Opiniones de usuarios

Although Greta Garbo in her 17 year-long Hollywood career (1925-1941) made 7 movies with the director Clarence Brown, the ones that have remained popular till our modern era of technical effects and shallow actions are only three: FLESH AND THE DEVIL (1926), ANNA Christie (1930) and ANNA KARENINA (1935). Indeed, those movies deserve appreciation since each of them carries something special deeply associated with certain moments in both MGM's history and Garbo's career. Yet, the early talkie that Garbo made soon after her introduction to sound is almost a forgotten, yet a very beautiful movie, ROMANCE (1930).

It is a film loosely based on the life of the opera singer Lina Cavalieri (1874-1944), a film in which, perhaps, not much happens, yet the one that warmed my heart on a frosty winter day. It offers everything that may be considered subtle, genuine, touching and beautiful, everything that may supply us with an affectionate journey into the old days of cinema when the cast were a true elite of artists.

Garbo was Oscar nominated for this role in 1930 along with her role of Anna Christie, but, unfortunately lost to Norma Shearer, another female star of the time whose role in "The Divorcée" occurred to be a smashing success. As an opera diva, Signora Cavallini, you may find Garbo a bit unconvincing due to her looks that purely stress a beautiful gentle woman than a "well built" opera singer. Although Signora Cavalieri might have been an exception from the stereotype, Garbo is the least convincing as opera diva. Besides, for some people, she may occur a bit overemotional due to her lines being said with the utmost dramatization. Therefore, when you look at those certain flaws and inaccuracies, one would expect a failure rather than a success. However, that was never the case with great Greta!

When you watch Garbo carefully and trust her as a viewer, you will experience something wonderful that only Garbo had. She knew the very moment when to call viewers' attention, when to change the mood and highlight desirable emotions and you get rid of all possible doubts. What is left is a pure admiration. This skill that Garbo had is something that still touches us and proves the fact that her acting was something of a genius, something you never get bored with. She had that combination of dignity and a very humane, affectionate attitude. If you decide to see ROMANCE, pay attention to the growing feelings and changing emotions that Garbo beautifully depicts. Also, her witty moments with a pet monkey and the final moment when she stands upright at the fireplace are an absolute must see. It is possible to express with words only to a certain degree but you will never describe her unless you see her. The Garbo we find here is also a great job by cinematographer William Daniels who photographed the Swedish beauty as no one else could have ever done and the subtle direction by Clarence Brown, Garbo's favorite director. It is important to state here that these were the people, except for Salka Viertel of course, whom Garbo really trusted.

Garbo's leading man is, for the only time, Gordon Gavin. He is not bad as bishop Tom Armstrong who opens a little box with a perfume of romance before a young inexperienced man, Harry, who seeks advice in a desperate situation. The scenes of Gavin and Garbo are quite stagy, there is hardly any chemistry between them; yet some moments are worth attention. For instance, don't skip the sentimental moment when Tom shows Rita the souvenirs from his childhood days that his mother kept and cherished so much. This affectionate kiss...it was for the sweet boy in the picture, not for Tom... Sweet as it may seem, the both characters have something timeless in common: both of them find the first and true love and are so grateful to each other.

I think that a mention should be made of an exceptional actor, such a characteristic mainstay in Garbo's films, Lewis Stone. Again, he does a splendid job here as Cornelius, an elegant 51 year-old man who appears to be so experienced, who seems to have lived his life and thinks that life is so simple when one is 28... How practical he appears to be when he leaves Rita with no other choice: either Tom's happiness or heartbreak. Terrific portrayal!

ROMANCE is an underrated must see as yet another example of how charming the cinema was in the good old days. Don't lose it, dear viewer, whoever you are and whatever your movie preferences are. ROMANCE is something that can warm your heart, make your day as a story of the greatest thing in the world with the greatest queen of MGM. Don't lose it for you'll not regret.

ROMANCE is one of Greta Garbo's most forgotten films and one can see why. It's basically a filmed stage-play and not much happens in it. In fact, if you watch ROMANCE and no other Garbo movie, you basically saw every other Garbo film. Garbo plays a European woman who is attached to an older man but falls in love with a younger man, who's beyond her reach. This is the same story for INSPIRATION, SUSAN LENOX, MATA HARI, CAMILLE, etc. One has a vivid sense of deja vu while watching it, certainly if you saw her other films just before this one. And certainly because it also stars one of Garbo's most frequent co-stars, Lewis Stone.

So, is ROMANCE good? Yes, it's good. Not great but good. The fact that the story resembles so many other Garbo films, which are better than this one, sorta makes it less good or original. It's probably Garbo's least "sleazy" story. She's not a tramp or prostitute. She plays an opera singer. There's something chaste about ROMANCE, which is probably the film's most original aspect.

Needless to say, ROMANCE is a must see for fans of Garbo. She's looks lovely and she's good in it, even if she's, like the story, a bit stagy herself.

The great Greta Garbo in live with THIS guy??? Not a chance. Completely mismatched lovers in a sanctimonious love story. No disrespect but Gordon is totally wrong in this part. The story is just so-so. Lewis Stone is wonderful, as usual and Garbo is a delight. She plays a charming woman and displays quite a bit of humour in her second talkie.

An elderly Tom Armstrong recounts his great love affair to his grandson Harry who faces a similar issue. Many years earlier, famous opera singer Rita Cavallini (Greta Garbo) is rumored to be the mistress of wealthy benefactor Cornelius Van Tuyl (Lewis Stone). 28 year old Tom Armstrong (Gavin Gordon) falls in love with her, but his family disapproves.

There is one main thing worthy of attention in this movie. It's Garbo. She is the magnetic center of this. I am less impressed with the directing although both the director and Garbo received Oscar nominations. The direction are functional. Maybe it's less dynamic due to its era. The plot is rather slow and it's a matter of waiting for the reveal. I do wish the guy to be more charismatic. He's written a little light. He needs more boyish charms.

"Romance" is the story of a love that cannot last between a world famous opera singer, Rita (Greta Garbo), and a rector (a preacher), Tom (Gavin Gordon). They fall in love but their lives are too different...and she has a past. This past the film never says, but you can only assume this implies she was promiscuous and was probably Cornelius' (Lewis Stone) mistress.

I am going to say something very shocking to many readers. Although Greta Garbo is considered one of the screen's greatest artists, I cannot understand this...especially as I watched "Romance". "Romance" is a lovely film in many ways, but Garbo is the problem with the picture. Her acting just seems so dated and over the top. While it played well in 1930, here in 2021 she seems almost ridiculous in her overacting. Additionally, her accent is just bizarre...and captions really would have helped to make her understandable.

It is a real shame, as in many other ways the film is quite lovely and has the glossy MGM look. Some fine acting by the rest of the cast, lovely music and nice cinematography...it's a pretty and sentimental film but one that just didn't work for me due to Garbo's odd acting style.

Cornelius Van Tuyl (Lewis Stone) is having a soiree, and in attendance is his mistress, the opera star Rita Cavallini (Greta Garbo). Also in attendance is the 28 year-old rector of his church, Tom Armstrong (Gavin Gordon). Tom does not know what Madame Cavallini looks like, so when he encounters her that night, alone, he does not know who she is, but he is immediately smitten. They begin to see each other and fall in love, but others are not exactly approving of the match.

How can Tom be courting Cavallini without betraying his friend Van Tuyl? Because one of the first conversations of the film is Van Tuyl telling Cavallini that he is an "old man" of 51 and that he has lived his life and that she should find a younger man. I realize that, today, for a 51 year old man to declare that he is in his dotage sounds ridiculous, but just go with it. This opens the door for the Tom/Cavallini pairing. But complications do ensue as these two - the rector and the opera star - come from very different worlds.

MGM had already debuted Garbo in a sound film, "Anna Christie", and it had been a success. So I guess they got a little careless the second time around, even though this film and Anna Christie had the same director, Clarence Brown, who definitely understood how to direct Garbo.

Among the problems - Garbo is hard to understand. It's not just the sound recording because Lewis Stone can be heard very clearly in the same conversation where Garbo's words are garbled. Also - I'm supposed to believe that Garbo chose Gavin Gordon's character over the distinguished Lewis Stone? I don't care how aged he says he is, Stone looks terrific. He always did. Gordon was probably picked because he had a good voice, and that counted for something in the first couple of years of talking film. But I just sense no chemistry between himself and Garbo.

Finally, the kinds of things that you could count on Golden Age MGM for, such as art design and cinematography, looks like they were skimped on here. I will say that for what is largely a drawing room drama it does not drag and kept my attention. Still, there is probably a 50/50 chance you would find this worth your while unless you are a Garbo completist.

Had the romance in Romance been between Greta Garbo and Lewis Stone, it would have been a great movie. Unfortunately, Greta falls in love with Gavin Gordon and leaves her boyfriend Lew out in the cold. It makes absolutely no sense, and the entire running time, I kept hoping she'd come to her senses. She has a boyfriend who's exceedingly wealthy, well-dressed, well-groomed, accepting of her past, generous, unselfish to a fault, sweet, even-tempered, and supportive of her career-and she tosses him aside for a poor minister with unkempt hair and no fashion sense, who's emotional, judgmental, critical, dishonest, pushy, and not self-aware. What's wrong with her? "I'll hear you singing in my heart forever," Lew says as he kisses her palm. How can she let him walk out the door?

At the start of the movie, when Greta and Gavin first sense the sparks flying between them, Lew tries to bow out graciously. He sits Greta down, tells her he's feeling his age, and rattles off a list of imaginary ailments. He encourages her to leave him and pursue a relationship with Gavin, but cautions her not to reveal her colored past, since it's obvious Gavin won't accept her as she is. If it's so obvious he won't love her anymore if he learns she's had a string of rich sugar daddies in her past, why is it good for either of them to enter into a relationship based on deceit? Greta should stay with Lew, who knows, accepts, and loves her. If you agree, don't rent this one. Stick with The Painted Veil if you're a Greta fan, or The Office Wife if you like Lew in the romantic role.

Romance (1930)

** (out of 4)

An Italian opera diva (Greta Garbo) with a troubled past falls in love with a priest (Gavin Gordon). Like many early sound films this one here talks and talks and talks but sadly most of the talk isn't very interesting. Garbo is very good in her role, although it's a bit hard to believe her as an opera star. Gordon on the other hand is fairly weak and it's a shame Garbo couldn't get Gary Cooper like she wanted. The ending is so incredibly bad you can't help but laughs but hey, there's Garbo.

Inspiration (1931)

** 1/2 (out of 4)

A beautiful model (Greta Garbo) begins dating a good, shy guy (Robert Montgomery) but things hit hard times when he learns of her rather sluttish past. Once again Garbo is quite good and Montgomery is strong but the story lets both of them down. Things start off quite nice and move well but at the 45-minute mark things just fall apart because the story keeps repeating itself. He forgives her, learns something else, hates her, forgives her, learns something else and hates her again. A nice ending almost saves the film but not quite.

ROMANCE (Metro-Goldwyn-Mayer, 1930), directed by Clarence Brown, features Greta Garbo with her large size name above the title in what became her second talkie following her enormous success as the title character of "Anna Christie" (1930). Despite the Swedish born actress apparently miscast playing an Italian opera singer, it did earn her an Academy Award nomination as Best Actress coupled with "Anna Christie." Most remembered for top MGM leading men as her co-stars ranging from John Gilbert to Conrad Nagel during the silent era, Garbo's leading support of Gavin Gordon and Elliott Nugent are hardly notable screen personalities compared to soon to be popular names as Robert Montgomery or Clark Gable. There is, however, the familiar screen presence of Lewis Stone, both long time resident of MGM and Garbo's frequent co-star adding considerable interest in a simple love story scripted by Bess Meredyth and Edwin Justus Mayer taken from the play by Edward Sheldon.

The 76 minute narrative (never revealing whether the locale is European or American) begins on New Year's Eve where people gather together on the streets cheering and blowing their horns to celebrate the start of a new year. Harry (Elliott Nugent) enters the home of Bishop Thomas Armstrong (Gavin Gordon), his aging grandfather, after being called to visit with him. Armstrong, having already learned from appalled family members of Harry's intentions to marry Lucille who happens to be a actress. Feeling his grandfather will try to talk him out of it, and telling him he's too old to remember how it was to be young and in love, Tom, takes out a "box of romance" consisting of a handkerchief and a rose once belonging to a woman he loved and lost fifty years ago. He then shares his memories to what took place when he was a 28-year-old rector of Saint Giles' Church. It's New Year's Eve (the year is never given) and Armstrong comes to visit with Susan (Florence Lake), whom he plans to marry. Her wealthy uncle, Cornelius Van Tyle (Lewis Stone), host of the dinner function, awaits for Madame Rita Cavallini, a famous Italian opera singer, the guest of honor, to arrive. After hearing gossip from one of the guests of Cavallini being the mistress of his friend, Cornelius, Tom later meets the guest of honor (Greta Garbo) only to become attracted to her. After months together, Armstrong becomes embittered to learn the truth about Rita's previous affairs with other men, including the 51-year-old Cornelius. Though he continues seeing her, something gets in the way with their romance. After completing his story, young Harry must come to a decision on what he intends to do with his own life.

Although Garbo is the major star attraction here, much of it appears to be a promotional build-up for newcomer, Gavin Gordon, whose the main focus from start to finish. Gordon, who does make a convincing clergyman, singing nicely to the tune of "Annie Laurie," never assumed leading roles in major motion pictures again. He did have a long career, but mainly in secondary, or to much lesser degree, uncredited bit parts. His compassionate love scene with Rita (Garbo) fails to recapture those similar moments between Garbo and John Gilbert in Clarence Brown's earlier direction of FLESH AND THE DEVIL (1927). Regardless of early sound techniques where slow pacing and lack of underscoring take desperate measures, ROMANCE is actually an interesting story that benefits in sections by chorus vocals filling in for mood score. The only downside is having to accept the Swedish accented, heavy speaking Garbo doing brief operatic interludes in high pitch singing manner. Obviously dubbed, these operatic sequences are presented briefly, either heard off screen or captured on stage in extreme long camera range. Garbo's character, costumed in period clothes and stylish curly hair, could very well be the classic character she was to enact years later in her 1936 masterpiece, CAMILLE. Elliott Nugent, looking very much like a youthful Eddie Bracken (comedic actor of the 1940s), has no scenes whatsoever with Garbo. Though his range as a movie actor was brief, he found better success both as actor and playwright in later years for the Broadway stage.

Displayed to home video around 1998, ROMANCE also earned its cable television rediscovery when initially broadcast on Turner Network Television (1988-92) and later on Turner Classic Movies (1994-present). ROMANCE is no cinematic masterpiece, but an early example of the studio broadening Garbo's acting range, even to a point of an Italian opera singer. Here's to Garbo. Here's to ROMANCE. (***)

The script is not so good, and the religious angle is something that the Founding Fathers warned early Americans against in 1776. Yet, here we have Garbo's potential lover "saving souls" as a ruse for loving her. A bad plot that must have arisen from the religious turpitude the writers experienced.

Garbo was overly dramatic and gradually learned to tone this down (somewhat).

Romance is a very simple movie with nearly no plot twists, yet it is the basic romance from which we derive all our contemporary romances with. Forbidden love tries to take a role in this film, but does not exactly succeed. The cinematography is simply "mahvelous" for 1930, and Greta Garbo is stunning! She is the lady of the 1930s. The male leads are not as strong as Garbo, but what male lead ever will? The dialogue at times is weak, but for the most part fairly enjoyable. A great example of early romances! A must-see!

In 1930, Greta Garbo and director Clarence Brown collaborated on two films, "Anna Christie," Garbo's sound debut, and "Romance." Garbo was nominated as Best Actress at the 1929-30 Academy Awards for both films, as was Clarence Brown for Best Director. This was back in the day when Oscar nominations could cite a body of work over a given year rather than achievement in any one specific film. Though "Anna Christie" was the bigger sensation, because it was the film that introduced audiences to Garbo's husky baritone, I enjoyed "Romance" more.

Garbo seemed a bit unsure of herself in "Anna Christie," like she wasn't quite sure how to let both her voice and body act at the same time. But that unsureness is gone in "Romance," and she gives a performance that feels perfectly at home in sound. "Romance" also feels more sophisticated than the other film, a bit ironic since "Anna Christie" was based on a play by legendary playwright Eugene O'Neill. But "Anna Christie" is full of silent film histrionics while "Romance" is more subdued and mature. Garbo plays a world weary opera singer who becomes the infatuation of a young clergyman. He begins to struggle when his moral ideals collide with details about Garbo's impure past. The film's tone -- which is to shrug at the naivete of religious idealism and to basically say that the clergyman's moral standards are the result of inexperience of how the world actually works -- stamps it as undeniably pre-code. It's one of countless examples of movies that a modern day audience would dismiss as too creaky and old fashioned but which are actually more modern in their sensibilities than films from decades later.

Grade: B+

Greta Garbo was always mesmerising in looks and in acting ability which leaves me in a dazzle every time when seeing any of her films. Not every film was great, a few like 'Romance' not even good, but she always transcended her material and made it better than deserved. Lewis Stone, in one of seven collaborations with Garbo, was always interesting to watch and with the right material Clarence Brown was a sympathetic director without being one of the greats in my mind.

'Romance' was Garbo's second talkie and while she comes off well, as does Stone, she and he were well above what they are given here (though they do the best they can with it). One of her weaker early talkies and a lesser early effort. Same goes for Stone. 'Romance' doesn't see Brown on form either. It was nominated for two Oscars/Academy Awards, Best Actress and Best Director, both puzzling in my humble opinion and am saying this with a heavy heart.

Both Garbo and Stone, as said, are not bad at all. Garbo's presence is magical and she gives a sincere performance. Stone is distinguished and has the film's most interesting character. They have nice chemistry which is far more interesting and makes much more sense than that between Garbo and Gavin Gordon.

Production values are high in quality and not too primitive, beautifully photographed and the interiors and costumes don't look too stage-bound. William Axt's music score doesn't get over-bearing and is quite lush.

However, the script is far too talky, which makes it feel very stagy and the talk itself is not engaging or natural in the least. While the story does nothing with a premise that was a stretch to begin with, it badly drags frequently, is incredibly flimsy (not enough content and the content never comes to life) and some of it is even more of a stretch than the premise itself. Brown's direction is undistinguished at best, he has been far more engaging and accomodating in other films of his.

Didn't believe in the chemistry between Garbo and Gordon for a second, there is no spark at all between them, no charm and the not explored enough relationship between Garbo and Stone rings true far more. It doesn't help that Gordon is incredibly weak in his role, the character is a dull one and Gordon makes him even more dreary and personality-void. The ending is hokey and felt last minute throw in. Nothing memorable about the rest of the cast.

On the whole, watchable for curiosity and completest sake but look elsewhere if you want Garbo especially done justice. 5/10

Greta Garbo is Rita, the opera diva. Lewis Stone is Cornelius, who thinks he's in love with Rita. but so are so many others. SO much talking (talkies had just come into being.) it just goes on and on. Many similarities to Grand Hotel... Garbo is the diva, who finds love, but this one moves a lot slower than grand hotel. a very typical, morose, sad, Garbo. Directed by Clarence Brown, who was a force, and also directed the huge 1944 National Velvet. Brown and Garbo were both nominated for oscars. Stone and Garbo were also both in Grand Hotel, the later MGM hit. Good stuff, but watch Grand Hotel instead... so much better. Hotel has Joan Crawford and a bunch of Barrymores.

This film is famous for being the worst Garbo film of all time. Why? Because she throws over a dapper Lewis Stone who really cares about her for a knucklehead preacher who doesn't have a brain in his head. No woman is that dumb. Garbo has to play the hand she has been dealt in this role and she tries her best to convince us that the preacher is THE ONE. I am so sorry, but he couldn't pick up a penny in a penny arcade with his persona. Stone runs circles around him as both an actor and a character. What was she thinking? My girlfriend (who almost never agrees with me on soaps, agreed with me 100% on this one. Stay away unless a Garbo fanatic.

I've never understood why some people are gaga over Greta Garbo. I don't find her the least bit attractive and I'm not impressed with her acting abilities. In this dreadful adaptation of a Broadway play she portrays an Italian opera singer who is scorned by polite society because she's an adulteress (gasp!). Perhaps that gave the film some shock value in 1930 but can you imagine making that the crux of your story today? Garbo delivers her lines with an at times indecipherable accent and in an overdramatic style. I find the sound of her voice really annoying. Lewis Stone once again plays an older man involved with a younger woman (Garbo) and his performance is probably the best thing the film has going for it. Gavin Gordon plays the puritanical clergyman who falls in love with Garbo. If you see the film you'll understand why the rest of his career consisted of secondary roles and bit parts. Perhaps only of interest to Garbo fanatics.

Elliottt Nugent wants to marry an actress and mama is very disapproving. She sends him to speak with her father, Bishop Gavin Gordon. When Nugent tells him he's too old to remember being young and in love, Gordon tells him of when he was 28 and in love with Greta Garbo, who was an opera singer (Gasp!).

Now that they had her talking, MGM wasted no time putting Garbo in this sentimental movie in which she's the kept woman of Lewis Stone with her best American director, Clarence Brown, and her preferred cinematographer, William H. Daniels. Miss Garbo's character is not as scorchin' as she had been in the silent era, but she is particularly lovely, especially in the final shot. It should be pre-code piffle, a story about a bad woman who done right in the end, but somehow it doesn't affect me that way. "It's Garbo" is the only explanation.