Love

Slow-moving, silent version of Tolstoy's classic Anna Karenina, stars Garbo as a married socialite who has an affair with soldier Gilbert. This followed shortly after the duo made Flesh and the Devil, but it is not a worthy follow-up. There are two endings-one happy and one sad. Remade by Garbo in 1935. Only merits 2 stars in my book.

I've always been an ardent fan of Flesh and the Devil, but then I saw Love. This movie is absolutely beautiful, there's no other word to describe it. Whereas Flesh and the Devil seemed to be crass commercialism, Love is more subtle in many ways.

I gave this movie a 9 due to two rather melodramatic moments where Garbo wasn't exactly restraining herself. However, there are enough scenes where she conveys Anna's inner turmoil by the most fleeting and eloquent of expressions. The lighting in her scenes are breathtakingly beautiful, and I can only imagine how long it took to set it up just right! In so many of her scenes she is heartbreaking, especially when, exiled from her home, she sees a schoolboy and momentarily believes that he is her son and tries to embrace him. When he struggles and runs away, she does a wonderful job portraying Anna's rather unstable mind, which she does to great effect throughout the picture. In the beginning, however, when she first meets Vronsky, she seems to be in control of herself, and there is a wonderfully imperious stare in close-up, followed quickly by a close-up of Gilbert. As I watched her, I was astonished when I remembered that she was only 22 in this film.

Which brings us to Gilbert. For those who think of him as simply Valentino's successor as the Great Lover, being no more than a slab of meat for the delight of female audiences, need to watch this film. He is simply perfect, the model of natural acting -- there is not a hint of melodrama or the "ham" about him. He is completely in love with Anna, but there are none of the breast-heaving love scenes that are throughout Flesh and the Devil. He is jealous of anybody coming between him and Anna, but there are no widened eyes and arm waving. Simply jamming his hands in his pockets and an angry stare into the distance.

My only complaint with this film was the presentation on TCM. They used a live performance, and we get the "audience reaction" throughout the film. Which is fine at points, but for the most part, the reaction is totally wrong. Too many times there was laughter at what was, in 1927, a very dramatic moment. When Jack is too busy looking at Garbo to blow out the match and ends up burning his finger, that's funny. But when Anna says the profound line to the jealous Vronsky "There is no more or less in love -- I love you both infinitely" (referring to her son), the laughter was totally inappropriate. I hope this is not the avenue of any future TCM silent movies. Even though modern audiences are supposedly more "sophisticated," they aren't sophisticated enough to appreciate what "worked" 70-75 years ago. Even though these movies are old, there are still images and "lines" that are as ageless as Garbo's face.

With a mix of modern dresses for the ladies and typical regimental outfits for the men, this adaptation of ANNA KARENINA is quite different from the novel and other film versions in a few ways. After deserting her family for Vronsky, he does not tire of and desert her - he stays faithful - it is she who voluntarily gives him up to prevent his being thrown out of the Guards and thereby saves his name from disgrace - her suicide is to save him, rather than being an act of despair.

Anna's completely "losing it" when his horse falls in a race - in front of society - is her downfall as it exposes their affair to the world, after which society must wreak its revenge. Without this "flaw," things might have gone otherwise for her.

The finest scenes are between Garbo and Philippe de Lacy, who plays her son. Their two scenes are so full of playful mother-son love as to prove to better than Garbo's scenes with Gilbert. Indeed, there is none of the passion or obsession here that the two displayed earlier that year in FLESH AND THE DEVIL. de Lacy is a beautiful young actor and a "natural." One of the annoying things about Vronsky is his inability to understand this love - he selfishly wants Anna all to himself - the cad!

Garbo's farewell scene with Gilbert, she knowing she'll never see him again and he oblivious to this fact, is also quite well done.

The TCM print is flawed by having a live audience reacting poorly on the soundtrack, although the newly commissioned score by Arnold Brostoff is quite fine. This soundtrack addition occurred in 1994 and seems the only one accompanying prints of the film currently.

There is a beautifully photographed waltz with Garbo and Gilbert - oft seen in compilations and reminiscent of his waltz scenes with Mae Murray in THE MERRY WIDOW.

All in all, worth catching for Garbo, but the two later remakes of the work are much better.

As I have stated before and often in my reviews, I don't care whether or not a film adaptation is faithful to its source material; my only requirement is that it be good and stand on its own two feet. Love (1927) mostly does this; I haven't read Anna Karenina, though I am familiar with the basic outline of the plot. Love hits the high points of the story, though it does make the relationship between Anna and Vronsky more a case of two soul mates finding one another than what those two characters are in the novel.

Garbo is luminescent as Anna. She was not only gorgeous, but she could communicate such depth and soul despite being featured in so many standard melodramas. Gilbert does good and is ardent as the romantic lead, but Garbo steals the show. As is usual with most 1920s MGM melodramas, the production is lavish and pretty. My biggest issue is that the story is incredibly rushed; everything moves so quickly and it feels like scenes were even lost or snipped. Nothing develops gradually. Aside from that problem, Love is a nice romantic drama, though if you want your Garbo-Gilbert fix, you're better off with Flesh and the Devil or A Woman of Affairs.

LOVE is the perfect title for this hacked-down adaptation of Tolstoy's mammoth novel ANNA KARENINA. It was made to cash in on the popularity of Greta Garbo and John Gilbert, fresh from their box office triumph in FLESH AND THE DEVIL earlier the same year. Like virtually all of Garbo's silent films, much of the screen time is devoted to watching the great tormented Swede abandon herself to love, suffer for love, contemplate love, lose love, die. It is interesting to compare this version of the novel with the one made eight years later in which Garbo played opposite Fredric March who, while less dashing and handsome than Gilbert, did give a fine performance as the impetuous and essentially cruel Count Vronsky. In the latter film Garbo is less attractive due to the clash between the curly coiffure she is given and the strong planes and features of her face. She even looks like a male in drag in some scenes. But in LOVE she is beautiful and feminine throughout. The clinging 1920's-style dresses help, even if they detract from the authenticity of a story that is supposed to be set in 1870's Russia. Gilbert was one of the best actors of his era and the talent shows here. He is also a magnetic screen presence and one can understand why audiences in 1927 flocked to see these two together.

The scenes of mother-son tenderness between Garbo and Philippe deLacy do indeed seem incestuous as others have pointed out, but so do the scenes between Garbo and Freddie Bartholomew in the 1935 version. I think it was just Garbo's way of expressing love on screen; you see her perform the same kind of nuzzling in other movies, whether the attentions are being given to a man, a woman or a child. I disliked both endings, but at least Garbo was ravishing in the happy one. And remember, Garbo was just shy of 22 when she filmed this, yet she is believable as an older woman. She had a face that could express any age.

This movie cries out for a re-scoring. The print shown on TCM is marred by what sounds like muffled applause from time to time.