Anna Christie

In New York, the alcoholic skipper of a coal barge Chris Christofferson (Hans Junkermann) receives a letter from his estranged twenty year old daughter Anna "Christie" Christofferson (Greta Garbo) telling that she will leave Minnesota to stay with him. Chris left Anna fifteen years ago to the countryside to be raised by relatives in a farm in St. Paul and he has never visited his daughter.

Anna Christie arrives and she is a wounded woman with a hidden dishonorable past since she had worked for two years in a brothel to survive. She moves to the barge to live with her father and one night, Chris rescues the sailor Matt (Theo Shall) and two other fainted sailors from the sea. Soon Anna and Matt fall in love with each other and Anna has the best days of her life. But when Matt proposes to marry her, she is reluctant and also haunted by her past. Matt insists and Anna opens her heart to Matt and to her father disclosing the darks secrets of her past.

"Anna Christie" is the first talkie of Greta Garbo and a heartbreaking story of a young woman that finds redemption through love. I bought the DVD with both versions of 1930 and 1931, and Jacques Feyder's version in German is better than Clarence Brown's. The German version is not restored. My vote is eight.

Title (Brazil): "Anna Christie"

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.

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.

Filmed by MGM on the same sets as the English version, but in German, Garbo's second portrayal of "Anna Christie" benefited from practice and her apparent ease with German dialog. Garbo appears more relaxed and natural under Jacques Feyder's direction than under Clarence Brown's, and her silent movie mannerisms have all but disappeared, which made her transition to sound complete. The strength she brought to the character remains here, although it has been softened, and Garbo reveals more of Anna's vulnerability. The entire cast, with the exception of Garbo, is different from the previous version of the film, and Garbo benefits from not having to compete with Marie Dressler, who stole every scene she was in during the English-language version. In Feyder's film, Garbo holds the center of attention throughout, although the three supporting players, particularly the father, gave excellent performances.

Feyder's direction was more assured than Clarence Brown's, and his use of the camera and editing techniques did not seem as constrained by the new sound process as did those of Brown. The film moves with more fluidity than the English language adaptation, and the static nature of the first film has been replaced with a flow that maintains viewer interest. Even William Daniels cinematography seems improved over his filming of the Brown version. He captured Garbo's luminescence and the atmospherics of the docks with style. Also, the screenplay adaptation for the European audience made Anna's profession quite clear from the start, and the explicitness clarifies for viewers who were unfamiliar with the play as to what was only implied in the Brown filming. However, the film was made before the Production Code was introduced, which made the censorship puzzling.

Garbo's Oscar nomination for "Anna Christie" was always somewhat mystifying, and I suspected that the nod was given more in recognition of her relatively smooth transition to sound films than for her performance. However, some of the Academy voters may have seen the German-language version of the film, and they realized, as will contemporary viewers, that her "Anna Christie" under Feyder's direction was definitely Oscar worthy.