The Mysterious Lady

A young Austrian officer doesn't realize how profoundly THE MYSTERIOUS LADY he meets at the Opera will change his life.

Greta Garbo's entrancing beauty is the main attraction in this Silent drama from MGM. Her face alone would have assured her a place in film history. But this film, which deals with World War One espionage, has other things to offer, including a good performance from Conrad Nagel as Garbo's co-star. The story is a wee bit ludicrous, but MGM graced the film with excellent production values as befits a movie starring their enormously popular star. (The idyllic afternoon sequence shared between the two lovers is especially commendable.) The plot does have some fair degree of excitement and should not disappoint the typical viewer.

Ably filling smaller roles are Gustav von Seyffertitz as the evil Russian spymaster and Edward Connelly as the head of the Austrian Secret Service, who also happens to be Nagel's uncle. Movie mavens will recognize an unbilled big Russ Powell as a rain-drenched carriage driver.

This silent film has been given a fine orchestral background score by Vivek Maddala.

Fred Niblo is undoubtedly one of the most under-rated film-makers ever. His visual stylisations, here helped by the incredible photography of William Daniels, can make a fairly routine spy yarn into a beautiful work of art. Of course it helps when Greta Garbo is on your canvas. This is an astonishing film that, had it been given a more believable ending (tragic rather than happy), may well be considered a masterpiece today.

Garbo's beauty and superb acting abilities make the material compulsive. And Conrad Nagel matches her perfectly. Their first love scene is intoxicating in its beauty, and heart-stopping in its passion. It is one of the great love scenes of all time. And in the nail-biting climax there is a moment so grotesquely powerful that you will never forget it. This is a film to savour and love - it represents silent film at its very best. Yes the plot is slight, but what is conveyed beyond that plot is more than profound. And the excellent music score on the MGM video enhances this profundity. This film is beauty itself.

This is to my mind the most brilliant of all of Garbo's silent films, and I never fully understood the attitude of most critics who simply dismiss it on the account of the Divine Woman's own lack of care for this particular entry. True, she did not like just doing this film, and true, Mauritz Stiller was actually dying while she was shooting this, therefore, we can understand that she thought poorly of it; yet this was shot at the peak of silent film-making, in 1928, and never before had Fred Niblo been so good, never had his full command of the motion picture been so obvious. All through the film, the direction is superb, subdued and subtle, while the gorgeous settings, MGM's trademark, are lit and photographed at their best. Niblo makes the best of his composition skills, with or without Garbo in the shots, and the way he deals with the extras, putting the stars in the distance, swallowed by the crowd, is clearly an innovation for 1928; his use of a few, but decisive shots based on a moving camera proves that, like the European imports(Murnau, Leni, Fejos, Christensen) or like his fellow Americans (Ford, Borzage,Wellman), he was aware of the German experiments. Of course, the spy story is not the source of any intellect-expanding masterpiece, but, hey, this is a stylish and entertaining film that foreshadows some of Hitchcpock's best British films of the decade to come. And Niblo even handles suspense in a remarkable way in the last five minutes. The edition id remarkable, the print being a bit worn but still clear; and an emasculating restoration has been avoided, retaining thus the crystal-clear, crisp quality of William Daniel's photography. And to conclude, a question about Garbo: who else on earth could wear these dresses and get away with it?

On this evidence, Garbo's silent work is her most accomplished. She struggles in talking roles; her dour, flat acting voice meant she had to be characterised as emotionless - hence the iceberg persona, and she was probably glum because she knew she was struggling. Here we can see her real eloquence and the confidence behind it that comes of knowing she is shimmering and wonderful. In contrast to many other silent stars who exaggerated every gesture, Garbo shows intelligence and discrimination in her movements, which involves a lot of posturing but is not unnatural. She uses her natural grace for expression, particularly her arms - she really is lithe and expressive - and she must have missed all that later in her career.

Fred Niblo's inventive direction here also impresses; he never lets a scene go dry and the narrative method is almost as sophisticated as a talkie as he brings out a good deal of subtle but telling body language. We watch characters speak and can pretty much divine what they're saying, which reduces the need for irksome intertitles.

The first part of the film, set in Vienna, is a romantic encounter, deceptively straightforward. But there is intrigue in store, and in the latter half of the film, set in Warsaw, tension consistently mounts as every scene is built around suspense - don't think that Hitchcock invented this stuff. Garbo and her leading man, Conrad Nagel, seem connected to each other on rubber bands such is the dramatic bond between them.

At the climax is a superb trick that will make you exclaim out loud. This could be the best film I've seen this year.

If you care for Garbo's sound movies go back and see what made her such a sensational international star. This one is a delight. She is most seductive with the grace and glide of an animal. One of my favorite of all of her films. You can easily see why people became Garbomanics. There was nothing like her on the screen...before or since.