Grande Hotel

More than 70 years later and it stood the test of time. Edmund Goulding directs the movie which starts at a slower pace but towards as things proceed, pace picks up. Greta Garbo was definitely the star of the time but here she's quite a drama queen. It's Joan Crawford who gives the best performance (and has a more fleshed out role than Garbo). The actress indeed has a stronger presence than Garbo and she's simply terrific. Lionel Barrymore and John Barrymore are equally impressive. Lionel is particularly good in balancing his characters tragedy and comedy. The supporting cast is adequate.

The cinematography is amazing as it gives us a marvelous glare of the grandness of the Grand Hotel, the overhead shot of the operators who're connecting the incoming calls, and then focussing on the different characters who're all either desperate for money, happiness or nothing (as they are satisfied with what they have e.g. the head hotel clerk). Everyone is shown to be busy with their own individual life and this is further stressed on in the final scene.

In addition to that, the set designs are spectacular reflecting the indifferent atmosphere and the beauty of the hotel. The reference to the War is also put in a very subtle way (as the film was made in the 30s) through the Baron's story and the scar on the doctor's face. Some might be bored in the beginning (due to the slow pace) but just bear with it, the film does get better and one will indeed understand why it stood the test of time. A grand classic it is indeed!

Vicky Baum's novel "Menschen I'm Hotel" serves as the basis for this 1932 film that was a vehicle for Greta Garbo. "Grand Hotel", as directed by Edmund Golding, was a magnificent film that had a lot of first class stars of the era in prominent roles. In fact, this seems to be one of the first films to have relied in the prominent "names" it gathered to portray the different characters in the movie.

By today's standards, the film is dated, but for a discriminating film fan, "Grand Hotel" is a classic because of the star turns one witnesses. Also, today's fans have to make concessions for the style of acting that was prevalent at the time. The movies have begun "talking" not long before this film was made and the stars of those silents were still doing their acting in front of the camera as though no one was going to hear them talk. In fact, most of the complaints in comments submitted to this forum would have been different if this was 1932 and the film had just come out.

The best advice for anyone new to this film is to sit back, relax, and enjoy the trials and tribulations of the people seen at Berlin's Grand Hotel.

The biggest surprise of the film is the shortness of Greta Garbo presence in the film, in which for some unknown reason, she looms large above the rest of the players. As the Russian ballerina Grusinskaya, Ms. Garbo played one of the best characters of her career. Her way of acting is still imbued with what was expected of her.

John Barrymore as the Baron Von Geigern, the impoverished nobleman, is key to the story. The moment he meets the great Grusinskaya, he is lost forever. Lionel Barrymore is excellent as the poor Otto Kringelein, who thinks he is going to die real soon. Joan Crawford, is the stenographer Flaemmchen who seems to arise passion among all the men she meets. Ms. Crawford does excellent work in a role she discarded later on in favor of more dramatic appearances.

What makes "Grand Hotel" the timeless classic it became is the magnificent camera work by William H. Daniels, a man who knew how to get the best out of Greta Garbo in their many films together. Also the music which is from Franz Lehar's "The Merry Widow" serves as a nice distraction in the background.

The most famous phrase in the film "I want to be alone", seems prophetic in retrospect as the divine Garbo had about eight more years in the movies.

A drunk doctor, an eccentric dancer, a high-class thief, a businessman, his mistress and a terminally-ill bookkeeper cross paths in "Grand Hotel", the Best Picture Oscar winner from 1932. One of the first true soap operas ever produced by Hollywood follows an array of colorful characters as they all stay at a luxury hotel in 1930s Germany. Sub-stories, amazing performances and a clever screenplay keep this very large film above water. The film is also a strange footnote in Oscar history as it was only nominated for Best Picture and won that honor. Edmund Goulding became only the second of three people to direct a Best Picture winner and not be nominated himself (William A. Wellman for "Wings" in 1928 and Bruce Beresford for "Driving Miss Daisy" in 1989 are the only other two). The all-star cast acts as an ensemble with John and Lionel Barrymore making the biggest impressions on the audience. 4.5 out of 5 stars.

Setting aside the fact that this is a landmark in the history of Hollywood, it has an unintended effect of foreshadowing the Second World War. GRAND HOTEL, filmed in 1932, is set in a luxury hotel in contemporary Berlin. There are several moments (during scenes with the disfigured doctor in particular) when characters refer to their sacrifices in the First World War. The most pointed remark runs something like "we won battle after battle, only to be told we'd lost the war.") At the time this film was made, Hitler was about a year and a half away from becoming Chancellor. GRAND HOTEL, based on a work by Vicki Baum, who wrote for a German readership, is less a story of the idle rich and the poor who serve them than an observation of the quiet rage stealing over a society whose war wounds only seem to deepen as time passes. Wallace Beery's character, a corrupt industrialist, was, in 1932, a staple of German art and theatre. An American audience in 1932 would merely have seen him as a fat-cat, but, in the Weimar Republic, particularly just before the Nazis took power, such a stereotype was provocative. Watching GRAND HOTEL with a sense of what was about to happen in Germany, one sees not so much a sophisticated soap-opera as a macabre meditation on the genteel side of a very dark phase in history.

GRAND HOTEL (Metro-Goldwyn-Mayer, 1932), directed by Edmund Goulding, from the stage production by Vicki Baum, marks one of MGM's most prestigious projects. Other than being one of those rare films from the 1930s to be frequently revived, if not overplayed, on television over the past decades, it has stood the test of time solely due its impressive all-star cast. Of the five major leading actors, feature billing goes to Greta Garbo, MGM's most important box-office star to date. Unlike other Garbo films, GRAND HOTEL, is not all Garbo. She shares screen time with other top-named MGM performers, ranging from John and Lionel Barrymore, Wallace Beery and Lewis Stone. The only other major actress to appear in this production is the youthful and down-to-earth Joan Crawford, who, in fact, is on screen more than the legendary Garbo. While many might consider Crawford the best of the two female stars, Garbo, who's acting style is somewhat different from the others, should be observed and studied. Her role as Grusinskaya, the Russian ballerina, is performed two ways, that of a lonely, depressed dancer striving for success, then, after encountering the Baron (John Barrymore), becomes full of joy and laughter. Watching this transformation on screen is like seeing the two sides of Garbo.

Edmund Goulding directs this 113 minute drama at a fast-pace, starting its opening with overhead camera shots of numerous switchboard operators connecting the incoming calls, followed by the brief introduction of the central characters conversing on the telephone in the hotel lobby: Senf (Jean Hersholt), the head hotel clerk, awaits the news of his wife who is about to give birth to their child; Otto Kringelein (Lionel Barrymore), a bookkeeper, diagnosed with an incurable disease who quits his job to enjoy his remaining days to the fullest; Preysing (Wallace Beery), a no-nonsense industrialist staying at the hotel to negotiate a business deal with important clients; Suzette (Rafaella Ottiano), the maid to the famous Russian dancer, Grusinskaya, who expresses concern about her employer; Baron Felix Von Greigern (John Barrymore), an adventurer traveling with his Dachshund dog, desperately in need of money to pay off a heavy debt, planning his latest robbery by stealing valuable jewels from the famous ballerina; and Otternschlag (Lewis Stone), a scarred doctor who walks about the hotel lobby, observing the goings on, and reciting to himself quietly, "Grand Hotel, people come, people go, and NOTHING ever happens!"

Things start to happen as Flaemmchen (Joan Crawford), a stenographer with ambition, is hired by Preysing as his personal secretary. She soon makes the acquaintance of the handsome Baron and the poorly dressed Kringelein. Later that evening, after the lonely and unhappy Grusinskaya (Greta Garbo) leaves the hotel for the theater, the Baron sneaks into her room from the outside window to rob her. After she returns, the Baron, still there, hides himself, only to take notice that Grusinskaya, unhappy, intends on taking her own life. He suddenly appears, telling her he's one of her biggest admirers. In spite of telling the Baron that she wants to be alone, the Baron remains and confesses everything. How will the Baron be able to get money he so desperately needs? As for the other guests, will Preysing, a married man with two grown daughters who has made Flaemmchen his mistress after working hours, succeed with his business negotiations? Will Flaemmchen continue to get something out of life by not being particular on how she does it? Will Grusinskaya marry her beloved jewel thief Baron or will she go on with her career? Will Kringelein find the happiness he deserves before he succumbs? What will his hotel bill be after checking out from most expensive hotel in Germany? Will that kill him before his illness does?

While GRAND HOTEL could have told its stories in separate installments, it's done as one film focusing on separate characters through different time frames. Of the central characters, only Senf, the hotel clerk (Hersholt) is the least important, appearing only in a few scenes unrelated to the plot. Lewis Stone's role is also secondary, but memorable, especially with his opening and closing lines. Wallace Berry, is cast against type, sporting glasses, a short haircut, mustache and the only American actor speaking with a German accent. Lionel Barrymore, sporting a derby, over-sized clothing, thick mustache and glasses, is almost unrecognizable as Kringelein. In fact, he almost comes off best over all the major actors. Although playing a tragic figure, he does have a classic drunken comedy bit, along with a poignant scene where, after winning a large sum of money playing cards, discovers that his wallet containing all his money, is missing.

Fortunately, GRAND HOTEL does not play like a filmed stage play. The art deco and luxurious sets are a sight to behold. And why not? The Grand Hotel happens to be the most expensive and luxurious hotel in Berlin. GRAND HOTEL obviously registered well upon its release. It won the Academy Award as Best Picture of 1931/32. In later years, GRAND HOTEL has become imitated and spoofed many times. MGM remade GRAND HOTEL as WEEKEND AT THE WALDORF (1945), modernizing the story to contemporary New York City with World War II background, featuring its top marquee names of the day: Ginger Rogers, Lana Turner, Walter Pidgeon and Van Johnson. It was later adapted into a Broadway musical in the 1990s. Both screen versions are available on video cassette, DVD and Turner Classic Movies cable television. For a good time with a film classic, check in the GRAND HOTEL and see what the stars are doing for the weekend. (****)