La tentatrice

At 117 minutes this is way too long and ought to have been cut by half an hour. It was Garbo's second MGM film, and like the first, was derived from an Ibanez novel. Ibanez, as a source, proved beneficial for Valentino (THE FOUR HORSEMEN OF THE APPOCALYPSE), but not for Garbo. For most of the film, she just stands around and does what she is good at, enticing men to make fools of themselves over her - and wouldn't you know it, they then blame her! Her weakling husband sells her to a banker, who ruins himself for her and commits suicide. The husband is shot by a bandit. Two friends of the main character vie for her and one kills the other. Our hero keeps vascillating, he loves her but hates her for ruining men's lives.

She, like most women of her type, lived as best they could - in a man's world, a plaything, she survived as a courtesan, securing jewelry for her support. Yes, she is weak, but she is not to blame.

The second half of the film is set in the Argentine where our hero has gone to build a dam, which the villain blows up, but which our hero rebuilds.

Garbo does have one stunning outfit - a slinky black thing, edged in white ermine with an orchid pinned over her right breast.

Garbo DOES get to act but only in the last sequence. Back in Paris, a successful architect, Antonio Moreno encounters the fallen Garbo, who drunkenly does not remember him -"I meet so many men." It is of course a lie, but one to make him forget her. Mistaking a fellow drunk for Christ, she gives him a ruby and wanders off into the sunset. Garbo is quite fine in this sequence but it is the only thing of value in the film, which is turgidly and boringly directed by her mentor, Mauritz Stiller (who was fired from the project part way through) and Fred Niblo (who completed it and got sole credit).

The cinematography contains two interesting silhouette shots, an amusing "under the table" sequence at a dinner party where men and women's legs and feet engage in some risque flirting - and the ubiquitous MGM long banquet table tracking shot (we'll see it again in ANNA KARENINA, not to mention a number of other MGM films.)

This one plays on Turner Classic Movies occasionally and is worth catching for Garbo alone. It has never been released commercially on video (one of only three Garbo silents which have not - we wonder why).

"The Temptress" has a lot going for it, but it begins so sloooowly, and contains far too many intertitles.

I couldn't help thinking how much better it could have been with, maybe, Ernst Lubitsch or D.W. Griffith directing. This is supposedly a MOTION PICTURE, not a novel.

Still the directors gave us some wonderful shots and angles.

One particular sequence is told with a shadow! Superb.

And some running shots, with horses and a wagon, are worthy of the best of John Ford.

Then one particular action scene, a duel, is as exciting, and surprisingly graphic, especially for 1926, as one could hope for.

Still, overall, the story is somewhat dull and it's told often dully.

If it weren't for the chance to watch movie history, including early Garbo, and the action scenes, and the often interesting direction and photography, it might not be worth watching.

But it is, especially the new version at Turner Classic Movies, with a new score by young Michael Picton. Maestro Picton might well turn out to be a new Elmer Bernstein, who has -- it pains me to say -- passed on, but who was one of the greatest composers of the last 100 years.

I've always thought, when you see scenes of masquerade balls, how silly it is that those little carnival masks that only cover the space round the eyes are implied to genuinely disguise the wearer, and that whole plot turns have even been based on the premise. Of course, it's a different case when the scene is in The Temptress and the wearer is Greta Garbo.

The Temptress, Garbo's first top-billed Hollywood role, opens at a masquerade. A big deal is made of the moment in which she unmasks before Antonio Moreno. Now, anyone who knows Garbo will have recognised her already, but it is only when that small piece of felt is removed that we are stunned by the full force of her astonishing beauty. This tiny instant alone guaranteed her stardom.

But Garbo was not just a pretty face. Far from it; she was also one of the finest actresses of her generation, and one of the first truly great naturalistic performers of the silent era. For someone who was famed for her introverted and solitary nature offscreen, Garbo certainly knows how to kiss with authentic-looking passion. Throughout, it is not simply her looks which captivate us, it is her commanding screen presence. Her role in The Temptress is a perfect demonstration of her abilities, simply because she is a fairly passive player in most scenes, often in the background while others talk (or fight) over her. And yet, with this limited scope she conveys so much realism and intensity.

The Temptress was directed by Fred Niblo, a veteran filmmaker who was even older than DW Griffith. Despite his age, Niblo's work never looked old-fashioned, and The Temptress displays his competent handling of the more fluid style of the late-silent period. He has a great sense of atmosphere and rhythm, and gives each segment of the picture a consistent feel. The opening scenes in Paris are surreal and dreamlike, with lots of slow dissolves (in those days an effect done in-camera, so definitely the work of Niblo and not the post-production team) and soft-focus. By carefully controlling background movement, he makes the shots by turns nightmarish and heavenly. The later scenes in the Argentine are characterised by stark realism, with a good standard of naturalism from the extras, and lots of neat little shots that add nothing to the plot but plenty to the tone, such as the dog snatching a corncob out of a boy's hands.

Among Niblo's real feats of genius are the ways he introduces characters. Garbo gets no less than three startling entrances. First, in the aforementioned unmasking scene, Garbo removes her mask in an over-the-shoulder shot, so we see Moreno's reaction before we get to see her face for ourselves. Later, when Moreno finds out she is actually his friend's wife, she appears in the distance, so we can't be certain it's her. Then, as realisation dawns, she is suddenly right before us in close-up. And later still, when she arrives in Argentina, our first glimpse is of her feet descending from the carriage – again a tentative, teasing entrance – before slowly panning up to reveal her face. Another character treated to a neat introduction is the bandit Manos Duras, played by Roy D'Arcy, who appears first as a shadow on the door.

This mention of Roy D'Arcy brings me onto my next point – it's not all about the Garbo (or the Niblo). There are some pretty impressive performances all round. D'Arcy himself is one of the few slightly hammy actors in The Temptress, but this is acceptable because we can believe that a character like Manos Duras would deliberately project this exaggerated persona. He gives the very unsettling impression of a man who tends to win, not because he is particularly powerful but because he has no fear, and is very much aware that he inspires fear in others. Antonio Moreno is one of many mediocre lead men of the silent era who went on to become an unheralded supporting player in the sound era. This is among the best of his lead performances, although for a great example of his later work check him out as the old Mexican in The Searchers. Honourable mentions also go to Robert Anderson, who plays Pirovani with great warmth, and Lionel Barrymore, who for once plays it with some subtlety.

The only real trouble with The Temptress is its story, being a misogynist melodrama based on a Vincente Blasco Ibanez novel. Ibanez seems to have been a popular plot source in the 1920s, especially at Metro (he was also the original author of Four Horsemen of the Apocalypse, Blood and Sand, Mare Nostrum and Torrent), but his appeal is somewhat hard to fathom these days. And from here on, Garbo ended up getting typecast as the self-centred gold-digger, over whom men shoot themselves and each other. At the very least though, Garbo's beauty and allure makes her appearance as that kind of woman plausible. And while the chauvinism of the times presented such stories as retellings of the original sin myth, with the beautiful woman ruining the world, Garbo is able to give dignity to the character and paint her as a deeply tragic figure. With Garbo, this temptress is a victim not a villain.

For Greta Garbo's second film under her new MGM contract the studio went back to the same source that they got for her first film with them Torrent. Vicente Blasco Ibanez offered up another of his novels for Garbo, The Temptress. Greta's got a whole lot of the men panting after her in this one.

Blasco Ibanez also gave us the slightly more familiar Four Horsemen Of The Apocalypse and Blood And Sand which served Rudolph Valentino well during the silent era. Garbo's character of Elena has a lot of similarity with Dona Sol in Blood And Sand. It ends a lot worse for Elena than for Dona Sol.

Garbo is married to Armand Kaliz who is not above peddling his wife's charms to get ahead. Right now she's got the wealthiest banker in Paris Marc McDermott in tow, but he means nothing to here but a cash cow for the husband. Who she really likes after meeting him at a costume party is Antonio Moreno, an engineer from Argentina who is looking for investors in a dam he wants to build.

After McDermott commits suicide when he's facing ruin and names Garbo as the one responsible, to escape until the notoriety dies down Garbo and Kaliz go to the Argentine Pampas and visit with Moreno. The local bully and bandit leader Roy D'Arcy takes one look at her and likes her and knows she's available in the right conditions. That sets up all the action for the remainder of the film.

Garbo's performance in The Temptress certainly assured her of a long career which was only briefly interrupted by the coming of sound where MGM took superb care to see that their investment transitioned smoothly. She is seductive and alluring in The Temptress like she was never before or since, even in her torrid film with John Gilbert Flesh And The Devil or in Mata Hari which calls for seductive and alluring like it calls for breathing.

Moreno was one of the first players to be known as Latin Lovers and he was about ending his career in those roles and would be transitioning to character parts. Roy D'Arcy as the bandit chief registers the best after Garbo. He had that Snidely Whiplash thing down pat and the silent screen certainly called for those overacted gestures. His career would continue in sound, but not as successfully. His duel with the whips with Moreno is as savage an encounter between hero and villain as you'll ever see on film.

The Temptress after over 80 years holds up well. For Garbo fans everywhere.

This is a very good silent film, though I had just watched two other Greta Garbo films that were incredibly similar to this one--as she plays the vamp in all three! I can't blame Ms. Garbo for this, as MGM definitely type-cast her despite her objections. In fact, she was so irritated by this theme that she went on strike to try to force the studio to give her different roles. But, considering that the public loved the films and they were all very successful, MGM wasn't about to mess with a tried-and-true formula.

This film is at least a little different in that much of the time men were destroyed when they fell for Garbo in this film, but she was never directly responsible for their downfall. She was more like the old "Typhoid Mary" character--someone who just seems to have bad things follow her where ever she goes! The problem with this is that no matter how sultry and alluring Ms. Garbo might have been, no one is THAT seductive that man after man after man destroy themselves in order to try to get her! However, the story does have a few new elements and the overall production values are exceptional. So, if you view this film WITHOUT considering how derivative it is, then it's an awfully good film.

By the way, the TCM DVD includes an alternative ending that was apparently used when the film was shown in rural settings. Instead of the marvelous original but sad ending (that, in my opinion is perfect), there is an upbeat and sappy one that just doesn't ring true.