Wild Orchids

On a trip to Java, Garbo falls for a charming native prince (Asther), after being neglected by businessman husband (Stone). Routine romantic triangle has its weak spots, but Garbo's elegance can smooth them out. A silent with music score and sound effects.

Although there is a fine background score and many sound effects throughout, neither GRETA GARBO, LEWIS STONE nor NILS ASTHER speak a word of dialog in this MGM film directed by Sidney Franklin during the dawn of sound films.

With the use of the usual title cards for the spoken words and some excellent emoting from the three stars, the viewer becomes absorbed in what is essentially a handsomely produced love triangle set aboard a cruise ship heading for Java. Even as early as 1929, MGM's glossy production values are evident.

Garbo is the restless wife of the middle-aged Lewis Stone when she first sets eyes on princely Nils Esther aboard ship, fascinated as she watches him brutally whip a slave. When fascination turns to disgust, she rebuffs his advances when he has an opportunity in Java to be alone with her while her husband goes on a hunting trip. Predictably, she is soon under his spell and that's when the plot begins to turn.

Stone is adept at portraying the husband's emotions when he believes his wife unfaithful and Nils Asther is so perfectly cast that I wish he'd made more American films in the future rather than return to his native Sweden. As for Garbo, she has never looked more beautiful nor more youthful before her features matured.

Although the plot is a simple one, there's enough interest in the trio to assure attention until the final shot.

This film seems a lot like a warm-up for The Painted Veil, another Garbo ego picture which would be released in 1934. The story is similar, the locale is in Asia, she has a much older, boring husband, a new, exciting lover...

I could go on and on about how similar they are.

It's not technically a silent movie, rather a sound movie without dialogue, and perhaps that's its only redeeming quality. The sets are nice, but the intertitles do get a little corny (and aren't overly inventive).

Garbo would go onto better things, but for now she was still making silent pictures in an era where even Gloria Swanson had transferred to sound.

Greta Garbo is quite pretty in this film, and she gets to wear a lot of nice costumes, but she isn't given much to do other than that.

I was rooting for the husband more than I was rooting for the lover, so the Hollywood happy ending was welcome. The tiger hunt was probably the best part of the film.

I preferred The Painted Veil, not because I'm a silent movie-phobe (because I am not), but because her leads are more colorful and she's given more to do than be a window decoration.

Superb production values and subtle, clever performances by the three major stars in this film (Greta, Nils, and Lewis) make this silent film absolutely fascinating - and fun - to watch. From the moment Greta's character meets Nils' character in the hallway of the cruise ship, as he viciously strikes his servant, while she appears shocked and disgusted, yet intrigued, the stage is set for a great tug of war of emotions and a battle of wills between the major characters, which keeps the audience mesmerized throughout.

If you have only seen Greta in her talkie films from the 1930's then you really have never understood why she became so popular in the first place, or why she was considered a great beauty. Her mystery and allure on film began in the silent era of the 1920's. By the time she appeared in her talkie films her face was more set, more mature, more of a woman's face. In the 1920's she still looked like a young girl, and her beauty and refreshing elegance were more striking.

Lewis Stone has the benefit here of receiving some of the best and funniest lines in the picture. As the Prince, played by Nils, shows Lewis and Greta to their bedroom in his Javanese palace, where they will stay as guests, a king size bed is revealed. Lewis's eyes open wide and he whispers to Greta in shock, "Good Lord, a double bed!" This was something new for a married couple on screen in 1929! I burst out laughing.

Great film, with a wonderful ending. Don't miss it.

During nights scented with the perfume of WILD ORCHIDS, a Javanese prince woos the beautiful wife of a visiting American tycoon.

Although really little more than a story about a romantic triangle, the excellent acting & superb presentation make this a very enjoyable film.

Greta Garbo, exquisite & serene, shows once again that she was more than just a perfectly sculpted face. She was also a very disciplined actress who used her tightly controlled body to convey emotional depths and subtle nuances. Even in what for her was a rather minor film, she is a marvel to watch, beyond superlatives, exhausting all adjectives. She is simply Garbo and that is enough.

For sheer exoticism, few Hollywood male stars of the period could compete with Garbo. Nils Asther was one of these. Although Scandinavian, something about the bone structure of his face made him ideal for Asian roles. He had already enjoyed much success as a matinee idol by the time WILD ORCHIDS was filmed. A fine actor, he seems loath to accede all of the viewers' attention to Garbo. (Swedes both, they must have had some interesting private conversations on the set.) Asther makes his characterization of the Prince a compelling blend of charm & cowardice - a creature quite capable of seducing his sultry costar into marital infidelity. The onset of talkies would prove difficult for Asther, his heavy accent making it hard for MGM to cast him effectively and he would eventually return to Sweden. However, when given the right role, as in Frank Capra's THE BITTER TEA OF GENERAL YEN (1933), Asther was able to exhibit the natural talent he was seldom called upon to use.

Lewis Stone is the solid fulcrum over which his two extravagant costars teeter. While they exude passion & sensuality, he revels in the simpler virtues - duty, dignity, and, when he finally catches on to the Prince's depredations, righteous wrath. He manages to infuse all this with a quiet sense of befuddled humor, which only makes his character all the more human.

The film's first rate production values make the heat & hedonism of Java come alive for the viewer. The Javanese dancing is of particular interest. The use of sound effects in this late silent film is of some significance - they perfectly illustrate where some film purists thought the cinema should remain: with music and effects, but definitely no dialogue.