Love

On the heels of "Flesh and the Devil," MGM naturally teamed up the two highly-publicized romantics once again in an adaptation of Leo Tolstoy's 1877 novel 'Anna Karenina' with the release of November 1927's "Love." Greta Garbo is married to an old rich sod. When she meets Vronsky (John Gilbert), a captain in the Russian Army, her Anna slowly warms up to and eventually embraces his love. Instead of a duel when her husband finds out about their relationship, he shuts the door on her as well as forbids her to see their son ever again.

"Love," originally with the working title 'Heat' to allow MGM's publicity department to run wild with romantic possibilities, was changed when an adman came out with the advertisement stating "Greta Garbo and John Gilbert in LOVE." There were two alternate endings filmed, one with a European sad conclusion while the American had a more chipper fade out.

Garbo and Gilbert appeared in two additional movies together. "Love," however, was Gilbert's rare opportunity to direct a few scenes in his movie. First Dimitri Buchowetzki, then Edmund Goulding directed a majority of scenes for MGM. Producer Irving Thalberg wasn't happy seeing the roughly-edited movie. Through Garbo's insistence, Thalberg turned to Gilbert and the producer's favorite cameraman, Willian Daniels, to reshoot some of the scenes that he felt needed replacing. Once the Gilbert/Daniels team finished, the re-edited sequences pleased Thalberg and was released to great fanfare, solidifying Garbo's stardom.

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.

Did you know Greta Garbo played Anna Karenina twice? I didn't know, but once I found out, I rented the silent version at once. It's not the greatest story out there, but it is a classic, and for some reason, I watch every version I can get my hands on.

This one has a different title, and for good reason: it's quite different. It's contemporary-and by that, of course, I mean it takes place in 1927-and the tragic tone is put on hold for the purpose of entertainment. Anna Karenina wears breezy dresses and a cloche hat while falling in love with Count Vronsky, a military hero. She's still married to an older, respectable man she doesn't love, and she still has a little boy she loves more than anything. Without spoiling anything, I'll just tell you to rent this version if you haven't been happy with the other versions you've seen. It's pretty different, and it will please a lot of people. I enjoyed it because it served as a perfect example of why silent movies were so popular. This movie doesn't feel like it's missing anything. It's a simple story of two people falling in love, and with only a few title cards, the entire story can be unfolded in silence. Dialogue simply isn't needed, which was why many audience members didn't see the need for talkies when they first came out. Many people nowadays don't know this, but it took a couple of years of gradually fading out the silent movies for people to completely abandon them and flock to the talkies.

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.

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.