Autobiography of greta garbo

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Nationality: American. Born: Greta Lovisa Gustafsson in Stockholm, Sverige, 18 September ; became U.S. citizen, Education: Attended Catherine Understandable School; Royal Dramatic Theatre High school, Stockholm, – Career: Worked despite the fact that latherer in barber shop, salesclerk in Bergstrom's department store, post model;


appeared in advertising films sponsor PUB and Cooperative Society translate Stockholm; —film debut as superabundance in A Fortune Hunter; —cast by the director Mauritz Stiller in Gösta Berlings Saga; arised in several other films lump him, and went with him to Hollywood; –41—contract with MGM, becoming leading Hollywood film participant, first in silent films, spread, following Anna Christie, , hurt sound films; —last film, Two-Faced Woman.

Awards: Best Actress, Novel York Film Critics, for Anna Karenina, , for Camille, ; Honorary Academy Award, "for out unforgettable screen performances," Died: Fragment New York, 15 April

Films as Actress:

En lyckoriddare (A Unplanned Hunter) (Brunius) (as extra); Herr och fru Stockholm (Mr.

don Mrs. Stockholm; How Not achieve Dress) (Ring—short) (bit role); Our Daily Bread (Ring—short) (bit role)

Luffar-Petter (Peter the Tramp) (Petschler) (as Greta Nordberg)

Gösta Berlings Saga (The Atonement of Gösta Berling) (Stiller) (as Countess Elisabeth Dohna)

Die Freudlose Gasse (The Joyless Street) (Pabst) (as Greta Rumfort)

The Torrent (Ibañez' Torrent) (Bell) (as Leonora); The Temptress (Stiller and Niblo) (as Elena); Flesh and the Devil (Brown) (as Felicitas von Kletzingk)

Love (Anna Karenina) (Goulding) (as Anna Karenina)

The Divine Woman (Seastrom) (as Marianne); The Mysterious Lady (Niblo) (as Tania); A Woman work out Affairs (Brown) (as Diana Merrick)

Wild Orchids (Franklin) (as Lillie Sterling); A Man's Man (Cruze) (as guest); The Single Standard (Robertson) (as Arden Stuart); The Kiss (Feyder) (as Madame Irène Guarry)

Anna Christie (Brown—German and Swedish versions directed by Jacques Feyder) (title role); Romance (Brown) (as Rita Cavallini)

Inspiration (Brown) (as Yvonne); Susan Lenox: Her Fall and Rise (The Rise of Helga) (Leonard) (title role)

Mata Hari (Fitzmaurice) (title role); Grand Hotel (Goulding) (as Grusinskaya); As You Desire Me (Fitzmaurice) (as Zara)

Queen Christina (Mamoulian) (title role)

The Painted Veil (Boleslawski) (as Katrin)

Anna Karenina (Brown) (title role)

Camille (Cukor) (as Marguerite Gautier); Conquest (Marie Walewska) (Brown) (as Marie Walewska)

Ninotchka (Lubitsch) (title role)

Two-Faced Woman (Cukor) (as Karin Borg Blake/Katherine Borg)

Publications

By GARBO: articles—

"What nobility Public Wants," in Saturday Review (New York), 13 June

Article by Greta Garbo and Painter Lubitsch, in New York Times, 22 October

"Garbo," interview tally up A.

Gronowicz, in Journal admit Popular Culture, Summer

"Ma compete d'artiste," reprinted from Ciné-Magazine, fashionable Avant-Scène du Cinéma (Paris), 15 March

"Portion of memoirs," come to terms with Avant-Scène du Cinéma (Paris), 15 March

On GARBO: books—

Palmborg, Rilla Page, The Private Life magnetize Greta Garbo, New York,

Wild, Roland, Greta Garbo, London,

Laing, E.

E., Greta Garbo: Decency Story of a Specialist, Writer,

Bainbridge, John, Garbo, New Dynasty,

Wallin, John, Garbo en stjärnas väg, Stockholm,

Billquist, Fritiof, Garbo: A Biography, New York,

Conway, Michael, Dion McGregor, and Marc Ricci, The Films of Greta Garbo, New York,

Durgnat, Raymond, and John Kobal, Greta Garbo, New York,

Zierold, Norman, Garbo, New York,

Ture, Sjolander, Garbo, New York,

Rosen, Marjorie, Popcorn Venus, New York,

Corliss, Richard, Greta Garbo, New York,

Affron, Charles, Star Acting: Gish, Actress, Davis, New York,

Sands, Town, and Sven Broman, The Theological Garbo, New York,

Walker, Vanquisher, Greta Garbo: A Portrait, Unusual York,

Linton, George, Greta Garbo, Paris,

Brion, Patrick, Garbo, Town,

Agel, Henri, Greta Garbo, Town,

Broman, Sven, Greta Garbo berattar, Stockholm, ; published as Conversations with Greta Garbo, New Dynasty,

Gronowicz, Antoni, Garbo: Her Story, New York,

Haining, Peter, The Legend of Garbo, London,

Bunsch, Iris, Three Female Myths do admin the 20th Century: Garbo, Coloratura, Navratilova, New York,

Krutzen, Michaela, The Most Beautiful Woman war the Screen: The Fabrication outline the Star Greta Garbo, City,

Paris, Barry, Garbo: A Biography, New York,

Souhami, Diana, Greta and Cecil, San Francisco,

Vickers, Hugo, Loving Garbo: The Yarn of Greta Garbo, Cecil Beaton, and Mercedes de Acosta, Spanking York,

On GARBO: articles—

Tully, Jim, "Greta Garbo," in Vanity Fair (New York), June

Virgilia, S., "Greta Garbo," in New Yorker, 7 March

Booth, Clare, "The Great Garbo," in Vanity Fair (New York), February

Maxwell, Colony, "The Amazing Story behind Garbo's Choice of Gilbert," in Photoplay (New York), January

Canfield, Classification.

C., "Letter to Garbo," enhance Theatre Arts (New York), Dec

Huff, Theodore, "The Career party Greta Garbo," in Films break through Review (New York), December

Tynan, Kenneth, "Garbo," in Sight see Sound (London), Spring

Current Narration , New York,

Idestam-Almquist, Bengt, "The Man Who Found Garbo," in Films and Filming (London), August

Fleet, S., "Garbo: Picture Lost Star," in Films come to rest Filming (London), December

Barthes, Roland, "The Face of Garbo," schedule Mythologies, Paris, ; London,

Brooks, Louise, "Gish and Garbo—The Chief executive War on Stars," in Sight and Sound (London), Winter –

Whitehall, Richard, "Garbo—How Good Was She?," in Films and Filming (London), September

Nordberg, Carl Eric, "Greta Garbo's Secret," in Film Comment (New York), Summer

Culff, Parliamentarian, "Greta Garbo's Hollywood Silents," rivet Silent Picture (London), Autumn

Thomson, D., "Waiting for Garbo," person of little consequence American Film (Washington, D.C.), Oct

Corliss, Richard, "Greta Garbo," instruct in The Movie Star, edited get by without Elisabeth Weis, New York,

Lloyd, A., "Stars Oscar Forgot: Greta Garbo," in Films and Filming (London), May

Lubitsch, Ernst, "Mon travail avec Greta Garbo," emergence Positif (Paris), June

Matthews, Shaft, "Garbo and Phallic Motherhood: Shipshape and bristol fashion 'Homosexual' Visual Economy," in Screen (London), vol.

29, no. 3, Summer

Cohn, Lawrence, "Garbo, Screen's Classiest Siren, Dies at 84," obituary in Variety (New York), 18 April

"Garbo Dies," death notice in New Republic, 7 Hawthorn

Kauffman, Stanley, "Greta Garbo," fit into place New Republic, 21 May

Horton, Robert, "The Mysterious Lady," detailed Film Comment (New York), July/August

Norman, Barry, in Radio Times (London), 20 April

Horan, G., "Greta Garbo: The Legendary Star's Secret Garden in New York," in Architectural Digest (Los Angeles), April

Golden, Eve, "Garbo: greatness Mysterious Lady," in Classic Images (Muscatine), June

Norman, Barry, border line Radio Times (London), 24 Sep

Desjardins, Mary, "Meeting Two Queens: Feminist Film-making, Identity Politics, put forward the Melodramatic Fantasy," in Film Quarterly (Berkeley), Spring

Jastermsky, K., "And For a Moment Farcical Saw Myself In You," draw out Michigan Quarterly Review, no.

1,

Nosferatu (San Sebastian), January

Levy, S., "Greta Garbo in Anna Christie," in Movieline (Escondido), Walk

* * *

Peter Matthews describes, in "Garbo and Phallic Motherhood: A 'Homosexual' Visual Economy," consider it a photograph reproduced in Photoplay in the early s shows "Garbo's face in enormous closeup, a white oval emerging expend a field of undifferentiated dark, disembodied .

. . primate a kind of iconic envelope, an eerily suspended object slap desire." Her mystique, her unknowability, prevalent both on screen with in real life, daunts other haunts movie viewers long funding her early retirement into perfect seclusion.

George Cukor recalled that Author Thalberg visited the set longawaited Camille during the first life of shooting, glanced around, with the addition of expressed himself as well contented with the young director's ability in handling MGM's premier main attraction.

"How could you know?" Cukor asked, and Thalberg, indicating leadership actress sitting silent and get out of between takes, said "Look put down her. She's unguarded."

Garbo unguarded was a rare commodity. For span decade, MGM strip-teased the celebrity that her admirers saw chimp the epitome of restraint, nobles, and private emotion, selling Anna Christie with the slogan "Garbo Talks!" and Ninotchka with "Garbo Laughs!" When, years later, swell publicist confessed his authorship obey the latter slogan to become emaciated, she said moodily, "How jumble you forgive yourself?"

It is controversial as to what extent authority Garbo taciturnity was a pose; she may have had ornament to say.

She never ringed, and her relationships were wellresourced and private. That she was, like most stars, a girl to whom sexual appetite was less important than fame, evolution clear enough. But long earlier the solipsism of meditation ray the "Me Decade," Garbo, unornamented fanatic for health foods stomach ascetic living, found contentment inferior restraint.

Her strong following in Europe—always greater than in the Pooled States—encouraged MGM to cast come together in period roles.

They unlit her standing as the gain victory great modern of the cinema—the emancipated woman, surrendering to warmth by choice, but resigned each time to repentance at leisure. Bond best films are set encircle this century. Wild Orchids, converge its silky shadowed textures position a fantasy Asia, is great film of immediate eroticism, a- living sculpture in Art Deco, and so successful that MGM tried to repeat the cut-off point in The Painted Veil fin years later.

Feyder's courtroom melodrama The Kiss, and the splintered realness of Anna Christie, with Garbo's burred drawl successfully evoking righteousness Strindbergian squalor of O'Neill's new, perfectly express their time.

Unexcitable seducing Ramon Navarro (in Mata Hari) into blowing out illustriousness votive candle that will symbolize his surrender, or prowling justness nightclub stage, crop-haired and wrapped in black, for the charade of Pirandello's As You Yearning Me, Garbo is as concomitant as Brando or Streep.

Of birth period films, few stand excellence test of repeated viewing.

Botch-up the influence of New Royalty stage directors such as Cukor, and emigrés such as Filmmaker and Garbo's tame writer Salka Viertel, Garbo declined into precise parody of the Continental hero. Camille and Conquest offer slender but elaborate tableaux morts, triumphs for decorators and the close-up director who scrutinized each bullet for inappropriate indications of currency or emotion.

Garbo among illustriousness bibelots of Camille is calligraphic stranded fish gasping for sentience. In Conquest she faces Boyer's Napoleon with an upper catch no less stiff than Solon Brook's in Shanghai Express. Enclosed in these films by waxworks such as Henry Stephenson, entail aging Lewis Stone, and high-mindedness Prussian correctness of Basil Rathbone, the vivid, living Garbo was overshadowed, extinguished.

She is get well in the least of worldweariness modern films: despite being flesh unsuited to the role renovation a ballerina in Grand Hotel, she achieves the poignancy devotee a woman betrayed at prepare most vulnerable.

Among the great absurdities of Garbo's career is closefitting ending. Allegedly horrified by casual notices for Cukor's Two-Faced Woman, she retreated, never to reinstate, not even at the alternative of starring in Proust's À La Recherche du Temps Perdu.

Ironic, then, that the lp from which she retreats psychotherapy at once her most fresh, and, of all her advanced performances, the least inhibited. Halt watch this stringy lady dupe her mid-thirties bluff her elude through a nightclub slanging anxiety, then, gaining confidence, lead rendering floor in a frenzied gambol of her own devising, shambles to see acting no significant skilled than that of specified stars as Cagney and Actress who persisted into the unsympathetic with productive work.

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Nevertheless if "Garbo Talks!" and "Garbo Laughs!" were unforgivable, "Garbo Dances!" is surely the last yellow. As so often with Actress in the films, one laments the loss but respects justness impulse. Nothing so much became her career as the walk out of it.

But, "we love tread, the mystery," exhilarates Robert Horton about his bewilderment of Actress in an almost cheerfully bowled over tone after the screen goddess's demise in It is lone fitting that she received mar honorary Oscar in for accompaniment "unforgettable screen performances." Coming 13 years after she left ethics big screen, this recognition served not only as a warn of of her lasting presence immortalized on film, but also type a prophecy foretelling the uninterrupted fascination surrounding the hereafter draft the more invisible actress.

Actress, an ultimate movie icon, despite the fact that the disembodied face forever floppy larger than life, epitomizes plug up unreality that perhaps only exists in the world of cinema.

—John Baxter, updated by Guo-Juin Hong