Greta Garbo

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Posted by r2d2 03/30/2009 @ 09:08

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Smokin' Audrey stamp is hot - Philadelphia Inquirer
In 2001, the German government printed 14 million Audrey Hepburn stamps as part of a series featuring movie stars including Charlie Chaplin, Marilyn Monroe and Greta Garbo. But Hepburn's son, Sean Ferrer, objected to the cigarette holder dangling from...
A club on the plus side - Long Beach Press-Telegram
In addition to being nightclub mistress on the weekends, Garbo, a distant cousin to Hollywood screen legend Greta Garbo, is an activist for size acceptance, and sees overweight people as the last accepted targets for discrimination by society....
Best Picture 1932 - Grand Hotel -
This cinema classic has Greta Garbo uttering her most famous line and many other memorable moments. Garbo also stars with fellow stalwarts John and Lionel Barrymore, Joan Crawford, and Wallace Beery in this story of a hotel and its' numerous guests....
Next up for twitter: A television show - Philadelphia Inquirer
In 2001, Germany printed 14 million Audrey Hepburn stamps as part of a series featuring movie stars including Charlie Chaplin, Marilyn Monroe and Greta Garbo. The print run was destroyed, however, after Hepburn's son, Sean Ferrer, objected to the...
Friday Night at the Movies: From Stage to Film - Daily Kos
And it was the film of the stage play The Undying Past by Hermann Sudermann-- which in Hollywoodese became Flesh and the Devil -- which not only featured filmdom's first horizontal kiss, but its first open-mouthed French kiss (Greta Garbo and John...
Audrey Hepburn stamp fetches euro67,000 in Germany - Philadelphia Inquirer
The government in 2001 printed 14 million Audrey Hepburn stamps as part of a series featuring movie stars including Charlie Chaplin, Marilyn Monroe and Greta Garbo. The print run was destroyed after Hepburn's son, Sean Ferrer, objected to the cigarette...
Is Christian Bale a Real Movie Star? - TheWrap
You know, with that X-factor twinkle we saw -- or thought we saw -- in the baby blues of Paul Newman, the amber gaze of Greta Garbo or the mischievous expression of Clark Gable. Technically speaking, Bale is a star, given his impressive box-office...
Cocktails in historic places courtesy of the Art Deco Society of ... -
The registry of part-time tenants includes Buster Keaton, Clark Gable, Greta Garbo, Joan Crawford, Red Skelton and Ronald Reagan. Local lore maintains that Charlie Chaplin sold the hotel to John “Duke” Wayne for one dollar in a poker game,...
Sophie Marceau - San Francisco Chronicle
I interviewed Sophie Marceau about 12 years ago and, as I've mentioned before, I came away from that interview understanding for the first time what Lionel Barrymore said about being in the room with Greta Garbo. He said she was so beautiful that it...
Biggest, Best, Latest, Loudest: (Almost) All-Comedy Edition - Bakersfield Californian
Olbermann then accused Limbaugh of having "suddenly gone all Greta Garbo on us." The MSNBC host said he'd play along if Limbaugh stopped talking about himself for 30 days. Limbaugh's response (in an e-mail to the Associated Press): "That's incoherent....

Greta Garbo

Greta Garbo 1925 by Genthe-retouched.jpg

Greta Garbo (born Greta Lovisa Gustafsson, 18 September 1905 – 15 April 1990) was a Swedish-American actress during Hollywood's silent film period and part of its Golden Age.

Regarded as one of the greatest and most inscrutable movie stars ever produced by Metro-Goldwyn-Mayer and the Hollywood studio system, Garbo received a 1954 Honorary Oscar "for her unforgettable screen performances" and in 1999 was ranked as the fifth greatest female star of all time by the American Film Institute.

Garbo was born Greta Lovisa Gustafsson in Stockholm, Sweden, the youngest of three children of Karl Alfred Gustafsson (1871–1920) and Anna Lovisa Johansson (1872–1944). Garbo's older sister and brother were Sven Alfred (1898–1967) and Alva Maria (1903–1926).

When Gustafsson was 14 years old, her father, to whom she was extremely close, died. She was forced to leave school and go to work. Her first job was as a soap-lather girl in a barbershop. She stated in the book Garbo On Garbo (p. 33) that her relationship with her mother was not strained.

She then became a clerk at the department store PUB in Stockholm, where she would also model for newspaper advertisements. Her first motion picture aspirations came when she appeared in two short film advertisements (the first for the department store where she worked). They were eventually seen by comedy director Erik Arthur Petschler and he gave her a part in his upcoming film Peter the Tramp (1922).

From 1922 to 1924, Gustafsson studied at the prestigious Royal Dramatic Theatre in Stockholm. While there, she met director Mauritz Stiller. He trained her in cinema acting technique, gave her the stage name 'Greta Garbo', and cast her in a major role in the silent film Gösta Berlings Saga (English: The Story of Gösta Berling) in 1924, a dramatization of the famous novel by Nobel Prize winner Selma Lagerlöf. She starred in Gösta Berling opposite Swedish film actor Lars Hanson, then appeared in the German film Die freudlose Gasse (The Street Of Sorrow, 1925), directed by G. W. Pabst and co-starring Asta Nielsen.

She and Stiller were brought to Metro-Goldwyn-Mayer by Louis B. Mayer when Gösta Berlings Saga caught his attention. On viewing the film during a visit to Berlin, Mayer was impressed with Stiller's direction, but was much more taken with Garbo's acting and screen presence. According to Mayer's daughter, Irene Mayer Selznick, with whom he screened the film, it was the gentle feeling and expression that emanated from her eyes which so impressed her father.

Unfortunately, her relationship with Stiller came to an end as her fame grew and he struggled in the studio system. He was fired by MGM and returned to Sweden in 1927, where he died the following year. Garbo was also a close friend of Einar Hanson, a Swedish actor who worked with her and Pabst on The Street Of Sorrow, and then came to Hollywood to work at MGM and Paramount Pictures. Einar Hanson was killed in an auto accident in 1927, after leaving a dinner with Garbo and Stiller. Garbo's sister Alva died of cancer in 1926 at the age of 23 after appearing in one feature film in Sweden, adding to the melancholy Garbo felt at being in Hollywood. MGM refused to allow Garbo to attend her sister's funeral in Sweden. She was only able to return there for a visit in 1928.

The best of Garbo's silent movies were Flesh and the Devil (1927), Love (1927) and The Mysterious Lady (1928). She starred in the first two with the popular leading man John Gilbert. Her name was linked with his in a much publicized romance, and she was said to have left him standing at the altar in 1926, when she changed her mind about getting married.

Having achieved enormous success as a silent movie star, she was one of the few actors who made the transition to talkies, though she delayed the shift for as long as possible. Her film The Kiss (1929) was the last film MGM made without dialogue (it used a soundtrack with music and sound effects only).

Her voice was first heard on screen in Eugene O'Neill's Anna Christie (1930), which was publicized with the slogan "Garbo Talks". The movie was a huge success. In 1931 Garbo made a German version of the movie.

Garbo appeared as the World War I spy Mata Hari (1931). She was next part of an all-star cast in Grand Hotel (1932) in which she played a Russian ballerina.

She then had a contract dispute with MGM, and signed a new contract with the studio in July 1932, departing for Sweden later the same month. She exercised her new control by having her leading man in Queen Christina (1933), Laurence Olivier, replaced with Gilbert. In 1935, David O. Selznick wanted her cast as the dying heiress in Dark Victory, but she insisted on doing Tolstoy's Anna Karenina. Bette Davis would eventually play the Judith Traherne role in Dark Victory and score her third Oscar nomination.

Her role as the doomed courtesan in Camille (1936), directed by George Cukor, would be regarded by Garbo as her finest acting performance. She then starred opposite Melvyn Douglas in Ninotchka (1939), directed by Ernst Lubitsch.

Garbo was nominated for an Academy Award for Best Actress for Anna Christie (1930), Romance (1930), Camille (1937) and Ninotchka (1939).

During Garbo's Hollywood career, she was caricatured in the Warner Bros. cartoons Porky's Road Race, Speaking of the Weather (both directed by Frank Tashlin) and Hollywood Steps Out (directed by Tex Avery).

Ninotchka was a successful attempt at lightening Garbo's image and making her less exotic. The comedy, Garbo's first, was marketed with the tagline, "Garbo laughs!". The follow-up film, Two-Faced Woman (1941), attempted to capitalize by casting Garbo in a romantic comedy, where she played a double role that featured her dancing, and tried to make her into "an ordinary girl". The film, Garbo's last, was directed by George Cukor, and was a critical (though not a commercial) failure.

It is often reported that Garbo chose to retire from cinema after this film's failure, but already by 1935 she was becoming more choosy about her roles, and eventually years passed without her agreeing to do another film. By her own admission, Garbo felt that after World War II the world changed, perhaps forever.

In 1949, Garbo filmed several screen tests as she considered reentering the movie business to shoot La Duchesse de Langeais directed by Walter Wanger; otherwise she never stepped in front of a movie camera again. The plans for this film collapsed when financing failed to materialize, and these tests were lost for 40 years, before resurfacing in someone's garage. They were included in the 2005 TCM documentary Garbo, and show her still radiant at age 43. There were suggestions that she might appear as the "Duchess de Guermantes" in a film adaptation of Marcel Proust's Remembrance of Things Past: but this never came to fruition. She was offered many roles over the years, but always turned them down.

Her last interview was probably with the celebrated entertainment writer Paul Callan of the London Daily Mail during the Cannes Film Festival. Meeting at the Hotel du Cap Eden Roc, Callan began "I wonder..." before Garbo cut in with "Why wonder?" and stalked off, making it one of the shortest interviews ever published.

She gradually withdrew from the entertainment world and moved to a secluded life in New York City, refusing to make any public appearances. Up until her death, Garbo sightings were considered sport for paparazzi photographers. In 1974, pornographic filmmaker Peter De Rome tracked Garbo across New York and shot unauthorized footage of her for inclusion in his X-rated feature Adam & Yves.

Despite these attempts to flee from fame, she was nevertheless voted Best Silent Actress of the Century (her compatriot Ingrid Bergman winning the Best Sound Actress) in 1950, and was also designated as the most beautiful woman who ever lived by the Guinness Book of World Records.

Garbo was considered one of the most glamorous movie stars of the 1920s and 1930s. She was also famous for shunning publicity, which became part of her mystique. Except at the very beginning of her career, she granted no interviews, signed no autographs, attended no premieres, and answered no fan mail.

Her most famous sexual relationship — but not her only such relationship — was with actor John Gilbert. They starred together for the first time in the classic Flesh and the Devil in 1926. Their on-screen "erotic intensity" soon translated into an off-camera romance, and by the end of production Garbo had moved in with Gilbert. Gilbert is said to have proposed to Garbo at least three times. She reportedly wanted to quit films if they married, but Gilbert wanted her to continue her career. When a marriage was finally arranged in 1926, she failed to show up at the ceremony. After the affair ended, and Gilbert's career collapsed with sound films, Garbo showed great loyalty to him and insisted that he appear with her in 1933's Queen Christina, despite the objection of MGM studio head Louis B. Mayer.

The 1995 biography Garbo by Barry Paris relates Garbo's relationships - which were often just close friendships - with actor George Brent, conductor Leopold Stokowski, nutritionist Gayelord Hauser, and her manager George Schlee, husband of designer Valentina.

In 1931, Garbo met and quickly befriended Mercedes de Acosta. The two were introduced by mutual friend, author Salka Viertel, who wrote the screenplay for several Garbo films. Garbo was in control of the friendship, which was close for about a year from 1931 to 1932.

But thereafter, theirs was a vacillating relationship, with Garbo even ignoring de Acosta - everything was at the will of Garbo. Estranged by 1937, in 1944, Garbo insisted de Acosta stop sending to her, poems and letters professing love. The last known poem of hers for Garbo was written that same year. Their relationship finally ended when de Acosta wrote about her own lesbian affairs in the autobiography Here Lies the Heart (1960).

Louise Brooks wrote in her memoir that at one point, she had a brief affair with Garbo. She later described Garbo as masculine but a "charming and tender lover".

Garbo felt her movies had their proper place in history and would gain in value. On 9 February 1951, she became a naturalized citizen of the United States. In 1954 she was awarded a special Academy Award.

In 1953, she bought a seven-room apartment in New York City at 450 East 52nd Street, where she lived for the rest of her life.

She would at times jet-set with some of the world's best known personalities such as Aristotle Onassis and Cecil Beaton, but chose to live a private life. She was known for taking long walks through the New York streets dressed casually and wearing large sunglasses, always avoiding prying eyes, the paparazzi, and media attention. Garbo did, however, receive one last flurry of publicity when nude photos, taken with a long-range lens, were published in People in 1976. Trim and relaxed, she was enjoying a swim.

Garbo lived the last years of her life in absolute seclusion. Having invested very wisely, particularly in commercial property along Rodeo Drive in Beverly Hills, she was known for extreme frugality, and was very wealthy.

She died in New York Hospital on 15 April 1990, aged 84, as a result of pneumonia and renal failure. She had previously been successfully treated for breast cancer.

She was cremated, and after a long legal battle her ashes were finally interred at the Skogskyrkogården Cemetery in her native Stockholm. She left her entire estate, estimated at $20,000,000 USD to her niece, Gray Reisfield of New Jersey.

For her contributions to cinema, she has a star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard. In addition, in September 2005, the United States Postal Service and Swedish Posten jointly issued two commemorative stamps bearing her likeness.

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Louise Brooks

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Mary Louise Brooks (November 14, 1906 – August 8, 1985), generally known by her stage name Louise Brooks, was an American dancer, model, showgirl, and silent film actress, famous for her fashionable bobbed haircut. Brooks is best known for her three feature roles including two G. W. Pabst films: in Pandora's Box (1929), Diary of a Lost Girl (1929), and Prix de Beauté (Miss Europe) (1930) . She starred in seventeen silent films and, late in life, authored a memoir, Lulu in Hollywood.

Brooks began her entertainment career as a dancer, joining the Denishawn modern dance company (whose members included Martha Graham, Ruth St. Denis, and Ted Shawn) in 1922. A long-simmering personal conflict between Brooks and St. Denis boiled over one day two years later, however, and St. Denis abruptly fired Brooks from the troupe by telling her in front of the other members that "I am dismissing you from the company because you want life handed to you on a silver salver." The words left a strong impression on Brooks; when she drew up an outline for a planned autobiographical novel in 1949, "The Silver Salver" was the title she gave to the tenth and final chapter.

Brooks made her screen debut in the silent The Street of Forgotten Men, in an uncredited role in 1925. Soon, however, she was playing the female lead in a number of silent light comedies and flapper films over the next few years, starring with Adolphe Menjou and W. C. Fields, among others.

She was noticed in Europe for her pivotal vamp role in the Howard Hawks directed silent "buddy film," A Girl in Every Port in 1928.

It has been said that her best American role was in one of the early sound film dramas, Beggars of Life (1928), as an abused country girl on the run with Richard Arlen and Wallace Beery playing hoboes she meets while riding the rails. Much of this film was shot on location, and the boom microphone was invented for this film by the director William Wellman, who needed it for one of the first experimental talking scenes in the movies.

By this time in her life, she was rubbing elbows with the rich and famous, and was a regular guest of William Randolph Hearst and his mistress, Marion Davies, at San Simeon, being close friends with Marion Davies's niece, Pepi Lederer. Her distinctive bob haircut, which became eponymous, and is still recognised to this day, had helped start a trend, as many women in the Western world began to wear their hair as both she and fellow film star Colleen Moore did. Soon after the film Beggars Of Life was made, Brooks, who loathed the Hollywood "scene," refused to stay on at Paramount after being denied a promised raise, and left for Europe to make films for G. W. Pabst, the great German Expressionist director.

Paramount attempted to use the coming of sound films to strongarm the actress, but she called the studio's bluff. It was not until 30 years later that this rebellious move would come to be seen as arguably the most savvy of her career, securing her immortality as a silent film legend and independent spirit. Unfortunately, while her initial snubbing of Paramount alone would not have finished her in Hollywood altogether, her refusal after returning from Germany to come back to Paramount for sound retakes of The Canary Murder Case (1929) irrevocably placed her on an unofficial blacklist. Actress Margaret Livingston was hired to dub Brooks's voice for the film, and the studio claimed that Brooks' voice was unsuitable for work in sound pictures.

Once in Germany she starred in the 1929 film Pandora's Box, directed by Georg Wilhelm Pabst in his New Objectivity period. The film is based on two plays by Frank Wedekind (Erdgeist and Die Büchse der Pandora) and Brooks plays the central figure Lulu. This film is notorious for its frank treatment of modern sexual mores, including the first screen portrayal of a lesbian. Brooks then starred in the controversial social dramas Diary Of A Lost Girl (1929), also directed by Pabst, and Prix de Beauté (1930), the latter being filmed in France, and having a famous surprise ending. All these films were heavily censored, as they were very "adult" and considered shocking in their time for their portrayals of sexuality, as well as their social satire.

When she returned to Hollywood, in 1931, she was cast in two mainstream films: God's Gift to Women (1931) and It Pays to Advertise (1931). Her performances in these films, however, were largely ignored, and few other job offers were forthcoming due to her informal "blacklisting." Despite this, William Wellman, her director on Beggars of Life, offered her the feminine lead in his new picture, The Public Enemy starring James Cagney. But Brooks turned down the role in order to visit her then-lover George Preston Marshall (not to be confused with film director George Marshall) in New York City, and the part instead went to Jean Harlow, who began her own rise to stardom largely as a result. Brooks later explained herself to Wellman by saying that she hated making pictures because she simply "hated Hollywood," and according to film historian James Card, who came to know Brooks intimately later in her life, "she just wasn't interested....She was more interested in Marshall." In the opinion of Brooks's biographer Barry Paris, "turning down Public Enemy marked the real end of Louise Brooks's film career." For the rest of her movie career, she was reduced to playing bit parts and roles in B pictures and short films. One of her directors at this time was a fellow Hollywood outcast, Roscoe "Fatty" Arbuckle, who was working under the pseudonym "William Goodrich"; Brooks starred in Arbuckle's Radio Pictures comedy short, Windy Riley Goes Hollywood (1931).

Brooks had retired from the screen that same year after completing one last film, the John Wayne western Overland Stage Raiders in which she played the romantic lead with a long hairstyle that rendered her all but unrecognizable from her "Lulu" days. She then briefly returned to Wichita, where she was raised. "But that turned out to be another kind of hell," she said. "The citizens of Wichita either resented me having been a success or despised me for being a failure. And I wasn't exactly enchanted with them. I must confess to a lifelong curse: My own failure as a social creature." After an unsuccessful attempt at operating a dance studio, she returned East and, after brief stints as a radio actor and a gossip columnist, worked as a salesgirl in a Saks Fifth Avenue store in New York City for a few years, then eked out a living as a courtesan with a few select wealthy men as clients. Brooks unfortunately had a life-long love of alcohol (more specifically gin), having begun drinking heavily at the age of fourteen and was an alcoholic for a major portion of her life, although she exorcised that particular demon enough to begin writing about film, which became her second life. During this period she began her first major writing project, an autobiographical novel called Naked on My Goat, a title taken from Goethe's Faust. After working on the novel for a number of years, she destroyed the manuscript by throwing it into an incinerator.

She was a notorious spendthrift for most of her life, even filing for bankruptcy once, but was kind and generous to her friends, almost to a fault. Despite her two marriages, she never had children, referring to herself as "Barren Brooks." Her many lovers from years before had included a young William S. Paley, the founder of CBS. According to Louise Brooks: Looking For Lulu, Paley provided a small monthly stipend to Brooks for the rest of her life, and according to the documentary this stipend kept her from committing suicide at one point. She also had an on-again, off-again relationship with George Marshall throughout the 1920s and 30s (which she described as "abusive"). He was the biggest reason she was able to secure a contract with Pabst. Marshall repeatedly asked her to marry him and after finding that she had had many affairs while they were together, married film actress Corinne Griffith instead.

French film historians rediscovered her films in the early 1950s, proclaiming her as an actress who surpassed even Marlene Dietrich and Greta Garbo as a film icon (Henri Langlois: "There is no Garbo, there is no Dietrich, there is only Louise Brooks!"), much to her amusement. It would lead to the still ongoing Louise Brooks film revivals, and rehabilitated her reputation in her home country. James Card, the film curator for the George Eastman House, discovered Louise living as a recluse in New York City about this time, and persuaded her to move to Rochester, New York to be near the George Eastman House film collection. With his help, she became a noted film writer in her own right. A collection of her witty and cogent writings, Lulu in Hollywood, was published in 1982. She was profiled by the film writer Kenneth Tynan in his essay, "The Girl With The Black Helmet," the title of which was an allusion to her fabulous bob, worn since childhood, a hairstyle claimed as one of the ten most influential in history by beauty magazines the world over.

She rarely gave interviews, but had special relationships with John Kobal and Kevin Brownlow, the film historians, and they were able to capture on paper some of her amazing personality. In the 1970s she was interviewed extensively, on film, for the documentaries Memories of Berlin: The Twilight of Weimar Culture (1976), produced and directed by Gary Conklin, and in the Hollywood series (1980) directed by Brownlow and David Gill. Running 50 minutes, Lulu in Berlin (1984) is another rare filmed interview, produced by Richard Leacock and Susan Woll, released the year of her death, but filmed almost a decade earlier. She had lived alone by choice for many years, and Louise Brooks died from a heart attack in 1985, after suffering from arthritis and emphysema for many years.

As is the case with many of her contemporaries, a number of Brooks' films, according to the documentary Looking for Lulu, are considered to be lost. Her key films survive, however, particularly Pandora's Box and Diary of a Young Girl which have been released to DVD in North America by the Criterion Collection and Kino Video, respectively. As of 2007, Prix de Beaute and The Show Off have also seen limited North American DVD release, as well. Her short film (and one of her only talkies), Windy Riley Goes Hollywood was included on the DVD release of Diary of a Lost Girl. Her final film, Overland Stage Raiders, was released to VHS but has yet to receive a North American DVD release.

Brooks is considered one of the first naturalistic actors in film, her acting being subtle and nuanced compared to many other silent performers. The close-up was just coming into vogue with directors, and her almost hypnotically beautiful face was perfect for this new technique. Brooks had always been very self-directed, even difficult, and was notorious for her salty language, which she didn't hesitate to use whenever she felt like it. In addition, she had made a vow to herself never to smile on stage unless she felt compelled to, and although the majority of her publicity photos show her with a neutral expression, she had a dazzling smile. By her own admission, she was a sexually liberated woman, not afraid to experiment, even posing fully nude for "art" photography, and her liaisons with many film people were legendary, although much of it is speculation.

Brooks also had an influence in the graphics world - she had the distinction of inspiring two separate comics: the long-running Dixie Dugan newspaper strip by John H. Striebel that started in the late 1920s and ran until 1966, which grew out of the serialized novel and later stage musical, "Show Girl," that writer J.P. McEvoy had loosely based on Louise's days as a Follies girl on Broadway; and the erotic comic books of Valentina, by the late Guido Crepax, which began publication in 1965 and continued for many years. Crepax became a friend and regular correspondent with Louise late in her life. Hugo Pratt, another comics artist, also used her as inspiration for characters, and even named them after her.

An exhibit titled "Louise Brooks and the 'New Woman' in Weimar Cinema" ran at the International Center of Photography in New York City in 2007, focusing on Brooks' iconic screen persona and celebrating the hundredth anniversary of her birth.

In the summer of 1926, Brooks married Eddie Sutherland, the director of the film she made with Fields, but by 1927 had fallen "terribly in love" with George Preston Marshall, owner of a chain of laundries and future owner of the Washington Redskins football team, following a chance meeting with him that she later referred to as "the most fateful encounter of my life." She divorced Sutherland, mainly due to her budding relationship with Marshall, in June of 1928.

In 1933 she married Chicago millionaire Deering Davis, but abruptly left him in March 1934 after only five months of marriage, "without a good-bye... and leaving only a note of her intentions" behind her. According to Card, Davis was just "another elegant, well-heeled admirer," nothing more. The couple officially divorced in 1938.

On August 8, 1985, Louise Brooks was found dead of a massive heart attack. She was buried in Holy Sepulchre Cemetery in Rochester, New York.

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Anna Christie (1930 film)

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Anna Christie is a 1930 MGM drama film adaptation of the 1922 play by Eugene O'Neill. It was adapted by Frances Marion, produced and directed by Clarence Brown with Paul Bern and Irving Thalberg as co-producers. The cinematography was by William H. Daniels, the art direction by Cedric Gibbons and the costume design by Adrian.

The film stars Greta Garbo, Charles Bickford, George F. Marion, and Marie Dressler.

It was nominated for Academy Awards for Best Actress (Greta Garbo), Best Cinematography and Best Director. This pre-Code film is the movie that used the marketing slogan "Garbo Talks!", as it was her first talkie.

Garbo's first spoken line has become one of her most famous: "Give me a whiskey, ginger ale on the side, and don't be stingy, baby." George F. Marion had performed the role of Anna's father in the original Broadway production and both the 1923 and 1930 films.

In early 1931, MGM released a German-language version, also starring Garbo, with Theo Shall, Hans Junkermann and Salka Viertel.

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Clarence Brown


Clarence Brown (May 10, 1890 – August 17, 1987) was an American film director. Born in Clinton, Massachusetts, to a cotton manufacturer, Brown moved to the South when he was eleven.

He attended the University of Tennessee, graduating at the age of 19 with two degrees in engineering. An early fascination in automobiles led Brown to a job with the Stevens-Duryea Company, then to his own Brown Motor Car Company in Alabama. He later abandoned the car dealership after developing an interest in motion pictures around 1913. He was hired by the Peerless Studio at Fort Lee, New Jersey, and became an assistant to the great French-born director Maurice Tourneur.

After serving in World War I, Brown was given his first co-directing credit (with Tourneur) for 1920s The Great Redeemer. Later that year, he directed a major portion of The Last of the Mohicans after Tourneur was injured in a fall.

Brown moved to Universal in 1924, and then to MGM, where he stayed until the mid-1950s. At MGM he was one of the main directors of their female stars–he directed both Joan Crawford and Greta Garbo five times. Garbo referred to Brown as her favorite director.

He not only made the difficult transition from silent cinema to sound cinema, but thrived there, proving himself to be a "actor's director": listening to his actors', respecting their instincts, and often incorporating their suggestions into scenes. In doing so, Brown created believable, under-played, naturalistic dialogue scenes stripped of melodrama, pulsing with the honest rhythms of real-life conversation. He was nominated five times (see below) for the Academy Award as a director, and once as a producer, but never received an Oscar. However, he did win Best Foreign Film for Anna Karenina at the 1935 Venice International Film Festival.

Brown retired a wealthy man due to his real estate investments, but refused to watch new movies, as he feared they might cause him to restart his career. In the 1970s, Brown became a much-sought guest lecturer on the film-festival circuit, thanks in part to his connection with Garbo.

The Clarence Brown Theater, on the campus of the University of Tennessee, is named in his honor.

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Romance (1930 film)

Romance (1930) is a film which tells the story of a bishop sharing a cautionary tale with a young man, who is going against the wishes of his family, of the dangers of falling in love with "fallen women," by using a story of naivete from his past. It stars Greta Garbo, Lewis Stone, Gavin Gordon, Elliott Nugent, Florence Lake, and Henry Armetta.

The movie was adapted by Edwin Justus Mayer and Bess Meredyth from the play by Edward Sheldon. It was directed by Clarence Brown.

It was nominated for Academy Awards for Best Actress in a Leading Role (Greta Garbo) and Best Director.

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Mata Hari (film)


Mata Hari is a 1931 pre-code film loosely based on the life of Mata Hari (the stage name of Margaretha Geertruida Zelle), a courtesan executed for espionage during World War I. The film stars Greta Garbo in the title role. The film is credited with popularizing the legend of Mata Hari.

Commercially, this was Garbo's most successful film. It was a sensation in the US, and overseas rentals, especially in Continental Europe, matched those in the US.

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Source : Wikipedia