include biography about Greta Garbo ? The account
Hopper gives is standard and third person, much
like the biography provided by John Bainbridge,
it seeming to have its origin in the same fan
magazines that were prevalent at the time and
following their consensus. "In 1926 Lillian
Gish," Hopper writes, "brought a Russian
cameraman, whose name I've forgotten, to
Hollywood from the East. Nobody had seen the work
of the Russian. The studio saw some trick slides
with which he was said to get effects...He was
asked to make tests...So for three days Greta
Garbo sat on a high stool while the unknown
Russian made tests of her. A director was looking
at water scenes to use in his picture 'The
Torrent', when accidentally, the test using Garbo
were cut in. His producer was sitting beside him.
Apologizing nervously, he stopped the projection.
'No, go ahead,' said the director, 'I want to see
something.' When they'd been run through once, he
called for them to be run again, then jumped up
and ran to the front office. 'I want that girlthe one in the tests. I want her for 'The
Torrent.'" Hedda Hopper continues her
autobiography with scenes from the romance
between Garbo and Gilbert which she was also no
part of and without personal memory, which is
again odd in that the stories belong more
properly to fan magazines, for example Photoplay
Magazine, which offered a flurry of biography on
Stiller and Gilbert between 1932 and 1935, for
some reason the fact that Garbo wouldn't grant
interviews making her the subject of biographies
speculating why she had become a recluse. Hopper
in fact calmy writes, "Garbo had no confidantes"
at a point when the reader has begun to question
when the two women had ever interacted. Under My
Hat was published by Hopper during 1952, twenty
years after the height of publicity of how the
Swedish Sphinx had come to the United States to
fall out of love with John Gilbert
At first Garbo was reluctant to accept a
role in the film "The Torrent". Although it was a
large role that had been considered for Norma
Shearer, whom Bell had directed in the film After
Greta Garbo emailed to the
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Greta Garbo
Scanned from the original
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the present author by Mark
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Greta Garbo
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author of Greta Garbo, A
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Greta Garbo
Midnight (1921). Mauritz Stiller advised, "It can
lead to better parts later." to which Garbo
replied, "How can I take direction from someone I
don't know?". John Bainbridge writes that in the
beginning Garbo spent most of her time with
Mauritz Stiller, quoting him as having said, "You
will see that something will become of her." It
would be ten weeks before the studio would show
any marked interest in her, this mostly at the
behest of Stiller and in light of his second
series of screentests. "She was especially fond
of Seastrom's children," Bainbridge writes, "and
brought little present to them." Victor
Sjostrom's daughter is the Swedish actress Guje
Lagerwall.
Begnt Forlund notes that the filming of Anna
Karenina had at first been thought for actress
Lillian Gish, who in Sweden, Greta Garbo had seen
the film White Sister. In her autobiography, Gish
wrote, "I often saw young Garbo on the set. She
was then the protege of the Swedish director
Mauritz Stiller. Stiller often left her on my
set. He would take her to lunch and then bring
her back, and Garbo would sit there watching."
John Bainbridge reiterates this while writing on
The Torrent, "Stiller did not appear on the set,
but every evening he rehearsed Garbo in the next
day's scenes, coaching her in every movement and
every expression...Stiller delivered Garbo to the
studio every morning and called for her every
night." He quotes a letter written to Sweden by
Stiller, "Greta is starting work for a well-known
director and I think she has got an excellant
part." Richard Corliss adds, "Though out of her
element and seperated from Mauritz Stiller, Garbo
gives fine performance, full of feeling and
technical precocity. her first Hollywood kiss is
one to remember."
Swedish actor Lars Hanson
attended the premiere of the film and reflected,
"We all thought the picture was a flop and that
Garbo was terrible...In our opinion it didn't
mean anything." Bainbridge makes the observation
that Mauritz Stiller and Victor Seastrom were
also at the premiere. He writes, "The picture did
perhaps contain a few imperfections, such as
Garbo's costumes." As a biographer, Bainbridge is
enjoyable to read in one sense, not only for his
prose synopsis of the film, but that he plays a
guessing game by quoting a Swedish actress who
was then in Hollywood without disclosing her
name, the reader to wonder if she was in fact
Karen Molander, wife of Lars Hanson who journeyed
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Greta Garbo
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Greta Garbo
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Greta Garbo
to Hollywood with him. The accuracy of Hollywood
reporting during the Twenties, or Jazz Age, on
which Bainbridge seems to base his historical
references was admittedly referred to by Picture
Play magazine and journalist William H. McKegg in
Three Sphinxes, which compared Jetta Goudal,
Ronald Colman and Greta Garbo, who, as of 1929,
were three people that "puzzle Hollywood" It
opined, "Of course rumors have been spread bu
those who "know". Some say that Garbo was a
waitress in one of the open air cafés in the
Swedish capital. They add that the poverty and
sorrow she underwent made her fearful of life.
Only those who have experienced poverty really
know hoe cruel human beings can be to one
another. some say she was a singer. Who
cares?"The subtitle to one section of The Story
of Greta Garbo as told to Ruth Biery, published
in Photoplay during 1929 reads, "Tempermental of
misunderstood". In it Greta Garbo relates the
events that led up to her having left the studio
for what would only be less than a week, "Then it
was for months here before I was to work for Mr.
Stiller. I'm r. When it couldn't be arranged,
they put me in The Torrent, with Mr. Monta Bell
directing. It was very hard work, but I didn't
mind that. I was at the studio every morning at
seven o'clock and untill six every evening." She
goes further explaining that there was a language
barrier that would later contribute to Mauritz
Stiller being also taken off her next picture,
"Mr. Stiller is an artist...he does not
understand the American factories. He always made
his own pictures in Europe, where he is the
master. In our country it is always the small
studio." Stiller had in fact written to Sweden to
say, "There is nothing here of Europe's culture."
It is of note that in regard to Stiller's
relationship to the studio, and Thalberg, Lars
Hanson has been quoted as having said, "And
Stiller, because he could speak hardly any
English, wasn't able to explain what he was doing
and how to satisfy them.": it was on the set of
The Torrent that author Sven-Hugo Borg was
introduced to Stiller, who in turn then informed
Garbo that he was assigned translator under Monta
Bell's direction. In The Private Life of Greta
Garbo By Her Most Intimate Friend, Borg recounts
that Bell had turned to him and had said of her,
"What a voice! If we could only use it." Of the
film he notes, "Of course she was constantly with
Stiller, spending every possible moment with him;
Greta Garbo from original
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Greta Garbo
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Greta Garbo
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Cinematic Legacy
Greta Garbo
but thought that when the camera's eye was
flashed upon her, (that)the picture would decide
her fate began, (that) he would not be there
terrified her." Borg continued as the interpreter
for Greta Garbo untill 1929.
Author Richard Corliss remarked upon the
performance in the film by Greta Garbo "Though
out of her element and separated from Mauritz
Stiller, Garbo gives a fine performance. Her
first Hollywood kiss is one to remember...There
are to be sure moments early in the film when
Garbo works too hard with her eyes; overstating
emotions rather than expressing them, dropping
nuances like anvils, registering filial
devotion...but she grows in the role...by the
final scenes..she is utterly convincing as an
actress and a star." Corliss continues stating
that there are flashes of the later Garbo as
though she were many-talented and in retrospect
it was present but would later develop more
fully, "By the end of The Torrent he face seems
moPre severely contoured, her eyes more glacially
clear, her head lifted upward by the chinstrap of
spiritual pride. The phenomena is that of a star
creating her own myth within the time-space of a
single film." Photoplay magazine quoted Greta
Garbo, "Greta Garbo was having her pictures taken
by Ruth Harriet Louise. During one of the close
up shots her eyes blinked, 'Oh, I'm so sorry,
Miss Louise,' Greta apologized, 'But I
twinkled.'" The production stills of Greta Garbo
during the filming of The Torrent were
photographed by Ruth Harriet Louise. Ruth Harriet
Louise had also published an early full
photograph of Greta Garbo in Motion Picture
Classic Magazine during May of 1926. Before
photographing Greta Garbo Louise had created her
"first published Hollywood image", that of Vilma
Banky from the film Dark Angel in the September
1925 issue of Photoplay and during 1926 she
contributed a particularly romantic blue-titnted
portrait of Pauline Stark and Antonio Moreno to
Photoplay from the film Love's Blindness. During
1928 Louise contributed to Screenland Magazine a
portrait of Lars Hansen and Lillian Gish, "the
lovers in the forthcoming special production The
Wind", directed by Victor Sjostrom under the name
Victor Seastrom. For those susceptible to the
fantasy of Hollywood, it might feel like one of
those rare fleeting siI'm at ghtings of Harriet
Brown but it in fact that Robert Dance and Bruce
Robertson introduce the photographer in their
emailed to the present
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author of Greta Garbo, A
Cinematic Legacy
Greta Garbo
Greta Garbo Scanned from
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emailed to the present
author by Mark A Vieira
Greta Garbo
original negative emailed
from author of Greta
Garbo, A Cinematic Legacy
Greta Garbo
volume Ruth Harriet Louise and Hollywood Glamour
Photography. The authors include a photograph of
Greta Garbo taken by Ruth Harriet Louise, who had
invited her back to her studios for another photo
shoot after the filming of The Torrent had come
to its completion, late December of 1925. Harriet
Brown, now in fact Harriet Brown and company, the
owner of the photograph is none other than
"senior management and market executive" Scott
Reisfield whom, and I quote, "Developed museum
exhibit of photographs with the Santa Barbra
Museum of Art. The exhibit subsequently was
toured to four additional venues. Developed a
book published by Rizzoli in conjunction with the
museum exhibit." in all honesty, I have not as of
yet corresponded with Mr. Reisfield about Greta
Garbo, Sven Gustaffson or Guge Lagerwall.
The picture of Greta Garbo in a chair seated
next to a lion, Garbo photographed outdoors on
what at first appears to be a bench and the lion
posing with his feet elevated on a log, as it was
first published in Motion Picture Magazine during
1926 must have been a publicity test, by a
publicity department that may have named her The
Swedish Sphinx during the silent era, as it left
her not only silent but unidentified, without
printing her name; the caption reads, "$10.00 for
the best title of this picture."
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Greta Garbo
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Greta Garbo
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Greta Garbo
Greta Garbo in Wild
Orchids scanned from
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Greta Garbo
"More to have fun with",
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Greta Garbo
among the photos emailed
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Greta Garbo
among the photos Of Greta
Garbo emailed by the
author of Greta Garbo, A
Cinematic Legacy
Greta Garbo
emailed from author of
Greta Garbo, A Cinematic
Legacy
There are twenty three photographs of Greta
Garbo taken by the photographer Arnold Genthe in
the United States either on July 25, or July 27.
Often unseen by the public and for the most part
belonging to public domain, the were part of his
estate and are presently housed at the library of
congress.
Greta Garbo
Greta Garbo emailed by
Mark A Vieira
Greta Garbo
Greta Garbo with Director
Clarence Bown
Greta Garbo
Greta Garbo
Greta Garbo
Greta Garbo photo:sfi
Biographer Norman Zeirold, who used a
photograph of Greta Garbo taken by Genthe for the
cover of his wonderful volume has written that,
"Garbo's plasticity made it possible for her to
reflect the fantasies of her screen audiences, in
the sense she functioned as a receptacle for the
emotions of others." An attempt on the present
author to include the subject of Greta Garbo
while corresponding with Norman Zierold, now a
professor, was mostly unsuccessful. In keeping
with the Greata Garbo that was nearly unknown to
movies audiences for her personal life off-screen
despite its being highly remarked upon by extradiegetic text, the Garbo that had lurked in the
shadows of museum-art-house screenings as a
recluse after her retirement, the Garbo that had
blindfolded her firing squad as she smoked a
cigarrette as though at any time she could be
sitting right beside any us us during any of her
films while as spectators we made identifications
with each interpellated nuance, I added, "These
emotional structures are created within each
particular film, often by subject and spectator
positioning that exploits the combination of
tragic seductress, the viewer, and the film's
Greta Garbo
Greta Garbo photo:sfi
Greta Garbo
photo credit sfi sweden
Greta Garbo
Greta Garbo photo:sfi
other characters often in relation to her pretalkie, before sound, body in an objectification
of sexual mystery, as when her body within the
frame creates space between two other characters
in front of the camera, isolating them near a
specific visual motif, or when Greta Garbo
briefly moves into the emotion of a particular
solitude." But then clearly, the relationship
between character and landscape and its
interaction with subject positioning and or
spectatorial positioning can also differ widely
from one director to another, almost to the point
where it includes stylization, as when comparing
the film's of Victor Sjostrom and Carl Th.
Dreyer- the relation of character to landscape
during the appearances of Greta Garbo is a
relation, or inverse relation, to modernity
within the object arrangements of mise-en-scene
and female sexuality. Louise Lagterstrom of the
Swedish Film Institute adorned her writing on the
arrival of Greta Garbo in Hollywood, "Mot
Hollywood", with a photograph taken in 1924 by
Arnold Grenthe, almost reiterating Garbo was
photographed extensively, often posing as a
photo-model for publicity stills before her
deciding to live in self-imposed exile.
Victor Sjostrom
Victor Sjostrom
Victor Sjostrom
Swedish Silent Film
Victor Sjostrom
While writing about the
film Wild Strawberries,
director Jorn Donner notes
that Ingmar Bergman's film
is in part a tribute to
Victor Sjostrom the
director,"Many scenes have
a tie-in with Victor
Sjsotrom's work. A smashed
watch plays a part in
Karin Ingmarsdottar."
Following Greta Garbo, Scandinavian Film
It it clearly for emotion that Garbo posed for
the soft-focus series of portraits, almost in as
much as the close up in film is used to depict
the significant detail of the shot. During
December 1925, a photograph of greta Garbo by
Arnold Genthe was published in Picture Play
magazine with the caption From the Land of the
Vikings, it announcing that she was the "latest
A sincere thank you to
each of the several Danish
professors involved in the
fantastic online course on
Scandinavian Film and
Television given by
Professor Ib Bondeberg
offered by the University
of Copenhagen
Greta Garbo
arrival" from Scandinavia, a "statuesque blond,
very reserved in manner." Picture Play Magazine
during 1927 used a full page photograph taken by
Arnold Genthe to figurehead the article Rebellion
Sweeps Hollywood, written by Aieleen St. John
Brennon, following it within pages by a portrait
of Lars Hanson by Ruth Harriet Louise, it's
caption noting that he had "amassed a large
following since his forceful performance in The
Scarlett Letter and now has the title role in
Captain Salvation.
Scott Lord: Greta Garbo The Divine W…
Vivtor Sjostrom travelled
from Sweden to direct
Greta Garbo and Lars
Hanson in The Divine Woman
under the name of Victor
Seastrom. The film is
considered lost, there
being no existing copies
of the film other that a
fairly recently discovered
fragment. Sjostrom's
photographer for the film
was Oliver Marsh. Greta
Garbo
Greta Garbo
Greta Garbo
Victor Sjostrom
Picture Play magazine, in a section titled A
Confidential Guide to Current Releases, reviewed
Ibanez's "Torrent" with "Interesting film
introducing the magnetic Swedish actress Greta
Garbo to American audiences. Richard Cortez plays
the young lover whose mother's influence kills
his romance and ruins two lives."
The entire review of The Torrent in
Photoplay runs as follows: "Monta Bell stands
well in the foreground of those directors who can
take a simple story and fill it with true touches
that the characters emerge real human beings and
the resulting film becomes a small masterpiece.
Such work has he created in The Torrent and for
fans who are slightly grown up, this picture will
be a visual delight. Greta Garbo, the new Swedish
importation is very lovely." To provide a
timeline, it appears on the same page as a review
of The Devil's Circus (Benjamin Christensen).
Tucked away in a later Photoplay issue was a more
Scott Lord: The Monastery of Sendo…
Greta-Garbo
Victor Sjostrom
candid reviewer, "Greta Garbo exerts an evil
fascination- on the screen. True, her debut was
not auspiciously placed in The Torrent, which is
in reality a babbling brook that runs on forever,
now-she-loves-him-now-she don't until the end of
the film and beyond." The reviewer then
complements her as being attractive, surveying
her eyes, lips and nostrils in, perhaps, a
"gender-specific" paragraph. And yet Eugene V.
Brewster began the watching of Greta Garbo on the
part of Motion Picture Classic magazine with his
own secular view, "At Metro Goldwyn Studios they
showed me a few reels of Greta Garbo's unfinished
picture. This striking young Swedish actress will
doubtless appeal to many but somehow I couldn't
see the great coming star in her the company
expects." Frederick James Smith continued for
Motion Picture Classic with Greta Garbo Arrives,
"The newcomer is a slumber-eyed Norsewoman, one
Greta Garbo, who seems to have more possiblities
than anyone since Pola Negri of Passion...She
isn't afraid to act. That she was able to stand
out of an infererior story, poorly directed, is
more than her credit...The Ibanez story is full
of claptrap, including the dam that bursts
without having anything to do with the story.
Monta Bell tossed it in the film form without any
apparent interest." It quickly followed with the
article, "The Northern Star, The Screen's Newest
Meteor is a Moody daughter of Sweden", written by
Alice L. Tildelsey, who decidedly felt more at
liberty to Greta Garbo than interviewers that
came later. She relates that the actress had
said, "I love the sea, yes. It understands me, I
think...it is not happy, it is always yearning
for something that it cannot have." Garbo
purportedly referred to herself as "poor little
Sweden girl" during the interview. "Now for my
new picture I must learn to dance the tango and
to ride the horse." Tidesley refers to Garbo as
"a moody young thing, Greta Garbo, with the
temperment of the true artist." The article
imparts how Greta Garbo was introduced to Mauritz
Stiller, who had seen her performing Ibsen and
had had her called in to his office. The
photograph of Garbo was taken by Ruth Harriet
Louise.
National Board of Review magazine, although
literate, may have remained true to form as it
typified the film with, "The story preserves a
European atmosphere in which parents still have
the least say about their children's marriages."
Scott Lord: The Phantom Carriage (K…
Several of the films
directed by Victor
Sjostrom use artistic
experiments in camera
technique conducive to
conveying symbolic meaning
and dramatically charged
images, among them being
Masks of the Devil, with
John Gilbert, and the
earlier Kiss of Death,
made in Sweden. Victor
Sjostrom had begun on
stage as an actor in
Sweden and appears both on
screen as well as from
behind the camera. it is
an obvious tribute to The
Phantom Carriage that
Ingmar Bergman includes
the actor Victor Sjostrom
in a symbolic scene during
Wild Strawberries. In his
autobiography Images,
Ingmar Berman regrets that
his workbook to the
screenplay to Wild
Strawberries had been
lost, but he continues to
acknowledge the influence
of Sjostrom as a director
while he moved
"spontaneously between
different planes-timespace,dream-reality....the
hearse that overturns with
the coffin bursting open."
Silent Film Victor
Sjostrom
Victor Sjostrom
Biographer Richard Corliss fairly accurately
assesses Greta Garbo's first of several silent
films, "Not only does it prefigure many of the
morals and motifs of her later pictures, but it
avoids many of those films pirouettes into the
ludicrous. All things considered (the times. the
material, the studio, The Torrent is a
suprisingly adult piece of work." While reading
Corliss the reviewer as essayist, there is a
slight temptation to see him presenting the
synopsis of each story and the characters as
being antiquated, that it is a reevaluation of
our film and its incidents but, written while it
was a given that Garbo was leading a solitary
life, it is kept within Garbo being a mystery,
that if the stories were outdated, they could be
looked at with curiousity and inquiry, as the
fantasies they were meant to be, and in that way
the reviews of Richard Corliss only contain a
hint of being outdated in their being questioning
without necessity. To compare and contrast, if
Corliss is writing about the versatility of Greta
Garbo, John Bainbridge reverberates the
sentiment, "What was to become known as the Garbo
manner was but faintly discernable in The
Torrent, but there were intimations." Bainbridge
seems to keep his secret that much of the
material for his biography was derived from fan
magazines, albeit he conducted interviews.
Biographies on Greta Garbo the sensation began to
appear, almost in droves, as soon as the actress
had spoken in sound film, many explaining how she
reached the screen in Hollywood in the first
place while adding spoonfuls of data about
Mauritz Stiller. This was to nearly culminate in
1938 with Modern Screen's 15 pages of biography,
The True Life Story of Greta Garbo, written by
William Stewart. It summarized, "The picture was
The Torrent, originally slated for Aileen Pringle
but given to Garbo as a test of her ablility...It
pleased her, but for final praise she awaited
Stiller's word. "It is good.', he said, and those
three encouraging words were sufficient." In that
being bilingual played a part on Stiller's
dismissal from M.G.M, there is an interesting
quote from John Bainbridge's biography, "Her
inability to speak English prevented her, even if
she had wished, from mixing easily with the other
people on the set. In spare moments at the studio
she was being tutored in English by an
interpreter who had been assigned to translate
her. She also practiced English with her chief
Scott Lord: The Outlaw and His Wife (…
Swedish Silent Film Victor
Seastrom
Silent Film
Scott Lord: Camille (Smallwood, 1921)
Greta Garbo
Silent Film
Scott Lord :The Abyss (Urban Gad,Af…
Greta Garbo Danish Silent
Film
Silent Film
cameraman, William Daniels, with whom she struck
up a pleasant and lasting acquaintance, 'I didn't
teach Garbo to speak English,' Daniels has
remarked, 'but we used to talk a lot and I would
correct her on certain things. We understood each
other, and talked about things we both knewmovie talk."
Motion Picture News during 1926 gave the
title to the film as "Ibanez' Torrent" The
Exploitation Angles were given as "Feature
Ricardo Cortez and Greta Garbo. Tell patrons
about the letter's European success. Bill as
strong emotional drama. Stress flood episode."
The Production Highlights given for the film
included the talent of actress Greta Garbo and
"Spectacular Flood scene and unusual climax".
Rilla Page Palmborg, author of the biography The
Private Life of Greta Garbo, described the
premiere of "The Torrent" in California, "No one
noticed Garbo as she and Mr. Stiller quietly
slipped into seats at the rear of the dimly
lighted house. No one saw them steal out of
before the picture was finished. At the first
picture Greta Garbo made in Hollywood she set the
precedent of never appearing publicly at any of
her pictures."
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