Menschen im Hotel

More than 70 years later and it stood the test of time. Edmund Goulding directs the movie which starts at a slower pace but towards as things proceed, pace picks up. Greta Garbo was definitely the star of the time but here she's quite a drama queen. It's Joan Crawford who gives the best performance (and has a more fleshed out role than Garbo). The actress indeed has a stronger presence than Garbo and she's simply terrific. Lionel Barrymore and John Barrymore are equally impressive. Lionel is particularly good in balancing his characters tragedy and comedy. The supporting cast is adequate.

The cinematography is amazing as it gives us a marvelous glare of the grandness of the Grand Hotel, the overhead shot of the operators who're connecting the incoming calls, and then focussing on the different characters who're all either desperate for money, happiness or nothing (as they are satisfied with what they have e.g. the head hotel clerk). Everyone is shown to be busy with their own individual life and this is further stressed on in the final scene.

In addition to that, the set designs are spectacular reflecting the indifferent atmosphere and the beauty of the hotel. The reference to the War is also put in a very subtle way (as the film was made in the 30s) through the Baron's story and the scar on the doctor's face. Some might be bored in the beginning (due to the slow pace) but just bear with it, the film does get better and one will indeed understand why it stood the test of time. A grand classic it is indeed!

I've seen "Grand Hotel" at least fifteen times -- more than any other '30s film with the possible exception of two other classics: "King Kong" and Astaire and Rogers' "The Gay Divorcee."

Quite a few others reviewers here have commented negatively on this "creaky" old film. They are correct -- it is -- and yet, who cares? It's utterly wonderful!

The whole cast is superb -- charming, desperate, vulnerable John Barrymore; cynical, sad, appealing Joan Crawford; pathetic, whining, irrepressible Lionel Barrymore; coarse, selfish, all-too-humanly cruel Wallace Beery; and of course, the great Greta Garbo. The supporting cast, led by Lewis Stone and Jean Hersholt, are equally good.

Those who criticize Garbo as over-the-top in her portrayal of the prima ballerina are right. She IS over-the-top, AND she is absolutely glorious, whether wallowing in self-pitying, suicidal despair or radiant as the spring with a new love which astonishes and transports her. What a unique, unforgettable screen presence! What a Goddess!

"Grand Hotel" holds this viewer, anyway, entranced from beginning to end. In addition to the superlative acting, the art deco design is stunning and the music always appropriate.

Creaky? You bet. Do they make movies like this anymore? Nope. Do I wish they did? I sure do.

The impressive array of stars is what makes "Grand Hotel" worth watching. It's also a pretty good feat of writing to create enough room for Garbo, Crawford, the Barrymores, and Beery all to operate. Each of them gets good characters and plenty of screen time in which to perform. The plot is not really that great, but it is written so as to bring all of these characters together in one place.

Which of the stars gives the best performance probably depends on which character you like the best. They all have their own story lines, and while much of the plot is rather implausible, the acting is such that you don't notice it that much most of the time. The ways that the characters react and change according to circumstances lets you see some fine performers show what they can do.

While it may be old-fashioned now in a number of respects, it's still a good film, and a rare chance to see this many film greats all at once.

A world-weary prima ballerina, desperate for love. A noble cat thief, desperate for money. A dying clerk, out on a last fling. His industrialist boss, passionate & brutal. A pretty young stenographer, willing to do almost anything to get ahead. A hotel bell captain, anxious to hear about his pregnant wife. And a cynical, war-scarred doctor. Destiny awaits them all in one of Europe's most renowned establishments - Berlin's GRAND HOTEL.

This is considered to be the first `all star' movie. It was certainly MGM's most opulent film up to that time. The studio loaded it with an A List of star performers:

Greta Garbo, uttering her trademark phrase, `I want to be alone.' Radiant in love, one can only imagine the despair that awaits her after the film ends.

John Barrymore, suave, sophisticated & ultimately tragic.

Lionel Barrymore, in a performance that will stay in your memory, slowly dying.

Wallace Beery in a heavy role, all bullying bluff & bluster.

Joan Crawford, tough as nails & good as gold.

Lewis Stone, Jean Hersholt, Rafaela Ottiano & Ferdinand Gottschalk all lend sterling support.

There was concern that putting so much talent into one film, instead of spreading the stars out over 4 or 5 films, would lose the studio money. Not to worry. It was a great success, financially & critically. Watch how the plot weaves the threads of the characters' lives into a finished tapestry. One of the great movies. Tremendously satisfying.

GRAND HOTEL (Metro-Goldwyn-Mayer, 1932), directed by Edmund Goulding, from the stage production by Vicki Baum, marks one of MGM's most prestigious projects. Other than being one of those rare films from the 1930s to be frequently revived, if not overplayed, on television over the past decades, it has stood the test of time solely due its impressive all-star cast. Of the five major leading actors, feature billing goes to Greta Garbo, MGM's most important box-office star to date. Unlike other Garbo films, GRAND HOTEL, is not all Garbo. She shares screen time with other top-named MGM performers, ranging from John and Lionel Barrymore, Wallace Beery and Lewis Stone. The only other major actress to appear in this production is the youthful and down-to-earth Joan Crawford, who, in fact, is on screen more than the legendary Garbo. While many might consider Crawford the best of the two female stars, Garbo, who's acting style is somewhat different from the others, should be observed and studied. Her role as Grusinskaya, the Russian ballerina, is performed two ways, that of a lonely, depressed dancer striving for success, then, after encountering the Baron (John Barrymore), becomes full of joy and laughter. Watching this transformation on screen is like seeing the two sides of Garbo.

Edmund Goulding directs this 113 minute drama at a fast-pace, starting its opening with overhead camera shots of numerous switchboard operators connecting the incoming calls, followed by the brief introduction of the central characters conversing on the telephone in the hotel lobby: Senf (Jean Hersholt), the head hotel clerk, awaits the news of his wife who is about to give birth to their child; Otto Kringelein (Lionel Barrymore), a bookkeeper, diagnosed with an incurable disease who quits his job to enjoy his remaining days to the fullest; Preysing (Wallace Beery), a no-nonsense industrialist staying at the hotel to negotiate a business deal with important clients; Suzette (Rafaella Ottiano), the maid to the famous Russian dancer, Grusinskaya, who expresses concern about her employer; Baron Felix Von Greigern (John Barrymore), an adventurer traveling with his Dachshund dog, desperately in need of money to pay off a heavy debt, planning his latest robbery by stealing valuable jewels from the famous ballerina; and Otternschlag (Lewis Stone), a scarred doctor who walks about the hotel lobby, observing the goings on, and reciting to himself quietly, "Grand Hotel, people come, people go, and NOTHING ever happens!"

Things start to happen as Flaemmchen (Joan Crawford), a stenographer with ambition, is hired by Preysing as his personal secretary. She soon makes the acquaintance of the handsome Baron and the poorly dressed Kringelein. Later that evening, after the lonely and unhappy Grusinskaya (Greta Garbo) leaves the hotel for the theater, the Baron sneaks into her room from the outside window to rob her. After she returns, the Baron, still there, hides himself, only to take notice that Grusinskaya, unhappy, intends on taking her own life. He suddenly appears, telling her he's one of her biggest admirers. In spite of telling the Baron that she wants to be alone, the Baron remains and confesses everything. How will the Baron be able to get money he so desperately needs? As for the other guests, will Preysing, a married man with two grown daughters who has made Flaemmchen his mistress after working hours, succeed with his business negotiations? Will Flaemmchen continue to get something out of life by not being particular on how she does it? Will Grusinskaya marry her beloved jewel thief Baron or will she go on with her career? Will Kringelein find the happiness he deserves before he succumbs? What will his hotel bill be after checking out from most expensive hotel in Germany? Will that kill him before his illness does?

While GRAND HOTEL could have told its stories in separate installments, it's done as one film focusing on separate characters through different time frames. Of the central characters, only Senf, the hotel clerk (Hersholt) is the least important, appearing only in a few scenes unrelated to the plot. Lewis Stone's role is also secondary, but memorable, especially with his opening and closing lines. Wallace Berry, is cast against type, sporting glasses, a short haircut, mustache and the only American actor speaking with a German accent. Lionel Barrymore, sporting a derby, over-sized clothing, thick mustache and glasses, is almost unrecognizable as Kringelein. In fact, he almost comes off best over all the major actors. Although playing a tragic figure, he does have a classic drunken comedy bit, along with a poignant scene where, after winning a large sum of money playing cards, discovers that his wallet containing all his money, is missing.

Fortunately, GRAND HOTEL does not play like a filmed stage play. The art deco and luxurious sets are a sight to behold. And why not? The Grand Hotel happens to be the most expensive and luxurious hotel in Berlin. GRAND HOTEL obviously registered well upon its release. It won the Academy Award as Best Picture of 1931/32. In later years, GRAND HOTEL has become imitated and spoofed many times. MGM remade GRAND HOTEL as WEEKEND AT THE WALDORF (1945), modernizing the story to contemporary New York City with World War II background, featuring its top marquee names of the day: Ginger Rogers, Lana Turner, Walter Pidgeon and Van Johnson. It was later adapted into a Broadway musical in the 1990s. Both screen versions are available on video cassette, DVD and Turner Classic Movies cable television. For a good time with a film classic, check in the GRAND HOTEL and see what the stars are doing for the weekend. (****)