Anna Karenina

LOVE (Metro-Goldwyn-Mayer, 1927), directed by Edmund Goulding, reunites John Gilbert and Greta Garbo, who were initially teamed in the steamy romance triangle, FLESH AND THE DEVIL (MGM, 1927). From the novel "Anna Karenina" by Leo Tolstoy, MGM updates the photo-play from 19th Century Russia to more contemporary setting. In spite of these and other changes, the plot remains loyal to Tolstoy giant sized novel, abridged to an 80 minute movie.

The story opens during a violent snow storm where Anna Karenina (Greta Garbo) is trying to get to St. Petersburg, Russia. Count Alexi Vronsky (John Gilbert), a young military man just passing through, sees this beautiful woman in distress and offers to help her. Unable to get to St. Petersburg on time, Anna is offered shelter at an inn. Alexi and Anna are then mistaken for a married couple with their bags being placed in the same room. The two find themselves in love with Alexi unaware that Anna is married to a senator (Brandon Hurst) and mother to a young boy (Philippe De Lacy) she adores. When Senator Karenin learns of Anna's illicit affair, he at first decides not to do anything in hope that they would eventually destroy each other. But Anna finds she must face the decision of whether to leave home and never see her son again, or remain in her present loveless environment with the only redeeming person being her son.

In the supporting cast are George Fawcett as Grand Duke Michael; Emily Fitzroy as The Grand Duchess; and Mathilde Comont as Mazha, the innkeeper. Almost forgotten, LOVE was remade and improved during the sound era of 1935, restoring it back to ANNA KARENINA with Garbo reprising her tragic heroin role, possibly just as famous as her other heroine of CAMILLE (MGM, 1936). The remake, set in 19th century Russia, is supported by Fredric March, Basil Rathbone and Freddie Bartholomew in the Gilbert, Hurst and DeLacy roles. In both versions, Garbo's most effective scene occurs when Anna, forbidden ever to see her boy again, sneaks into the house to visit with him on his birthday during the absence of her husband. After their reunion, joy spreads over both their faces as mother and son embrace. Garbo shows her ability with these scenes as an emotional and personable actress. However, the modern 1920s costumes she wears in LOVE appear to be the most outrageous (ugly hats and dresses) ever worn by an attractive woman. The character of ANNA KARENINA returned to the screen again as a 1948 British adaptation starring Vivien Leigh and Sir Ralph Richardson. There was even a 1985 television movie with Jacqueline Bisset and Christopher Reeve, the best appreciated being the 1935 Garbo remake.

Long before the Turner company resurrected this hard to find cinema classic, LOVE made its television debut on New York City's public television station, WNET, Channel 13's presentation of MOVIE'S GREAT MOVIES, September 10, 1973, hosted by Richard Schickel, with the feature film accompanied by an original orchestral score composed for this and 12 other silent films in the series. When currently shown on Turner Classic Movies, especially on its Silent Sunday Nights, the score for LOVE has been changed to a new orchestration, but handicapped by off-screen laughter and unnecessary hand clapping in the wrong places, making one wonder why? On the plus side, TCM presents LOVE with two endings: happy and tragic, making this worth seeing with its alternate conclusions. (***)

As I have stated before and often in my reviews, I don't care whether or not a film adaptation is faithful to its source material; my only requirement is that it be good and stand on its own two feet. Love (1927) mostly does this; I haven't read Anna Karenina, though I am familiar with the basic outline of the plot. Love hits the high points of the story, though it does make the relationship between Anna and Vronsky more a case of two soul mates finding one another than what those two characters are in the novel.

Garbo is luminescent as Anna. She was not only gorgeous, but she could communicate such depth and soul despite being featured in so many standard melodramas. Gilbert does good and is ardent as the romantic lead, but Garbo steals the show. As is usual with most 1920s MGM melodramas, the production is lavish and pretty. My biggest issue is that the story is incredibly rushed; everything moves so quickly and it feels like scenes were even lost or snipped. Nothing develops gradually. Aside from that problem, Love is a nice romantic drama, though if you want your Garbo-Gilbert fix, you're better off with Flesh and the Devil or A Woman of Affairs.

When lots of classic buffs discuss Garbo's portrayal of Anna Karenina, they most often refer to the sound version directed by Clarence Brown in 1935. And they are right since the sound version with Greta Garbo and Fredric March is the supreme adaptation of Tolstoy's novel during the silver screen's heyday. That is the movie, which despite its 75th birthday is still highly captivating, and thanks to Greta Garbo, the story of Tolstoy's heroine touches the depths of viewers' hearts. However, whilst developing the knowledge of Garbo's unique presence on screen and her outstanding yet short career, I was deeply touched by seeing the silent production LOVE directed by Edmund Goulding, the man who later directed one of Garbo's most popular movies, GRAND HOTEL. Although the movie LOVE has been quite ignored by many viewers, even by Greta Garbo fans, it is very much worth attention as a pleasant silent film.

The reason why I liked the movie does not lie in its source novel. As a matter of fact, there are a number of serious liberties taken when applied to content, plots and historical depiction. When you are looking for the Anna Karenina story, you had better see other versions for sure. The major reason why I like it lies in the presence of Garbo and Gilbert, two main characters into whose empty lives has swept a force that illumines them and changes everything. After their ultra popular FLESH AND THE DEVIL where the chemistry between the two was an absolute revelation and Garbo's magnetism on screen was the combination of thrill and joy, carnal desire and overwhelming beauty, here, Garbo plays again opposite Gilbert and she is truly in love with him as Anna is in love with Vronsky. And the handsome Captain Vronsky though careless, reckless once changes himself from within. Gilbert is no worse in the role of Vronsky than he is in his roles as Leo Von Harden, Nevs or Antonio. Their scenes can boast unforgettable chemistry and appear to be timelessly genuine. You watch a silent film where two people are really in love with each other...that says for itself. It must have been a smashing success. Garbo and Gilbert are really in LOVE!

That aspect is strongly combined with their scenes and moments that are hard to forget. For who can skip the luminous dance on Easter Night? Who can remain indifferent to their spiritual contact at the scenes galore, for instance the one of the military race? Who is ready to ignore the tension and wit at their first meeting? This combination of magical charm, chemistry, and wit leaves a lasting impression in the viewer and you simply consider LOVE one of those silent films that are pleasantly watched over and over again. This power of the main couple makes you forget the source novel and forgive some inaccuracies and liberties. You simply watch a film.

The supporting cast contribute to three people: Brandon Hurst as Karenin, George Fawcett as Grand Duke and Phillippe De Lacy as Serezha. Mr Hurst represents memorably the person who cannot stand any sensation and is a man of old morals, as he says: 'any gossip about my wife reflects upon me.' Mr Fawcett is the actor who portrays his role as memorably as he did portray Pastor Voss in FLESH AND THE DEVIL. Yet, in LOVE he is a different person, no longer raging about the sins of his sheep but an understanding general, who has a sense of humor, who understands delays and gets the gist of sacrifice rightly. Phillippe De Lacy is memorable as Anna's child and steals some of the best scenes with Garbo. It is important to state that those supporting cast also make LOVE a memorable silent.

Therefore, LOVE is another Garbo film I consider a must in my gallery, a pearl of old days when cinema conveyed humane message, when performances were unforgettable, when there were great stars that illumined screen, Garbo and Gilbert in LOVE in a bright story of Love that may face its darkness but is finally illuminated by the dawn of a new day...

LOVE is the perfect title for this hacked-down adaptation of Tolstoy's mammoth novel ANNA KARENINA. It was made to cash in on the popularity of Greta Garbo and John Gilbert, fresh from their box office triumph in FLESH AND THE DEVIL earlier the same year. Like virtually all of Garbo's silent films, much of the screen time is devoted to watching the great tormented Swede abandon herself to love, suffer for love, contemplate love, lose love, die. It is interesting to compare this version of the novel with the one made eight years later in which Garbo played opposite Fredric March who, while less dashing and handsome than Gilbert, did give a fine performance as the impetuous and essentially cruel Count Vronsky. In the latter film Garbo is less attractive due to the clash between the curly coiffure she is given and the strong planes and features of her face. She even looks like a male in drag in some scenes. But in LOVE she is beautiful and feminine throughout. The clinging 1920's-style dresses help, even if they detract from the authenticity of a story that is supposed to be set in 1870's Russia. Gilbert was one of the best actors of his era and the talent shows here. He is also a magnetic screen presence and one can understand why audiences in 1927 flocked to see these two together.

The scenes of mother-son tenderness between Garbo and Philippe deLacy do indeed seem incestuous as others have pointed out, but so do the scenes between Garbo and Freddie Bartholomew in the 1935 version. I think it was just Garbo's way of expressing love on screen; you see her perform the same kind of nuzzling in other movies, whether the attentions are being given to a man, a woman or a child. I disliked both endings, but at least Garbo was ravishing in the happy one. And remember, Garbo was just shy of 22 when she filmed this, yet she is believable as an older woman. She had a face that could express any age.

This movie cries out for a re-scoring. The print shown on TCM is marred by what sounds like muffled applause from time to time.

On the heels of "Flesh and the Devil," MGM naturally teamed up the two highly-publicized romantics once again in an adaptation of Leo Tolstoy's 1877 novel 'Anna Karenina' with the release of November 1927's "Love." Greta Garbo is married to an old rich sod. When she meets Vronsky (John Gilbert), a captain in the Russian Army, her Anna slowly warms up to and eventually embraces his love. Instead of a duel when her husband finds out about their relationship, he shuts the door on her as well as forbids her to see their son ever again.

"Love," originally with the working title 'Heat' to allow MGM's publicity department to run wild with romantic possibilities, was changed when an adman came out with the advertisement stating "Greta Garbo and John Gilbert in LOVE." There were two alternate endings filmed, one with a European sad conclusion while the American had a more chipper fade out.

Garbo and Gilbert appeared in two additional movies together. "Love," however, was Gilbert's rare opportunity to direct a few scenes in his movie. First Dimitri Buchowetzki, then Edmund Goulding directed a majority of scenes for MGM. Producer Irving Thalberg wasn't happy seeing the roughly-edited movie. Through Garbo's insistence, Thalberg turned to Gilbert and the producer's favorite cameraman, Willian Daniels, to reshoot some of the scenes that he felt needed replacing. Once the Gilbert/Daniels team finished, the re-edited sequences pleased Thalberg and was released to great fanfare, solidifying Garbo's stardom.