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IMDbPro

A Carne e o Diabo

Título original: Flesh and the Devil
  • 1926
  • Passed
  • 1 h 52 min
AVALIAÇÃO DA IMDb
7,6/10
4,8 mil
SUA AVALIAÇÃO
Greta Garbo and John Gilbert in A Carne e o Diabo (1926)
Romance trágicoDramaRomance

Adicionar um enredo no seu idiomaChildhood friends are torn apart when one of them marries the woman the other fiercely loves.Childhood friends are torn apart when one of them marries the woman the other fiercely loves.Childhood friends are torn apart when one of them marries the woman the other fiercely loves.

  • Direção
    • Clarence Brown
  • Roteiristas
    • Benjamin Glazer
    • Hermann Sudermann
    • Marian Ainslee
  • Artistas
    • John Gilbert
    • Greta Garbo
    • Lars Hanson
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,6/10
    4,8 mil
    SUA AVALIAÇÃO
    • Direção
      • Clarence Brown
    • Roteiristas
      • Benjamin Glazer
      • Hermann Sudermann
      • Marian Ainslee
    • Artistas
      • John Gilbert
      • Greta Garbo
      • Lars Hanson
    • 51Avaliações de usuários
    • 29Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 3 vitórias no total

    Fotos34

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    Elenco principal23

    Editar
    John Gilbert
    John Gilbert
    • Leo von Harden
    Greta Garbo
    Greta Garbo
    • Felicitas
    Lars Hanson
    Lars Hanson
    • Ulrich von Eltz
    Barbara Kent
    Barbara Kent
    • Hertha
    William Orlamond
    William Orlamond
    • Uncle Kutowski
    George Fawcett
    George Fawcett
    • Pastor Voss
    Eugenie Besserer
    Eugenie Besserer
    • Leo's Mother
    Marc McDermott
    Marc McDermott
    • Count von Rhaden
    • (as Marc MacDermott)
    Marcelle Corday
    Marcelle Corday
    • Minna
    Margie Angus
    • Twin
    • (não creditado)
    Mary Angus
    • Twin
    • (não creditado)
    Max Barwyn
    Max Barwyn
    • Ball Guest
    • (não creditado)
    Frankie Darro
    Frankie Darro
    • Boy Who Dances with Hertha
    • (não creditado)
    Philippe De Lacy
    Philippe De Lacy
    • Leo as a Boy
    • (não creditado)
    Virginia Marshall
    • Hertha as a Girl
    • (não creditado)
    Polly Moran
    Polly Moran
    • Family Retainer with Bouquet
    • (não creditado)
    Maurice Murphy
    Maurice Murphy
    • Ulrich as a Boy
    • (não creditado)
    Russ Powell
    Russ Powell
    • Family Retainer with Flag
    • (não creditado)
    • Direção
      • Clarence Brown
    • Roteiristas
      • Benjamin Glazer
      • Hermann Sudermann
      • Marian Ainslee
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários51

    7,64.8K
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    Avaliações em destaque

    7jjnxn-1

    An undeniable chemistry

    Famed silent is for the time period a well made melodrama. The story is of no real consequence and now seems very familiar as it probably was at the time of it's release. The communion scene is provocative, very erotic even today and must have been a sensation in '26. The real interest is of course the cast, Garbo especially. Of all the players she is the acting standout, with the exception of a few scenes her performance feels very naturalistic. The same goes for her appearance, whereas everybody else looks like they belong in the 1920's her unadorned hairdos and streamlined clothes convey a contemporary feeling, a flesh impact. Gilbert, who was then wildly popular, is a relic from a bygone era. He looks like he could be attractive but his ridiculous mustache and the heavy makeup required at the time sabotage his handsomeness. His acting is quite mannered and uneven, he was much better in The Big Parade, but he and Garbo share an undeniable chemistry. The real offender in overacting is Lars Hanson his eye-popping and herky jerky movements are a textbook example of the worst kind of silent screen performance, the impression that keeps a lot of people from giving silents a try. The other major person in this passion play is Barbara Kent as the angelic young thing in contrast to Garbo's rapacious strumpet. Kent passed away at 103 in 2011 one of the last remaining silent screen stars although she turned her back on public life and had been a recluse since the 50's.
    10Servo-11

    A great melodrama

    Yes, the plot is a bit cliche but the performances certainly make up for it! Garbo, only in the early years of her career, gives an incredibly smoldering performance as the unredeemable temptress Felicitas, who snags the hapless Leo (John Gilbert) into a web of sex and lies. Look at that sly smile as she's trying on her widow's weeds -- very effective. John Gilbert, the heir of Valentino's mantle, proves that he surpassed the master lover with a believable portrayal of a man who realizes that he's way over his head but can't help himself. He does indulge in a bit of histrionics, but is very restrained compared to other silent lovers of the era. Only his performances in "The Big Parade" and "Downstairs" better this one. As Felicitas' second husband, Lars Hanson has the looks and talent to hold his own on the screen with his two incredibly dynamic co-stars. He amazed me opposite Lillian Gish in "The Wind" and "The Scarlet Letter" and it's a shame that he made so few movies in Hollywood before returning to Sweden.

    Clarence Brown keeps the narrative flowing with a healthy balance of humor, drama, romance and action. MGM's stock company of character actors (William Orlamond, Polly Moran, George Fawcett and Eugenie Besserer) make an appearance and provide excellent supporting players to the three stars.

    I found the Carl Davis score to be absolutely perfect for the images up on the screen, and the music when Garbo and Gilbert dance and two necking sessions reflect the raw passion. It's just stunning and I can't come up with enough words to describe it. After Buster Keaton's entire body of work, this movie ranks as my #2 favorite, tied with The Wind.

    10/10
    8springfieldrental

    Pivotal Film in Garbo's Young Movie Career

    Young actress Greta Garbo was tired and homesick for her native Sweden after she had journeyed to America to appear in two MGM movies. While filming her previous movie, 1926's "The Temptress," she was told her sister had died. When she asked studio executives if they could allow her some time to attend the funeral, they refused her request. Then Garbo's director Swedish friend Mauritz Stiller was removed from "The Temptress." With a paltry weekly salary in comparison to other actresses at her level, Garbo was financially struggling and gave serious thought of backing out of her next film. When she revealed her sentiments to a studio executive, she received a strongly-worded letter from MGM threatening to end her career as an actress if she didn't cooperate.

    After some considerable thinking and advice from friends, she did report to the movie set for her next film, January 1927's "Flesh and the Devil." She began the filming in a deep funk until the day where she was appearing in a train station scene with lead actor John Gilbert, whom she never met. Once they were introduced and shot that station scene as well as the day's scheduled intimate kissing sequences, Garbo suddenly forgot most of her troubles.

    "I don't know how I should have managed if I had not been cast opposite John Gilbert," recalled Garbo three years later. "If he had not come into my life at this time, I should probably have gone home to Sweden at once, my American career over." As one account goes, the veteran actor was bowled over by her vulnerability and took a personal interest in coaching her as filming progressed. It help that the "Flesh and the Devil" was loaded with intimate love scenes between the two of them. During one particularly passionate shot, director Clarence Brown witnessed the pair's budding relationship right before his eyes. He decided that instead of yelling cut to wrap up the scene, he motioned to his lighting and camera crew members to quietly leave the set as the two were still kissing. A few hours later, as Gilbert and Garbo continued their snuggling on the set, studio personnel brought in their dinner. By the conclusion of the movie's shoot, the two had moved in together.

    Garbo's radiance shines through on screen as director Brown called for a number of close-ups, taking advantage of the actress's stunning looks. One reviewer described, "she gave a more erotic performance than Hollywood had ever seen."

    "Flesh and the Devil," based on the 1894 Hermann Sudermann novel, 'The Undying Past,' was a perfect vehicle for the two new lovers. Garbo plays the wife, Felicitas, of an aging count who catches Leo (Gilbert), a German soldier, making kissy with his wife. Variety called that love-making scene and two others contained in the film hair raising. "There are three loves scenes in this picture that will make anyone fidget in their seat and their hair rise on end," said the trade magazine. The count loses a duel to Leo, who's sent to Africa for a few years as punishment. Meantime, his best friend, Ulrich (Lars Hanson) is asked by Leo to take care of Felicitas. He not only does that-he does more: the two fall in love and get married. When Leo returns and discovers what took place, well things get a little sticky.

    The key line in the movie is when a church pastor, during a sermon, says 'When the devil cannot reach us through the spirit, he creates a woman beautiful enough to reach us through the flesh." The portrait of Felicitas fits the pastor's description of her to a tee. "Flesh and the Devil" was a pivotal movie in Garbo's career. Her performance was nearly universally praised, with one critic writing, "Audiences were mesmerized by her beauty and titillated by her love scenes with Gilbert. She was a sensation." Garbo received a tremendous bump in her salary with the box office profits rolling in. Soon, the actress' movies returned 12 per cent of all MGMs annual revenues at the height of her career, a tremendous amount for one actress.
    9bkoganbing

    The universal language of s-e-x

    The tail end of the silent screen era brought us the great screen team of John Gilbert and Greta Garbo. As we well know Gilbert came up short in talkies and there are a lot of explanations why that happened. But Garbo only started her immortal career and as she said in sound, definitely not alone.

    Flesh And The Devil was her biggest screen success to date and it introduced Gilbert and Garbo as a team. Garbo is one sly and hedonistic woman who married to an older and titled man in Wilhelmine Germany. She eyes Gilbert like a prime cut in a butcher shop, especially in his army uniform.

    At the same time Gilbert has Lars Hanson as a best friend since childhood and a little sister in Barbara Kent. They're like a German version of Tom, Huck, and Becky Thatcher as kids.

    When Garbo's titled husband Marc McDermott catches them en flagrato only a duel will satisfy. But since both are anxious to avoid tainting the lady's name they say the duel is over some card cheating. Gilbert kills the husband, but has to flee the Fatherland for colonial service. He asks Hanson to check in on her now and then, but he never tells him about his real relationship with Garbo.

    Greta is not about to wait five years for some fleshly pleasures. She marries Hanson because she has needs, but still has a yen for Gilbert. When he returns matters do come to a head.

    The hedonistic woman does not triumph in this one. That satisfies the moralists of the town. But this was the Jazz Age, the Roaring Twenties and the era of the first frank discussions of sex. Sex and those steamy scenes with Gilbert are what sold this picture.

    Even without sound over 80 years later Garbo and Gilbert still steam up the small screen if you're watching your DVD or the Turner Classic Movies Channel. Silent films were indeed universal and no one spoke the language of silence better than Greta Garbo and John Gilbert.

    I should also mention that Barbara Kent as Gilbert's virginal sister has some good moments as well. Kent functions well as the pure counterpoint to Garbo's hedonism. And she's also the voice of conscience in the movie in her own way.

    Flesh And The Devil holds up well. Garbo didn't need words to get her message across, but that was an added treat for the next decade.
    10jotix100

    Ahead of its time

    "Flesh and the Devil", the 1926 silent film, brilliantly directed by Clarence Brown, was shown recently on cable and the most amazing thing happened: the film looks superb! "Flesh and the Devil" has one of the most amazing team behind the camera, one that made its stars look so magnificently that one can't take ones eyes from the screen for fear of losing something. In addition to the superb director, the work of William Daniels with his camera is amazing. Mr. Daniels created images that are hard to forget.

    The opening sequence of the film involving the arrival of Leo and Ulrich in their hometown, has to be one of the best things ever filmed. When Leo discovers the beautiful Felicitas as she descends from the train and walks to the awaiting car, where he runs to rescue the flower arrangement she inadvertently had dropped, is charged with desire and raw sex. Hollywood was more daring during those precode days when anything seemed to go.

    Greta Garbo and John Gilbert make this film something to watch again and again. Both stars exuded such charisma that it's not hard to realize they were lovers. Ms. Garbo looked lovely in all her scenes and Mr. Gilbert was one of the handsomest leading men of the era.

    One of the best things whoever restored the film was to add a great musical score that makes watching the pleasure it is. Also, in spite of being a silent movie, "Flesh and the Devil" has such a fluidity that, at times, we forget it's not a "talkie", because of the magic that Mr. Brown, and his cinematographer, William Daniels, were able to do together. Of course, the film is what it is because of its stars' magnetism and the way they make us care about the story.

    Enredo

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    • Curiosidades
      Legend has it that when the two first met on the MGM back-lot, John Gilbert called, "Hello, Greta," to which Greta Garbo coolly responded, "It is Miss Garbo." Immediately smitten by this indifferent Swedish beauty, Gilbert engaged Garbo in a whirlwind romance, much to the delight of the movie-going public and the studio brass.

      He gladly introduced her to his business manager, Harry E. Edington, who thereafter became her salary negotiator. Once this film was released, it was so popular that Garbo could almost dictate the terms of her renewed MGM contract. With Edington's help, her salary shot from $600 per week to $2,000 per week, a figure that was contractually bound to triple in three years. Perhaps more significantly, she also gained control over the types of roles she would play in the future. This crucial development enabled her to play something besides man-eating vamps, to cultivate the Garbo mystique, a combination of sultry passion, tender innocence and cool insouciance that has made her a cinematic icon.
    • Erros de gravação
      When Leo is talking to Felicitas on the bench in the park and tells her that he must go to Africa, the position of the collar of his overcoat repeatedly changes from pulled up to flat.
    • Citações

      Pastor Voss: My boy, when the devil cannot reach us through the spirit... he creates a woman beautiful enough to reach us through the flesh.

    • Versões alternativas
      An alternate ending (included on the "Garbo Silents" DVD release of 2005) continues on from Leo and Ulrich embracing to show Leo deciding to strike up a relationship with Hertha. According to Garbo biographer Barry Paris (speaking on the DVD commentary track), this happy ending was shot by the director under protest.
    • Conexões
      Edited into Hollywood: The Dream Factory (1972)
    • Trilhas sonoras
      ATRA
      (1926) (uncredited)

      Music by William Rose

      Lyrics by S.S. Wilson

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    Perguntas frequentes18

    • How long is Flesh and the Devil?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 25 de dezembro de 1926 (Estados Unidos da América)
    • País de origem
      • Estados Unidos da América
    • Idiomas
      • Inglês
      • Alemão
      • Sueco
    • Também conhecido como
      • O Diabo e a Carne
    • Locações de filme
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, Califórnia, EUA(Studio)
    • Empresa de produção
      • Metro-Goldwyn-Mayer (MGM)
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 373.000 (estimativa)
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 52 min(112 min)
    • Mixagem de som
      • Silent
    • Proporção
      • 1.33 : 1

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