Anna Christie

After Garbo's introduction to sound in Clarence Brown's "Anna Christie", Jacques Feyder made a German version of the movie where all of the cast, except for Garbo, were different. While the American version is still more available in the USA and most of the American viewers have primarily seen this version, the Germna "Anna Christie" is more likely to be viewed in Europe. As I have seen both films, I feel the right to compare the two closely-knit productions. Is Jacques Feyder's film different? Is it better than Clarence Brown's?

In this analysis, I would like to focus first on what the both movies have in common. They have identical sets, very similar scripts and the same chronologically presented scenes. Here, you also find the story of the young woman who comes back to her father after years of absence and is trying to start a new life. Here, you also have the humorous, though a bit shorter, sequence in the amusement park. However, when emphasizing Garbo herself, I address the first difference. She does not appear to cause such a curiosity while talking. The viewer concentrates more on her acting than on the way she speaks, which occurred, most probably, to 1931 viewers. Garbo was very good in American film and she is also very good here. Yet, to me, she seems even more genuine in the German version. It is noticeable that Garbo does not focus on the way she says the words that much (the effort that was artificially created by the sensation: GARBO TALKS!). Her German is not very well pronounced; yet no one cares: everything is perfectly understood. Therefore, I can easily say the same I did in my American version comment: Skaal Greta Garbo!

Yet, the film differs in one very important issue: the rest of the cast. Here comes the question: which portrayal seems more captivating, which one is better for sure? The differences are filled with varieties. Salka Viertel (or Salka Steuerman), Garbo's lifelong friend, does not do the equally great job as Marie Dressler in the role of Marthy Owens. She is not bad, she is different, sometimes overacts (from today's perspective) but is no longer that genuine in the role as Marie Dressler who still amuses us and whose moments have absolutely stood a test of time. Some people even claim that Dressler was better than Garbo in the film and that opinion, though appears to be questionable of course, carries some truth. Theo Shall is more sympathetic as Matt than Charles Bickford but when applied to him, this is not the matter of performance so much as the mater of looks.

Who shines in the German "Anna Christie", who is really worth greatest attention is Hans Junkermann in the role of Chris Christopherson, Anna's father. George F. Marion vs Hans Junkermann is like a day vs night difference. Junkermann portrays a real alcohol addict, a man with hopes, with fears, who overdoes the care of his daughter. The scene of Anna's first meeting with her father is truly magnificent, the opening moment of Chris' conversation with Marthy is memorable particularly thanks to his facial expressions and a flawless performance. Junkermann is the Chris whom you like, who you sometimes laugh at, whom you sympathize with, who leaves a picture of a calm alcoholic sailor in your mind. Great!

If you have seen the American "Anna Christie" and have a chance to get the German version, I would highly recommend to you this movie because it's a slightly different look at the story, a nice and accurate way to compare, a fine enrichment to Clarence Brown's movie and, foremost, a wonderful chance to discover a marvel of performance: Hans Junkermann's. Skaal or Prost, Hans Junkermann!

I have seen this film a few times on TCM, but it is now part of the Garbo signature DVD collection and is double-billed with the English version and it's an interesting option to view them back to back.

The biggest advantage that the English language version has, is the wonderful Marie Dressler as Martha. Salka Viertel just doesn't have the warmth that makes the characterization so effective. Martha has more poignancy in English because of Dressler. The rest of the German actors seems actually better cast than the other film. Theo Shall makes a much better romantic choice for Garbo than Charles Bickford.

Surprisingly-considering her coterie of German friends in Hollywood-Garbo herself is also verbally more expressive in the English version than in German. Her emphasis on German syllables is off, but she is perfectly understandable nonetheless. This euro-audience oriented film also makes an odd choice in over-stating her first costume and telegraphing the character's problem far less subtly than the American version.

In general, it may not be the superior version, after all. But it is a really good one.

a while back, I saw the English language version of "Anna Christie" and mildly enjoyed it. While not bowled over it, it was better than the earlier Blanche Sweet version. And, when I found out that there was yet another version--ALSO starring Greta Garbo, I was intrigued but had a hard time finding it. Fortunately, Turner Classic Movies recently showed this German language version and I found it was a bit better than the English language one.

First, some background about the German language version. I don't say "German version" because this one was actually made in the USA by MGM. Why would MGM do this--using the same leading lady?! Well, it seems that once the studios switched to sound, they missed all the money they'd made in foreign sales and tried something very radical. Instead of using subtitles or re-dubbing the film, MGM actually made multiple versions of its most popular stars' films. Aside from this Garbo version, MGM made many Laurel Hardy in Italian, Spanish, French and German! And, like the Garbo film, these other versions were quite different from the American versions--with mostly foreign language-speaking supporting actors filling in for the normal supporting actors! So why did I like it more than Garbo's other "Anna Christie"? Well, the story was close but I noticed two main differences. First, because German standards and morality were different from that in the States, the German version is much more explicit in saying that Anna had worked in a brothel, though this word and the word 'prostitute' were still not used. In the regular American version, this was much, much more vague--and made the story seem a bit silly. The German version explains a lot and makes more sense. Second, while I adore the films of Marie Dressler, she was NOT a positive addition to the English language version, as she played the part a bit broader--more for laughs. And, considering how serious the story is, this seemed out of place.

It has long been rumored that MGM was not too unhappy when Greta Garbo retired in 1941. She was a truly international star and a lot of her box office appeal was in the European market which after 12/7/41 was closed off for the foreseeable future to American films. Even the past two years hadn't been easy for Garbo's or anyone else's films to be seen there.

But early in the sound era it was the tradition of several studios to make foreign language versions of their films. Garbo's sound debut in Anna Christie was accompanied by a German language version with an entirely different cast of players. All were imported from Europe. Playing Charles Bickford's part is Theo Shall and playing George Marion's role is Hans Junkermann. I noted that both had substantial careers in the German cinema. It must have been at some expense for MGM to import these people to America, but MGM had a lot invested in Garbo and they wanted her career in sound to last.

Salka Viertel better known as a writer played Marie Dressler's role and she stayed in America. Her credit in Anna Christie is under her maiden name of Salka Steuerman and she was of left wing persuasion, enough to be blacklisted. But that was way in the future.

These folks were quite up to their English language counterparts. Garbo of course is eternal and so is Eugene O'Neill in the themes he writes about. Watching the German language version is further proof of the care that MGM took with Garbo's career.

She was in fact one of a kind.

Anna Christie (1931)

On its own terms, this version of Garbo's Anna Christie, shot a year later in German with a whole new cast, is just toned down and refined enough to work better than the English version (both are American MGM productions). Garbo is if anything more commanding (or more beautiful as a screen presence) and her acting is more restrained. And she seems frankly more at ease, probably for a lot of reasons, but we can speculate that she was no longer making her first talking picture, so had adjusted quickly.

Without comparing always one film to the other, this Anna Christie is still the same O'Neill play with too many words. His themes of a woman wanting love without losing her independence are here, but it comes off as oddly old fashioned anyway. There are some scenes missing--the Coney Island section is shortened and isn't as good--but overall it's a direct echo of the first film. The director, Jacques Feyder (Belgian-French), is simply redoing what was done already, which I assume must be a frustrating experience.

It's interesting to see both films in succession because they are blocked out exactly the same way (not only the sets, but the shots, are all the same). There is an occasional scene lifted from the earlier film--some of the storm, understandably, but also a brief scene where Marie Dressler (from the English language version) is walking with her friend on a plank over a canal, drunk as can be. But they are just silhouettes, and when the next scene shows their faces, we see the German actors taking their parts. There is no replacing Dressler, for sure, but for me the German father is more believable and honest in his performance.

Clearly the themes--immigration, wayward fathers, daughters turning to prostitution, and the troubles of finding true love--have strong currents back then, especially with European threads. Garbo, appropriately, plays a Swedish young woman. A pleasure.