Greta Garbo

From Wikipedia, the free encyclopedia
Jump to: navigation, search
Greta Garbo

Garbo in a publicity still for Susan Lenox (1931)
Born Greta Lovisa Gustafsson
18 September 1905(1905-09-18)
Stockholm, Sweden
Died 15 April 1990(1990-04-15) (aged 84)
New York, New York, U.S.
Occupation Actress
Years active 1920–1941
Website
http://www.gretagarbo.com/

Greta Garbo (18 September 1905 – 15 April 1990), born Greta Lovisa Gustafsson, was a Swedish film actress. Garbo was an international star and icon during Hollywood's silent and classic periods. Many of Garbo's films were sensational hits, and all but three of her twenty-four Hollywood films were profitable.[1] Garbo was nominated four times for an Academy Award and received an honorary one in 1954 for her "luminous and unforgettable screen performances". She also won the New York Film Critics Circle Award for Best Actress for both Anna Karenina (1935) and Camille (1936). In 1999, the American Film Institute ranked Garbo fifth on their list of greatest female stars of all time, after Katharine Hepburn, Bette Davis, Audrey Hepburn, and Ingrid Bergman.

Garbo launched her career with a leading role in the 1924 Swedish film The Saga of Gosta Berling. Her performance caught the attention of Louis B. Mayer, chief executive of Metro Goldwyn Mayer (MGM), who brought her to Hollywood in 1925. She immediately stirred interest with her first silent film, Torrent, released in 1926; a year later, her performance in Flesh and the Devil, her third movie, made her an international superstar.[2]

With her first talking film, Anna Christie (1930), she received an Academy Award nomination. MGM marketers enticed the public with the catch-phrase "Garbo talks!" That same year she won a second Oscar nomination for her performance in Romance. In 1932, her immense popularity allowed her to dictate the terms of her contract, and she became increasingly choosy about her roles. Many critics and film historians consider her performance as the doomed courtesan Marguerite Gautier in Camille to be her finest. The role gained her a third Academy Award nomination. After working exclusively in dramatic films, Garbo turned to comedy with Ninotchka (1939), which earned her a fourth Academy Award nomination, and Two-Faced Woman (1941).

In 1941, she retired after appearing in 27 films. Although she was offered many opportunities to return to the screen, she declined most of them. Instead, she lived a private life, shunning publicity.

Contents

[edit] Childhood and youth

Greta Lovisa Gustafsson was born in Stockholm, Sweden. She was the third and youngest child of Anna Lovisa (née Karlsson, 1872–1944)—a homemaker and later worked at a jam factory—and Karl Alfred Gustafsson (1871–1920), a laborer.[3][4] Garbo had an older brother, Sven Alfred (1898–1967), and an older sister, Alva Maria (1903–1926).[5]

Her parents met in Stockholm where her father made occasional trips from his home in Frinnaryd. He moved to Stockholm to become independent, and worked in various odd jobs, such as street cleaner, grocer, factory worker and butcher's assistant.[6] He married Anna, who had recently relocated from Högsby.[7][8] The Gustafssons were impoverished and lived in a three-bedroom cold-water flat at Blekingegatan No. 32. They raised their three children in a working-class district regarded as the city's slum.[9] Garbo would later recall:

It was eternally gray—those long winter's nights. My father would be sitting in a corner, scribbling figures on a newspaper. On the other side of the room my mother is repairing ragged old clothes, sighing. We children would be talking in very low voices, or just sitting silently. We were filled with anxiety, as if there were danger in the air. Such evenings are unforgettable for a sensitive girl. Where we lived, all the houses and apartments looked alike, their ugliness matched by everything surrounding us.[10]

As a child, Garbo was a shy daydreamer.[11] She hated school[12][13] and preferred to play alone.[14] Yet she was an a imaginative child and a natural leader[15] who became interested in theatre at an early age.[16] She directed her friends in make-believe games and performances[17] and dreamed of becoming an actress.[16][18] Later, she would participate in amateur theatre with her friends and frequent the Mosebacke Theater.[19] At the age of 13, Garbo graduated from school[20] and typical of a Swedish working-class girl at that time, she did not attend high school; she would later confess she had an inferiority complex about this.[21]

In the winter of 1919, the Spanish flu spread throughout Stockholm, and Garbo's father, to whom she was very close, became ill. He began missing work and eventually lost his job.[22] Garbo stayed at home looking after him and taking him to the hospital for weekly treatments. In 1920, when she was 14 years old, he died.[8][23]

[edit] Career

[edit] Early career (1920–1924)

She began her first job in 1920 as a soap-lather girl in a barbershop. Eventually, her friends advised to look for a better job. She then applied for, and accepted, a position in the PUB department store running errands and working in the millinery department. Before long, she began modeling hats for the store's catalogs.[24] Her success led to a more lucrative job as a fashion model for PUB. In 1921, a director of film commercials for the store cast Garbo in a role advertising women's clothing. Thus began Garbo's cinematic career.[25] In 1922, Garbo caught the attention of director Erik Arthur Petschler who gave her a part in his short comedy, Peter the Tramp.[26]

Garbo in her first leading role with Lars Hanson in the Swedish The Saga of Gösta Berling (1924), directed by Mauritz Stiller

From 1922 to 1924, she studied at The Royal Dramatic Theatre's Acting School in Stockholm. She was recruited in 1924 by director Mauritz Stiller to play a principal part in his classic film The Saga of Gosta Berling, a dramatization of the famous novel by Nobel Prize winner Selma Lagerlöf. She played opposite Swedish film actor Lars Hanson. Stiller became her mentor, training her as a film actress and managing all aspects of her nascent career.[27] She followed her role in Gosta Berling with a starring role in the 1925 German film Die freudlose Gasse (The Joyless Street or The Street of Sorrow), directed by G. W. Pabst and co-starring Asta Nielsen.[28]

Accounts differ on the circumstances of her first contract with Louis B. Mayer, at that time vice president and general manager of Metro Goldwyn Mayer (MGM). Victor Seastrom, a respected Swedish director at MGM, was good friends with Stiller and encouraged Mayer to meet him on a trip to Berlin. There are two versions of what happened next. In one,[29] Mayer, always looking for new talent, had done his research and was interested in Stiller. He made an offer but Stiller demanded that Garbo be part of any contract, convinced that she would be an asset to his career. Mayer balked, but eventually agreed to a private viewing of Gosta Berling. He was immediately struck by Garbo's magnetism and became more interested in her than in Stiller. "It was her eyes", his daughter recalled him saying; "I can make a star out of her." In the second version,[30] Mayer had already seen Gosta Berling before his Berlin trip and Garbo was his primary interest. On the way to the screening, Mayer said to his daughter, "This director is wonderful but what we really ought to look at is the girl.... The girl, look at the girl!" In any case, a contract was drafted that included both of them and after several months, the two set sail for America on the last day of June 1925.

In Flesh and the Devil (1926) with John Gilbert

[edit] Silent films (1925–1929)

Stiller and Garbo arrived in Hollywood in the first week of July 1925.[31][32] Although she expected to work with Stiller on her first film,[33] she was cast in Torrent (1926), an adaptation of a novel by Vicente Blasco Ibáñez, with director Monta Bell. She displaced Aileen Pringle, ten years her senior, and played a vamp opposite Ricardo Cortez.[34][35] Torrent did well at the box office despite its cool reception by the trade press.[36] But Garbo's performance was acclaimed.[37][38]

Garbo's 8th Hollywood silent, Wild Orchids (1929)

The success led Irving Thalberg, head of production at MGM (who had at first labeled Garbo "absolutely unusable"),[39] to cast her in a similar role in The Temptress (1926), based on another Ibáñez novel. After only one film, she was given top billing, playing opposite Antonio Moreno.[40] Her mentor Stiller, who had persuaded her to take the part, was assigned to direct.[41] For both Garbo (who did not want to play another vamp and did not like the script any more than she did the first one)[42] and Stiller, The Temptress was a harrowing experience. Garbo remembered it as a picture associated with doom: on the fourth day of production, she received a telegram from Stockholm informing her of the death of her sister Alva at the age of twenty-three.[43] MGM did not permit Garbo to return to Sweden for the funeral. Shortly thereafter, Stiller, who spoke little English, had difficulty adapting to the studio system,[44] and did not get on with Moreno,[45] was replaced by Fred Niblo. Reshooting The Temptress was expensive. Even though it became one of the top-grossing films of the 1926–27 season, with nearly US$1 million in receipts,[46] it was, because of its cost, the only Garbo film of the period to lose money.[47] However, Garbo again got very good reviews,[48][49][50][51] and MGM had a new star.[46][52]

Garbo went on to make eight more silent films. With the exception of Torrent, all of her silent movies were profitable and most were hugely successful.[53] She starred in three of them with popular leading man John Gilbert.[54] Their on-screen erotic intensity soon translated into an off-camera romance and by the end of their first production, Flesh and the Devil (1927), they began living together.[55] Despite Garbo's popularity as a silent movie star,[56] the studio feared that her Swedish accent might impair her work in sound and delayed the shift for as long as possible.[57][58] MGM itself made a slow changeover to sound.[59] Her last silent movie, The Kiss (1929), was also the studio's.[60]

During this period, Garbo began to require unusual conditions during the shooting of her scenes. She prohibited visitors—including the studio brass—from her sets and demanded that black flats or screens surround her to prevent extras and technicians from watching her. When asked about these eccentric requirements, she said, "If I am by myself, my face will do things I cannot do with it otherwise".[61]

Garbo in her first talkie, Anna Christie (1930)

[edit] Queen of MGM (1930–1939)

Publicized with the slogan "Garbo talks!", Anna Christie (1930), a film adaptation of the 1922 play by Eugene O'Neill, provided her first speaking role. In her first line, she famously utters, "Give me a visky, chincher ale on the side, and don't be stingy, baby." The movie was the highest-grossing film of the year[62] and she received her first Academy Award nomination. She won a second Academy Award nomination the same year for her performance in her next picture, Romance (1930). A German version of Anna Christie was also made in 1930.

In Anna Karenina (1935)
With John Barrymore in Grand Hotel (1932)

In 1931, she played the World War I spy in Mata Hari opposite screen idol Ramón Novarro. Garbo successfully made the transition to talkies and was subsequently part of an all-star cast in Grand Hotel (1932), in which she played a Russian ballerina. Both of these films were big hits[1], with the latter winning the Academy Award for Best Picture, and the phenomenon of "Garbomania" reached its zenith.[63] Although her domestic popularity was undiminished through the mid-1930s, most of her subsequent films made more money internationally.[64] By this time, she was said to have been earning $250,000 to $300,000 a film--an unprecedented salary for an actor--and had become a multimillion dollar industry world wide.[65][66]

Following a contract dispute with MGM, Garbo signed a new contract with the studio in 1932 which gave her more control over her films and co-stars.[67] Garbo demonstrated loyalty to John Gilbert, whose career was fading, and, despite Mayer's objection, insisted that he co-star in 1933's Queen Christina in which she played one of her most celebrated roles.[68] (Laurence Olivier had originally been chosen to play the part.)[69] In 1935, David O. Selznick wanted to cast her as the dying heiress in Dark Victory, but Garbo chose Tolstoy's Anna Karenina (1935), in which she played another of her renowned roles.[70] Her subsequent role as the doomed courtesan opposite Robert Taylor in George Cukor's Camille (1936) earned her a third Academy Award nomination. Many film critics regard it as her finest performance.

After the disappointing Conquest (1937), Garbo was one of several major stars—including Crawford, Davis, Dietrich, and Katharine Hepburn—called "box office poison" in an open letter published by the National Theater Distributors of America.[71] She then made a comeback in her first comedy playing opposite Melvyn Douglas in Ernst Lubitsch's Ninotchka (1939).[72] Ninotchka succeeded in lightening her somber and melancholy image, and she earned a fourth Academy Award nomination. The film was marketed with the tagline "Garbo laughs!", playing off the tagline for Anna Christie.

[edit] Last work (1940–1948)

With her last film, George Cukor's Two-Faced Woman (1941), MGM attempted to capitalize on Garbo's success as a comedienne by casting her in a romantic comedy which sought to portray her as an ordinary girl. She played a double role that featured her dancing the rumba, swimming, and skiing. The film was a critical, although not entirely a commercial, failure.[72] Garbo referred to the film as "my grave".[73] She retired in 1941 at the age of thirty-six after only twenty-seven films made in sixteen years. She was offered many roles in the coming years and showed interest in several, but in each case, she either turned down the part or the project did not come to fruition.[74]

In 1948, Garbo signed a contract for $200,000 with producer Walter Wanger, who had produced Queen Christina in 1933, to shoot a picture based on Balzac's La Duchesse de Langeais. Max Ophüls was slated to adapt and direct.[75][76][77] Garbo made several screen tests, learned the script, and arrived in Rome in the summer of 1949 to shoot the picture. However, the financing failed to materialize and the project was abandoned.[74] The screen tests—the last time Garbo stepped in front of a movie camera—were thought to have been lost for forty years before resurfacing in someone's garage.[78] Parts of the screen tests were included in the 2005 TCM documentary Garbo.[79]

[edit] Screen Persona

"Garbo Laughs!" With Melvyn Douglas in Ernst Lubitsch's comedy Ninotchka (1939)

From the early days of her career, Garbo avoided the social functions in Hollywood, preferring to spend her time alone or with friends. She refused to sign autographs,[80][81] answered no fan mail,[81][82][83] and gave few interviews.[81][84][85] Her refusal to give interviews gave rise to press reporters' expressions, "pulling a Garbo" or "going Garbo".[86] She is closely associated with a line from Grand Hotel, one which the American Film Institute in 2005 voted the 30th most memorable movie quote of all time,[87] "I want to be alone, I just want to be alone", a theme echoed in several of her other roles. For example, in Love (1927) a title card reads, "I like to be alone"; in The Single Standard (1929) her character says, "I am walking alone because I want to be alone";[88] in Susan Lenox (Her Fall and Rise) (1931) she says to a suitor, "This time I rise... and fall... alone"; in Inspiration (1931) she tells a fickle lover, "I just want to be alone for a little while"; in Mata Hari (1931) she says to her new amour, "I never look ahead. By next spring I shall probably be... quite alone"; and in Ninotchka (1939) emissaries from Russia ask her, "Do you want to be alone, comrade"? "No", she answers bluntly. By the early 1930s, the phrase had become indelibly linked to the development of Garbo's mystique.[89][90]

[edit] In retirement

In general, Garbo in retirement led a private life of simplicity and leisure. She made no public appearances and assiduously tried to avoid the publicity she loathed.[91] As she had been during her Hollywood years, Garbo, with her innate need for solitude, was often reclusive. But contrary to myth, she always had many friends and acquaintances with whom she socialized, and later, traveled[92][93] Occasionally, she jet-setted with well-known and wealthy personalities, striving to guard her privacy as she had during her career. She has been forever linked to her famous line in Grand Hotel: "I want to be alone." But she later remarked, "I never said, 'I want to be alone. I only said, I want to be let alone. There is a world of difference'".[89][90]

Garbo signing her US citizenship papers, in 1950

Still, she often floundered about what to do and how to spend her time,[94] always struggling with her many eccentricities,[93][95] and her life-long melancholy, or depression and anxiety. "I Suppose I suffer from very deep depression", she told a friend in 1971.[96] Beginning in the 1940s, She became something of an art collector. Many of the paintings she purchased were of negligible value, but she did buy, for example, two impressionist paintings by Renoir and a still-life by Pierre Bonnard.[97]

On 9 February 1951, she became a naturalized citizen of the United States.[98] In 1953, she bought a seven-room apartment at 450 East 52nd Street in Manhattan, New York City,[99] where she lived for the rest of her life.[98]

In 1969, Italian motion picture director Luchino Visconti attempted to bring Garbo back to the screen. He had been working on a film adaptation of Proust's colossal work Remembrance of Things Past with a prospective cast including Silvana Mangano, Alain Delon, Helmut Berger, Charlotte Rampling, Laurence Olivier, and Garbo who was reportedly interested in the small part of Maria Sophia, Queen of Naples. Visconti exclaimed: "I am very pleased at the idea that this woman, with her severe and authoritarian presence, should figure in the decadent and rarefied climate of the world described by Proust."[100][101] With its length of almost four hours, the budget became prohibitive and the project was unrealized.[102][103]

Although she became increasingly solitary in her final years,[104] she became very close to her house-keeper and cook of thirty-one years, Claire Koger. “We were very close—like sisters", Koger said.[105]

Throughout her life, Garbo was known for taking long, daily walks with companions or by herself. In retirement, she walked the streets of New York City dressed casually and wearing large sunglasses. "Garbo-watching" became a sport for photographers, the media, admirers, and curious New Yorkers,[106][107] but she maintained her elusive mystique to the end.

[edit] Relationships

Garbo never married, had no children, and as an adult, always lived alone. Her most famous romance was with her frequent co-star, John Gilbert, with whom she lived in 1926 and 1927.[108][109] MGM capitalized on her relationship with Gilbert after their huge hit, Flesh and the Devil by costarring them again in two more hits, Love (1927) and A Woman of Affairs (1928). Gilbert allegedly proposed to her numerous times. Legend has it that when a double marriage was arranged in 1926 (with Eleanor Boardman and King Vidor), Garbo failed to appear at the ceremony. Garbo's recent biographers, however, have questioned the veracity of this story.[110][111][2] Cecil Beaton described an affair with Garbo in 1947 and 1948 but some were sceptical because he was a self-described homosexual and was known for having taken liberties in his memoirs.[112] Garbo claimed the affair never took place.[113] In his diary, Erich Maria Remarque discusses a liaison with her in 1941.[114] In 1937, she met conductor Leopold Stokowski, with whom she had a highly publicized friendship or romance while travelling throughout Europe in 1938.[114][115] In 1940, Garbo met the Russian-born millionaire George Schlee who was married to fashion designer Valentina. Schlee, who split his time between the two, became Garbo's close companion and advisor until his death in 1964.[116][117]

Recent biographers and others speculate that she was bisexual, or lesbian, and that she had intimate relationships with women as well as with men.[118][119][120] Garbo was introduced to stage and screen actress Lilyan Tashman in 1927 and allegedly had an affair with her;[121][122] silent film star Louise Brooks stated that she and Garbo had a brief liaison the following year.[123] In 1931, Garbo befriended the writer and socialite Mercedes de Acosta, introduced to her by her close friend, Salka Viertel, and the pair allegedly began a sporadic and volatile romance.[124][125][120] They remained friends—with ups and downs—for almost thirty years.[126] When de Acosta published her controversial 1960 memoir, Here Lies the Heart, they became permanently estranged.[127] In 2005, Swedish actress Mimi Pollak, a close friend in drama school, released sixty letters Garbo had written her in their long correspondence. Several letters suggest she may have been in love with Pollak for many years.[128] After learning of Pollak's pregnancy in 1930, for example, Garbo wrote, "We cannot help our nature, as God has created it. But I have always thought you and I belonged together." In 1975, she wrote a poem about not being able to touch the hand of her friend with whom she might have been walking through life.[129]

[edit] Death

Gravestone of Greta Garbo

Greta Garbo died on 15 April 1990, aged 84, in New York Hospital as a result of pneumonia and renal failure.[22] She had been successfully treated for breast cancer in 1984.[130] [131] Garbo was cremated and after a long legal battle, her ashes were interred in 1999 at Skogskyrkogården Cemetery just south of her native Stockholm.[132]

She had invested wisely, primarily in stocks and bonds, and left her entire estate, $32,042,429, to her niece, Gray Reisfield.[133]

[edit] Honors, awards, and nominations

A German postal stamp featuring Garbo

Garbo was nominated four times for an Academy Award for Best Actress, including twice in 1930, for Anna Christie and Romance.[134][135] She lost out to Irving Thalberg's wife, Norma Shearer, who won for The Divorcee. In 1937, Garbo was nominated for Camille, but Luise Rainer won for The Good Earth. Finally, in 1939, Garbo was nominated for Ninotchka, but again came away empty-handed. Gone With the Wind swept the major awards, including Best Actress, which went to Vivien Leigh.[136][137] She was awarded an Academy Honorary Award "for her luminous and unforgettable screen performances" in 1954.[138] She did not show up at the ceremony, and the statuette was mailed to her home address.[136]

She twice received the New York Film Critics Circle Award for Best Actress for Anna Karenina, 1935, and Camille, 1936.

She won the National Board of Review Best Acting Award for Camille, 1936, Ninotchka, 1939, and Two-Faced Woman, 1941.

The Swedish royal medal, Litteris et Artibus, awarded to people who have made important contributions to culture, especially music, dramatic art or literature, was presented to Garbo in January 1937.[139]

In a 1950 Daily Variety opinion poll, Garbo was voted Best Actress of the Half Century,[140]

In November 1983, Garbo was made a Commander of the Swedish Order of the Polar Star by order of King Carl XVI Gustaf, the King of Sweden.[141]

In 1999, the American Film Institute ranked Garbo fifth on their list of greatest female stars of all time, after Katharine Hepburn, Bette Davis, Audrey Hepburn, and Ingrid Bergman.[142]

For her contributions to cinema, she has a star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard.

She was once designated the most beautiful woman who ever lived by the Guinness Book of World Records.[143][144][145]

In September 2005, the United States Postal Service and Swedish Posten jointly issued two commemorative stamps bearing her image.[146][147][148]

On 6 April 2011, the Bank of Sweden announced that Garbo's portrait will be featured on the 100 krona banknote, beginning in 2014–15.[149]

[edit] Legacy

Garbo in a publicity still for Inspiration (1931)

Garbo was an international superstar during the late silent era and the so-called "Golden-Age" of Hollywood and is widely regarded as a cinematic legend.[150] Almost immediately, with the sudden popularity of her first pictures, she became a screen icon.[151] For most of her career she was the highest paid actor or actress at MGM, making her for many years its biggest star.[152] It has been said that at the peak of her popularity she had become a virtual cult figure.[153]

During the silent period, Garbo developed an acting technique that is thought to have been ahead of its time, one that set her apart from other actors and actresses of the period.[154] Film historian Jeffrey Vance has said that Garbo communicated her characters’ innermost feelings through her movement, gestures, and most importantly, her eyes. With the slightest movement of them, he argues, she subtlety conveyed complex attitudes and feelings toward other characters and the truth of the situation. This approach demonstrated a deep bond with the character, with actions seemingly made on the basis of internal motivation—now referred to as working "from the inside-out".[154] Director Clarence Brown, who made seven of Garbo's pictures, once said. "You could see thought. If she had to look at one person with jealousy, and another with love, she didn't have to change her expression. You could see it in her eyes as she looked from one to the other."[155]

Because Garbo was suspicious and mistrustful of the media, and often at odds with MGM executives, she spurned Hollywood’s publicity rules. Except at the start of her career, Garbo conducted few interviews (she gave only fourteen in her life),[156] signed no autographs, attended few industry social functions, and turned down all requests for public appearances. She was routinely referred to by the press as the “Swedish Sphinx”. This reticence and fear of strangers perpetuated the mystery and mystique that she projected both on screen and in real life. In spite of her strenuous efforts to avoid publicity, Garbo paradoxically became one of the most publicized women in the world.[157][158]

Critics have argued that few of Garbo's twenty-four Hollywood films are artistically exceptional, and that many are simply bad.[159] It has been suggested, however, that her commanding and magnetic performances usually overcome the weaknesses of plot and dialogue.[159][160]

Garbo is the subject of several documentaries, including four made in the United States between 1990 and 2005:

She has been praised in the media and by personalities in cinema and culture, including:

Ephraim Katz (The Film Encyclopedia: The Complete Guide to Film and the Film Industry):[165] Of all the stars who have ever fired the imaginations of audiences, none has quite projected a magnetism and a mystique equal to Garbo's. "The Divine", the "dream princess of eternity", the "Sarah Bernhardt of films", are only a few of the superlatives writers used in describing her over the years. … She played heroines that were at once sensual and pure, superficial and profound, suffering and hopeful, world-weary and life-inspiring.

Bette Davis:[166] Her instinct, her mastery over the machine, was pure witchcraft. I cannot analyse this woman's acting. I only know that no one else so effectively worked in front of a camera.

George Cukor[167] She had a talent that few actresses or actors possess. In close-ups she gave the impression, the illusion of great movement. She would move her head just a little bit and the whole screen would come alive, like a strong breeze that made itself felt.

[edit] Filmography

Film credits
Year Title Role Director Co-star Notes
1920 Mr and Mrs Stockholm Go Shopping Elder sister Swedish: Herrskapet Stockholm ute på inköp
Garbo's segment is often known as How Not to Dress.[168]
1921 Gay Cavalier, TheThe Gay Cavalier Maidservant Uncredited
Swedish: En lyckoriddare
The film is lost
1921 Our Daily Bread Companion Swedish: Konsum Stockholm Promo[168]
1922 Peter the Tramp Greta Swedish: Luffar-Petter[168]
1924 Saga of Gosta Berling, TheThe Saga of Gosta Berling Elizabeth Dohna Stiller, MauritzMauritz Stiller Hanson, LarsLars Hanson Swedish: Gösta Berlings saga
1925 Joyless Street, TheThe Joyless Street Greta Rumfort Pabst, G. W.G. W. Pabst Nielsen, AstaAsta Nielsen German: Die freudlose Gasse
1926 Torrent Leonora Moreno
aka La Brunna		 Bell, MontaMonta Bell Cortez, RicardoRicardo Cortez First American movie; all of Garbo's American movies were produced by MGM.
1926 Temptress, TheThe Temptress Elena Niblo, FredFred Niblo Moreno, AntonioAntonio Moreno Mauritz Stiller (Garbo's Swedish mentor) was originally assigned to direct; his directing methods and personality led to conflicts with MGM producer Irving Thalberg who fired him.
1926 Flesh and the Devil Felicitas Brown, ClarenceClarence Brown Gilbert, JohnJohn Gilbert First of seven Garbo movies directed by Clarence Brown and first of four with co-star John Gilbert
1927 Love Anna Karenina Goulding, EdmundEdmund Goulding Gilbert, JohnJohn Gilbert Adapted from the novel Anna Karenina by Tolstoy
1928 Divine Woman, TheThe Divine Woman Marianne Seastrom, VictorVictor Seastrom Hanson, LarsLars Hanson Only a 9 minute reel exists.
1928 Mysterious Lady, TheThe Mysterious Lady Tania Fedorova Niblo, FredFred Niblo Nagel, ConradConrad Nagel
1928 Woman of Affairs, AA Woman of Affairs Diana Merrick Furness Brown, ClarenceClarence Brown Gilbert, JohnJohn Gilbert The first of seven Garbo films with actor Lewis Stone who, with the exception of Wild Orchids, played secondary roles.
1929 Wild Orchids Lillie Sterling Franklin, SidneySidney Franklin Asther, NilsNils Asther
1929 Single Standard, TheThe Single Standard Arden Stuart Hewlett Robertson, John S.John S. Robertson Asther, NilsNils Asther,
Brown, John MackJohn Mack Brown
1929 Kiss, TheThe Kiss Irene Guarry Feyder, JacquesJacques Feyder Nagel, ConradConrad Nagel Garbo's, and MGM's, last silent picture
1930 Anna Christie Anna Christie Brown, ClarenceClarence Brown Bickford, CharlesCharles Bickford,
Dressler, MarieMarie Dressler		 Garbo's first talkie and first Academy Award nomination for Best Actress
1930 Romance Madame Rita Cavallini Brown, ClarenceClarence Brown Gordon, GavinGavin Gordon Nominated—Academy Award for Best Actress
1930 Anna Christie Anna Christie Feyder, JacquesJacques Feyder Junkermann, HansHans Junkermann,
Viertel, SalkaSalka Viertel		 MGM's German version of Anna Christie was also released in 1930; Salka Viertel, Garbo's close friend, later co-wrote several of her screenplays.
1931 Inspiration Yvonne Valbret Brown, ClarenceClarence Brown Montgomery, RobertRobert Montgomery
1931 Susan Lenox (Her Fall and Rise) Susan Lenox Leonard, Robert Z.Robert Z. Leonard Gable, ClarkClark Gable
1931 Mata Hari Mata Hari Fitzmaurice, GeorgeGeorge Fitzmaurice Novarro, RamonRamon Novarro After the multi-star Grand Hotel, Garbo's highest grossing film
1932 Grand Hotel Grusinskaya Goulding, EdmundEdmund Goulding Barrymore, JohnJohn Barrymore,
Barrymore, LionelLionel Barrymore,
Crawford, JoanJoan Crawford,
Beery, WallaceWallace Beery
1932 As You Desire Me Zara aka Marie Fitzmaurice, GeorgeGeorge Fitzmaurice Douglas, MelvynMelvyn Douglas,
Stroheim, Erich vonErich von Stroheim		 First of three movies with Douglas
1933 Queen Christina Queen Christina Mamoulian, RoubenRouben Mamoulian Gilbert, JohnJohn Gilbert
1934 Painted Veil, TheThe Painted Veil Katrin Koerber Fane Boleslavski, RichardRichard Boleslavski Brent, GeorgeGeorge Brent
1935 Anna Karenina Anna Karenina Brown, ClarenceClarence Brown March, FredricFredric March New York Film Critics Circle Award for Best Actress
1936 Camille Marguerite Gautier Cukor, GeorgeGeorge Cukor Taylor, RobertRobert Taylor New York Film Critics Circle Award for Best Actress
National Board of Review Best Acting Award
Nominated—Academy Award for Best Actress
1937 Conquest Countess Marie Walewska Brown, ClarenceClarence Brown Boyer, CharlesCharles Boyer
1939 Ninotchka Nina Ivanovna "Ninotchka" Yakushova Lubitsch, ErnstErnst Lubitsch Douglas, MelvynMelvyn Douglas National Board of Review Best Acting Award
Nominated—Academy Award for Best Actress
Nominated—New York Film Critics Circle Award for Best Actress
1941 Two-Faced Woman Karin Borg Blake Cukor, GeorgeGeorge Cukor Douglas, MelvynMelvyn Douglas National Board of Review of Motion Pictures Best Acting Award

[edit] References

  1. ^ a b Paris 1994, pp. 570–573.
  2. ^ a b Vieira 2005, p. 38.
  3. ^ Ware, Susan; Braukman, Stacy Lorraine; Radcliffe Institute for Advanced Study (2004). Notable American Women: A Biographical Dictionary: Completing the Twentieth Century. Cambridge, MA: Harvard University Press. pp. 227–228. ISBN 978-0-674-01488-6. http://books.google.com/?id=WSaMu4F06AQC&pg=PA227. Retrieved 24 July 2010. 
  4. ^ Sjölander, Ture (1971). Garbo. New York: Harper & Row. pp. 12–13. ISBN 978-0-06-013926-1. http://books.google.com/?id=YksqAQAAIAAJ. Retrieved 24 July 2010. 
  5. ^ Furhammar, Leif; Svenska filminstitutet (1991) (in Swedish). Filmen i Sverige: en historia i tio kapitel. Höganäs: Wiken. p. 129. ISBN 978-91-7119-517-3. http://books.google.com/?id=0l5ZAAAAMAAJ. Retrieved 24 July 2010. 
  6. ^ Souhami 1994, p. 64.
  7. ^ "Karl Alfred Gustafsson". Retrieved 7 December 2010.
  8. ^ a b Bainbridge 1955b, p. 76.
  9. ^ D'Amico, Silvio (1962) (in Italian). Enciclopedia dello spettacolo. Rome: Casa editrice Le Maschere. p. 901. http://books.google.com/?id=PfiEKHZLfRMC. Retrieved 25 July 2010. 
  10. ^ (in Swedish)Lektyr 9 (3). 17. 
  11. ^ Liberty. Liberty Library Corporation. 1974. pp. 27–31 & 54–57. http://books.google.com/books?id=vQYAAAAAMBAJ&pg=PA57. Retrieved 4 August 2010. [dead link]
  12. ^ Biery 1928a. I hated school. I hated the bonds they put on me. There were so many things outside. I liked history best but I was afraid of the map - geography you call it. But I had to go to go to school like other children. The public school, just as you have in this country.
  13. ^ "After Twelve Years Greta Garbo Wants to Go Home to Sweden". Life: p. 81. 8 November 1937. http://books.google.com/books?id=kD8EAAAAMBAJ&pg=PA81. Retrieved 4 August 2011. 
  14. ^ Biery 1928a. I didn't play much. Except skating and skiing and throwing snowballs. I did most of my playing by thinking. I played a little with my brother and sister, pretending we were in shows. Like other children. But usually I did my own pretending. I was up and down. Very happy one moment, the next moment – there was nothing left for me.
  15. ^ Swenson 1997, p. 25.
  16. ^ a b Biery 1928a. Then I found a theater. I must have been six or seven. Two theaters, really. One was a cabaret; one a regular theater, – across from one another. And there was a back porch to both of them. A long plank on which the actors and actresses walked to get in the back door. I used to go there at seven o'clock in the evening, when they would be coming in, and wait until eight-thirty. Watch them come in; listen to them getting ready. The big back door was always open even in the coldest weather. Listen to their voices doing their parts in the productions. Smell the grease paint! There is no smell in the world like the smell of the backyard of a theater. No smell that will mean as much to me – ever. Night after night, I sat there dreaming. Dreaming when I would be inside – getting ready.
  17. ^ Swenson 1997, p. 26.
  18. ^ Biery 1928a. When I wasn't thinking, wasn't wondering what it was all about, this living; I was dreaming. Dreaming how I could become a player.
  19. ^ Jean Lacouture (1999) (in French). Greta Garbo: La Dame aux Caméras. Paris: Liana Levi. p. 22. ISBN 978-2-86746-214-6. http://books.google.com/books?id=09EaAQAAIAAJ. Retrieved 6 August 2010. 
  20. ^ Robert Payne (November 1976). The Great Garbo. London: W. H. Allen. p. 22. ISBN 978-0-491-01538-7. http://books.google.com/books?id=_cxZAAAAMAAJ. Retrieved 4 August 2010. "In June 1919 she left school, and never returned." 
  21. ^ Swenson 1997, p. 32.
  22. ^ a b Parish, James Robert (4 August 2007). The Hollywood Book of Extravagance: The Totally Infamous, Mostly Disastrous, and Always Compelling Excesses of America's Film and TV Idols. Hoboken, NJ: John Wiley and Sons. p. 76. ISBN 978-0-470-05205-1. http://books.google.com/books?id=CJS5RL7eqdsC&pg=PA76. Retrieved 4 August 2010. 
  23. ^ NYTimes 1990.
  24. ^ Swensen 1997, p. 36.
  25. ^ Paris 1994, p. 26.
  26. ^ Paris 1994, p. 34.
  27. ^ Paris 1994, pp. 54–61.
  28. ^ Paris 1994, pp. 67–69.
  29. ^ Swenson 1997, pp. 72–74.
  30. ^ Paris 1994, pp. 80–83.
  31. ^ Paris 1994, p. 84.
  32. ^ Swenson 1997, p. 85.
  33. ^ Wollstein, Hans J. (1994). Strangers in Hollywood: The History of Scandinavian Actors in American Films from 1910 to World War II. Metuchen, NJ: Scarecrow Press. p. 95. ISBN 978-0-8108-2938-1. http://books.google.com/?id=EPkqAQAAIAAJ. Retrieved 20 July 2010. 
  34. ^ Katchmer, George A. (1991). Eighty Silent Film Stars: Biographies and Filmographies of the Obscure to the Well Known. Jefferson, NC: McFarland. p. 193. ISBN 978-0-89950-494-0. http://books.google.com/?id=xWlZAAAAMAAJ. Retrieved 20 July 2010. 
  35. ^ Walker, Alexander; Metro-Goldwyn-Mayer (October 1980). Garbo: A Portrait. New York: Macmillan. p. 41. ISBN 978-0-02-622950-0. http://books.google.com/?id=nmZZAAAAMAAJ. Retrieved 20 July 2010. 
  36. ^ Jacobs, Lea (2 April 2008). The Decline of Sentiment: American Film in the 1920s. Berkeley: University of California Press. pp. 258–9. ISBN 978-0-520-25457-2. http://books.google.com/?id=liWiBnpjpOsC&pg=PA258. Retrieved 20 July 2010. 
  37. ^ "The Torrent Review". Variety. 1 January 1926. http://www.variety.com/review/VE1117795813.html?categoryid=31&cs=1. Retrieved 20 July 2010. "Greta Garbo, making her American debut as a screen star, has everything with looks, acting ability and personality. When one is a Scandinavian and can put over a Latin characterization with sufficient power to make it most convincing, need there be any more said regarding her ability? She makes The Torrent worthwhile." 
  38. ^ Hall, Hadaunt (22 February 1926). "A New Swedish Actress". The New York Times. http://movies.nytimes.com/movie/review?_r=1&res=990CE3D91231EE3ABC4A51DFB466838D639EDE. Retrieved 20 July 2010. "In this current effort Greta Garbo, a Swedish actress, who is fairly well known in Germany, makes her screen bow to American audiences. As a result of her ability, her undeniable prepossessing appearance and her expensive taste in fur coats, she steals most of the thunder in this vehicle" 
  39. ^ Billquist, Fritiof (1960). Garbo: A Biography. New York: Putnam. p. 106. OCLC 277166. http://books.google.com/?id=b8xZAAAAMAAJ. Retrieved 20 July 2010. 
  40. ^ Rivera-Viruet, Rafael J.; Resto, Max (2008). Hollywood... Se Habla Español: Hispanics in Hollywood Films ... Yesterday, today and tomorrow. New York: Terramax Entertainment. pp. 31–37. ISBN 978-0-9816650-0-9. http://books.google.com/?id=hk52WGdUmbEC&pg=PA37. Retrieved 20 July 2010. 
  41. ^ Thomsen, Bodil Marie (1997) (in Danish). Filmdivaer: Stjernens figur i Hollywoods melodrama 1920–40. [Anmeldelse]. Copenhagen: Museum Tusculanum Press. p. 129. ISBN 978-87-7289-397-6. http://books.google.com/?id=MQ1kx9DiVOoC&pg=PA129. Retrieved 20 July 2010. 
  42. ^ Flamini, Roland (22 February 1994). Thalberg: The Last Tycoon and the World of M-G-M. New York: Crown Publishers. ISBN 978-0-517-58640-2. http://books.google.com/?id=A3pZAAAAMAAJ. Retrieved 20 July 2010. 
  43. ^ Bainbridge 1955, p. 92.
  44. ^ Biery 1928c. Mr. Stiller is an artist. He does not understand about the American factories. He has always made his own pictures in Europe, where he is the master. In our country it is always the small studio. He does not understand the American Business. He could speak no English. So he was taken off the picture. It was given to Mr. Niblo. How I was broken to pieces, nobody knows. I was so unhappy I did not think I could go on.
  45. ^ Golden, Eve (2001). Golden images: 41 essays on silent film stars. Jefferson, NC: McFarland. p. 106. ISBN 978-0-7864-0834-4. http://books.google.com/?id=gzycn1tYydAC&pg=PA106. Retrieved 20 July 2010. 
  46. ^ a b Vieira, Mark A. (2009-11-15). Irving Thalberg: Boy Wonder to Producer Prince. Berkeley: University of California Press. p. 67. ISBN 978-0-520-26048-1. http://books.google.com/?id=qU52u5-ObHUC&lpg=PA67&pg=PA67. Retrieved 2010-07-22. 
  47. ^ Koszarski, Richard (4 May 1994). An Evening's Entertainment: The Age of the Silent Feature Picture, 1915–1928. History of the American Cinema. Berkeley: University of California Press. p. 253. ISBN 978-0-520-08535-0. http://books.google.com/?id=PLUbxH1_PREC&pg=PA253. Retrieved 20 July 2010. 
  48. ^ Brown, John Mason (1965). The worlds of Robert E. Sherwood: Mirror to His Times, 1896–1939. New York: Harper & Row. ISBN 978-0-313-20937-6. http://books.google.com/?id=G46wAAAAIAAJ. Retrieved 20 July 2010. "I want to go on record as saying that Greta Garbo in The Temptress knocked me for a loop. I had seen Miss Garbo once before, in The Torrent. I had been mildly impressed by her visualeffectiveness. In The Temptress, however, this effectiveness proves positively devastating. She may not be the best actress on the screen. I am powerless to formulate an opinion on her dramatic technique. But there is no room for argument as to the efficacy of her allure... [She] qualifies herewith as the official Dream Princess of the Silent Drama Department of Life." 
  49. ^ Conway, Michael; McGregor, Dion; Ricci, Mark (1968). The Films of Greta Garbo. Secaucus, NJ: Citadel Press. p. 51. ISBN 978-0-86369-552-0. http://books.google.com/?id=WOZkAAAAMAAJ. Retrieved 20 July 2010. "Harriette Underhill in the New York Herald Tribune: 'This is the first time we have seen Miss Garbo and she is a delight to the eyes! We may also add that she is a magnetic woman and a finished actress. In fact, she leaves nothing to be desired. Such a profile, such grace, such poise, and most of all, such eyelashes. They swish the air at least a half-inch beyond her languid orbs. Miss Garbo is not a conventional beauty, yet she makes all other beauties seem a little obvious.'" 
  50. ^ Zierold, Norman J. (1969). Garbo. New York: Stein and Day. p. 164. ISBN 978-0-8128-1212-1. http://books.google.com/?id=1dEaAQAAIAAJ. Retrieved 20 July 2010. "'Greta Garbo vitalizes the name part of this picture. She is the Temptress. Her tall, swaying figure moves Cleopatra-ishly from delirious Paris to the virile Argentine. Her alluring mouth and volcanic, slumbrous eyes enfire men to such passion that friendships collapse.' Dorothy Herzog, New York Mirror (1926):" 
  51. ^ Hall, Morduant (11 October 1926). "The Temptress Another Ibanez Story". The New York Times. http://movies.nytimes.com/movie/review?res=9A07E2D9173CEE3ABC4952DFB667838D639EDE. Retrieved 20 July 2010. 
  52. ^ Paris 1994, p. 108.
  53. ^ Paris 1994, pp. 568–570.
  54. ^ Paris 1994, pp. 124–125.
  55. ^ Paris 1994, p. 121.
  56. ^ Crafton, Donald (1999-11-22). The Talkies: American Cinema's Transition to Sound, 1926–1931. History of the American Cinema. Berkeley: University of California Press. pp. 494–5. ISBN 978-0-520-22128-4. http://books.google.com/?id=KFB_oT-jupQC&pg=PA495. Retrieved 2010-07-17. "In December 1929, according to the volume of Photoplay fan mail (...) Garbo remained the leading female star." 
  57. ^ Crafton, Donald (1999-11-22). The Talkies: American Cinema's Transition to Sound, 1926–1931. History of the American Cinema. Berkeley: University of California Press. p. 295. ISBN 978-0-520-22128-4. http://books.google.com/?id=KFB_oT-jupQC&pg=PA295. Retrieved 2010-07-17. 
  58. ^ Limbacher, James L. (1968). Four Aspects of the Film. Aspects of film. New York: Brussel & Brussel. p. 219. ISBN 978-0-405-11138-9. http://books.google.com/?id=MaYfAQAAIAAJ. Retrieved 17 July 2010. 
  59. ^ Crafton, Donald (1999-11-22). The Talkies: American Cinema's Transition to Sound, 1926–1931. History of the American Cinema. Berkeley: University of California Press. pp. 206–7. ISBN 978-0-520-22128-4. http://books.google.com/?id=KFB_oT-jupQC&pg=PA206. Retrieved 2010-07-17. 
  60. ^ Vieira 2005, p. 100.
  61. ^ Paris 1994, pp. 301-320.
  62. ^ Vieira 2005, p. 111.
  63. ^ Vieira 2005, p. 161.
  64. ^ Paris 1994, pp. 572–573.
  65. ^ New York Times, The (16 April 1990). "Greta Garbo, 84, Screen Icon Who Fled Her Stardom, Dies". http://www.nytimes.com/learning/general/onthisday/bday/0918.html. Retrieved 10 January 2012. 
  66. ^ Paris 1994, p. 343.
  67. ^ Paris 1994, p. 285.
  68. ^ Vieira 2005, p. 183.
  69. ^ Vieira 2005, p. 181.
  70. ^ Vieira 2005, pp. 207→210.
  71. ^ Chandler 2010, p. 119.
  72. ^ a b Paris 1994, p. 573.
  73. ^ Bainbridge 1955c, p. 129.
  74. ^ a b Bainbridge 1955c, p. 130.
  75. ^ Reid, John Howard (January 2006). Cinemascope 3: Hollywood Takes the Plunge. Morrisville, NC: Lulu Press. p. 44. ISBN 978-1-4116-7188-1. http://books.google.com/?id=lmc4m9FNUAsC&pg=PA44. Retrieved 25 July 2010. 
  76. ^ Kellow, Brian (November 2004). The Bennetts: An Acting Family. Lexington: University Press of Kentucky. p. 338. ISBN 978-0-8131-2329-5. http://books.google.com/?id=QNjXg9x3A4MC&pg=PA338. Retrieved 25 July 2010. 
  77. ^ Forrest, Jennifer; Koos, Leonard R. (2002). Dead Ringers: The Remake in Theory and Practice. SUNY Series, Cultural Studies in Cinema/Video. Abany: State University of New York Press. pp. 151–152. ISBN 978-0-7914-5169-4. http://books.google.com/?id=R1CRyD4Bs44C&pg=PA151. Retrieved 25 July 2010. 
  78. ^ Alberge, Dalya (2005-08-20). "Why Garbo just wanted to be alone". The Times (London). http://www.timesonline.co.uk/tol/news/world/us_and_americas/article557183.ece. Retrieved 2010-07-22. 
  79. ^ "Garbo: A TCM Original Documentary". TurnerClassicMovies.com. Turner Classic Movies. 2009-11-12. http://www.tcm.com/tcmdb/title/633367/Garbo/articles.html. Retrieved 2010-07-24. 
  80. ^ NYTimes 1936. (Garbo) refused to write her name for autograph hunters or to pose for newsreels.
  81. ^ a b c Bainbridge 1955a, p. 12.
  82. ^ NYTimes 1936. A woman held out a letter of introduction she said was written by a mutual friend, and Garbo said coldly: "I never accept letters."
  83. ^ NYTimes 1990. Her penchant for privacy broke all of Hollywood's rules, said her biographer, John Bainbridge. Except at the start of her career, he wrote in Garbo, she "granted no interviews, signed no autographs, attended no premieres, answered no fan mail."
  84. ^ NYTimes 1936. For the first time since she achieved international eminence in the motion-picture world, Miss Garbo granted an interview to the press and received the reporters en masse in the smoking lounge while the ship was at Quarantine.
  85. ^ NYTimes 1990. In a rare statement to reporters she acknowledged, "I feel able to express myself only through my roles, not in words, and that is why I try to avoid talking to the press."
  86. ^ Gever, Martha (8 September 2003). Entertaining Lesbians: Celebrity, Sexuality, and Self-Invention. Cambridge: New York. p. 144. ISBN 978-0-415-94480-9. http://books.google.com/?id=YPGNJMWz2DIC&pg=PA144. Retrieved 2010-07-24. 
  87. ^ "AFI's 100 Years...100 Movie Quotes". http://www.afi.com/100years/quotes.aspx. Retrieved 2010-07-24. 
  88. ^ Knowles, Elizabeth M. (2006). What They Didn't Say: A Book of Misquotations. Oxford: Oxford University Press. p. 67. ISBN 978-0-19-920359-8. http://books.google.com/?id=0VwbAQAAIAAJ. Retrieved 2010-07-24. 
  89. ^ a b NYTimes 1990. A declaration often attributed to her was, "I want to be alone." Actually she said, "I want to be let alone."
  90. ^ a b Shapiro, Fred R., ed (2006). The Yale Book of Quotations. New Haven: Yale University Press. p. 299. ISBN 978-0-300-10798-2. http://books.google.com/?id=ck6bXqt5shkC&pg=PA299. Retrieved 2010-07-24. 
  91. ^ Paris 1994, pp. 5, 57, 156-158 passim.
  92. ^ Swenson 1997, p. 244, 508-509 passim.
  93. ^ a b Paris 1994.
  94. ^ Paris 1994, p. 445.
  95. ^ Swenson 1997.
  96. ^ Paris 1994, p. 506.
  97. ^ Swenson 1997, pp. 426–427.
  98. ^ a b Who's Who of American Women, 1983–1984. Berkeley Heights, NJ: Marquis Who's Who. December 1983. p. 279. ISBN 978-0-837-90413-9. http://books.google.com/?id=Cz2ppa_YfZ8C. Retrieved 2010-07-24. 
  99. ^ Kalins Wise, Dorothy (1968-05-20). "Appraising the Most Expensive Apartment Houses in the City". New York (New York Media) 1 (7): 18. ISSN 0028-7369. http://books.google.com/?id=meECAAAAMBAJ&pg=PA18. Retrieved 2010-07-24. 
  100. ^ "People, Mar. 1, 1971". Time. 1 March 1971. http://www.time.com/time/magazine/article/0,9171,878913,00.html. Retrieved 26 July 2010. "Hardly since General Douglas MacArthur's 'I shall return' has so momentous a comeback loomed. According to Italian Cinema Director Luchino Visconti, fabled Film Star Greta Garbo, 65, who has been dodging cameras for 30 years, has actually asked to play in his forthcoming movie version of Marcel Proust's seven-volume Remembrance of Things Past. The role that caught her fancy: Maria Sophia, the sixtyish Queen of Naples, who will have only one scene. Nothing has been signed as yet, but Visconti sounded as if Garbo's reappearance was already a fait accompli. Said he: 'I am very pleased at the idea that this woman, with her severe and authoritarian presence, should figure in the decadent and rarefied climate of the world described by Proust.'" 
  101. ^ Parish, James Robert; Bowers, Ronald L. (1973). The MGM Stock Company: The Golden Era. London: Allan. p. 241. ISBN 978-0-7110-0501-3. http://books.google.com/?id=GLRZAAAAMAAJ. Retrieved 26 July 2010. 
  102. ^ Beugnet, Martine; Schmid, Marion (2004). Proust at the Movies. Studies in European Cultural Transition. Aldershot: Ashgate Publishing. pp. 50 ff. ISBN 978-0-7546-3541-3. http://books.google.com/?id=jEtoof432j4C. Retrieved 26 July 2010. 
  103. ^ Bacon, Henry (1998). Visconti: Explorations of Beauty and Decay. Cambridge: Cambridge University Press. pp. 208 ff. ISBN 978-0-521-59960-3. http://books.google.com/?id=LDnVJpwFNVoC. Retrieved 26 July 2010. 
  104. ^ Paris 1994, pp. 506-511.
  105. ^ Paris 1994, pp. 537-538.
  106. ^ Mariani, John (1975-12-29). "The Greatest Movie Set Ever". New York Magazine (New York Media, LLC) 9 (1): 54. ISSN 0028-7369. http://books.google.com/?id=bOMCAAAAMBAJ&pg=PA54. Retrieved 2010-07-23. 
  107. ^ Paris 1994, pp. 495-505.
  108. ^ Swenson 1997, pp. 122–127, 129–135.
  109. ^ Paris 1994, pp. 121–126.
  110. ^ Paris 1994, p. 125.
  111. ^ Swenson 1997, p. 124.
  112. ^ Swenson 1997, pp. 457-460.
  113. ^ Swenson 1997, p. 460.
  114. ^ a b Swenson 1997, pp. 368–382.
  115. ^ Paris 1994, pp. 349–351, 353–355.
  116. ^ Swenson 1997, pp. 428–504.
  117. ^ Paris 1994, pp. 412–552.
  118. ^ Paris 1994, p. 249.
  119. ^ Swenson 1997, pp. 491–493.
  120. ^ a b Vickers 1994.
  121. ^ Paris 1994, pp. 251–255.
  122. ^ Vieira 2005, p. 26.
  123. ^ Brooks, Louise; Jaccard, Roland (1976) (in French). Louise Brooks: Portrait d'une anti star [Louise Brooks: Portrait of an Anti-star]. Paris: Phébus. ISBN 978-2-8594-0012-5. 
  124. ^ Paris 1994, pp. 259–264.
  125. ^ Swenson 1997, p. 249.
  126. ^ Swenson 1997, pp. 381, 511.
  127. ^ Swenson 1997, p. 515.
  128. ^ Smith, Alex Duval (10 September 2005). "Lonely Garbo's love secret is exposed". The Observer (London). http://www.guardian.co.uk/world/2005/sep/11/film.filmnews. Retrieved 17 November 2011. 
  129. ^ Swenson 1997, p. 542.
  130. ^ Swenson 1997, p. 549.
  131. ^ Greg Gibson (3 January 2009). It Takes a Genome: How a Clash Between Our Genes and Modern Life Is Making Us Sick. Upper Saddle River, NJ: FT Press. p. 20. ISBN 978-0-13-713746-6. http://books.google.com/?id=QsKnJf6PBFsC&pg=PA20. Retrieved 2010-07-24. "The list of famous women who have had breast cancer..." 
  132. ^ Becky Ohlsen (2004). Stockholm. Melbourne: Lonely Planet. p. 86. ISBN 978-1-74104-172-9. http://books.google.com/?id=skJHrgPELxUC&pg=PA86. Retrieved 2010-07-24. "The Unesco World Heritage-listed graveyard Skogskyrkogården ... is also known as the final resting place of Hollywood actress Greta Garbo" 
  133. ^ Paris 1994, p. 541.
  134. ^ Kennedy, Matthew (1999). Marie Dressler: A Biography, With a Listing of Major Stage Performances, a Filmography and a Discography. Jefferson, NC: McFarland. p. 154. ISBN 978-0-7864-0520-6. http://books.google.com/?id=ahLtE77jYjYC&pg=PA154. Retrieved 25 July 2010. 
  135. ^ "1929–30 Academy Awards Winners and History". http://www.filmsite.org/aa29.html. Retrieved 23 July 2010. "For the first and only time in Academy history, multiple nominations were permitted for individual categories (notice that George Arliss defeated himself in the Best Actor category). [With a change of rules, this would be the last year in which performers could be nominated for roles in more than one film.]" 
  136. ^ a b Levy, Emanuel (14 January 2003). All about Oscar: The History and Politics of the Academy Awards. New York: Continuum International Publishing Group. pp. 329. ISBN 978-0-8264-1452-6. http://books.google.com/?id=dH2Lb_YhIhAC&pg=PA328. Retrieved 25 July 2010. 
  137. ^ Parish, James Robert; Stanke, Don E. (1975). The Debonairs. New Rochelle, NY: Arlington House. p. 95. ISBN 978-0-87000-293-9. http://books.google.com/?id=9XtZAAAAMAAJ. Retrieved 25 July 2010. 
  138. ^ "The Official Academy Awards Database". http://awardsdatabase.oscars.org/ampas_awards/BasicSearchInput.jsp. Retrieved 13 July 2010. 
  139. ^ "People, Jan. 11, 1937". Time. 11 January 1937. http://www.time.com/time/magazine/article/0,9171,757280,00.html. Retrieved 24 July 2010. "In Council of State King Gustaf of Sweden decorated Cinemactress Greta Garbo with the nation's gold medal litteris et artibus, highest Swedish award for artistic achievement." 
  140. ^ "Cinema: Best of the Half-Century". Time. 6 March 1950. http://www.time.com/time/magazine/article/0,9171,858696,00.html. Retrieved 14 July 2010. 
  141. ^ "Greta Garbo Honored". The New York Times: p. 17. 3 November 1983. http://www.nytimes.com/1983/11/03/arts/greta-garbo-honored.html. Retrieved 25 July 2010. "Greta Garbo was made a Commander of the Swedish Order of the North Star yesterday by order of King Carl XVI Gustaf, the King of Sweden. The private ceremony in the New York home of Mrs. Jane Gunther was also attended by Mr. and Mrs. Sydney Gruson. The honor, extended only to foreigners, was presented to Miss Garbo by Count Wilhelm Wachtmeister, the Swedish Ambassador to the United States, in recognition of the actress's distinguished service to Sweden. Miss Garbo, born in Stockholm, is now an American citizen." 
  142. ^ "AFI's 100 Years, 100 Stars, Greatest Film Star Legends". American Film Institute. 16 June 1999. Archived from the original on 22 August 2008. http://web.archive.org/web/20080822055357/http://www.afi.com/tvevents/100years/stars.aspx. Retrieved 23 January 2011. 
  143. ^ Petrucelli, Alan W. (9 September 2007). "Garbo's lonely legacy: Seeking the actress's final resting place". Pittsburgh Post-Gazette. http://www.postgazette.com/pg/07252/815281-37.stm. Retrieved 25 July 2010. 
  144. ^ Reynolds, Elisabeth (2 November 2005). "Greta Garbo Returns". The Epoch Times. http://en.epochtimes.com/news/5-11-2/34045.html. Retrieved 25 July 2010. 
  145. ^ Callahan, Dan (7 September 2005). "DVD Review: Garbo – The Signature Collection". Slant Magazine. http://www.slantmagazine.com/dvd/review/garbo-the-signature-collection/746. Retrieved 25 July 2010. 
  146. ^ Healey, Matthew (17 September 2005). "Arts, Briefly; Another Garbo Role". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9C07E5DD1F31F934A2575AC0A9639C8B63&scp=3&st=nyt#. Retrieved 17 July 2010. 
  147. ^ "Greta Garbo Has Starring Role on U.S. Postal Stamp" (Press release). United States Postal Service. 25 September 2005. http://www.usps.com/communications/news/stamps/2005/sr05_045.htm. Retrieved 9 September 2008. "...the U.S. Postal Service and Sweden Post jointly issued two commemorative postage stamps bearing her likeness. Both stamps, issued near what would have been her 100th birthday, are engravings based on a 1932 photograph..." 
  148. ^ ed. William J. Gicker (2006). "Greta Garbo 37¢" (print). USA Philatelic 11 (3): 12. 
  149. ^ "Sweden's new banknotes and coins". Stockholm: Sveriges Riksbank. 6 April 2011. http://www.riksbank.com/templates/Page.aspx?id=46685. Retrieved 6 April 2011. 
  150. ^ Paris 1994, p. 4.
  151. ^ Vieira 2005, p. 6.
  152. ^ Vieira 2005, p. 7.
  153. ^ Barnes, Bart (16 April 1990). "Glory That Was Garbo; An Unparalleled Career and a Permanent Place in the Screen Pantheon". The Washington Post.  }}
  154. ^ a b Vance, Jeffrey (2005). The Mysterious Lady, The Garbo Silents Collection: Audio commentary, DVD; Disk 1/3. (TCM Archives).
  155. ^ Stevenson, Swanson (27 October 2005). "A Century After Her Birth, Greta Garbo’s Allure Lives On.". Chicago Tribune.  }}
  156. ^ Paris 1994, p. 178.
  157. ^ Barnes, Bart (16 April 1990). "Glory That Was Garbo; An Unparalleled Career and a Permanent Place in the Screen Pantheon". The Washington Post. 
  158. ^ New York Times, The (16 April 1990). "Greta Garbo, 84, Screen Icon Who Fled Her Stardom, Dies". http://www.nytimes.com/learning/general/onthisday/bday/0918.html. Retrieved 10 January 2012. 
  159. ^ a b Vieira 2005, pp. 6-8.
  160. ^ Barnes, Bart (16 April 1990). The Washington Post. 
  161. ^ O'Connor, John J. (3 December 1990). "Reviews/Television; A Life of Garbo, Mostly Through Films". The New York Times. http://www.nytimes.com/1990/12/03/arts/reviews-television-a-life-of-garbo-mostly-through-films.html. Retrieved 19 August 2011. 
  162. ^ "'Biography' Greta Garbo: The Mysterious Lady". IMDB. http://www.imdb.com/title/tt0411067/combined. Retrieved 6 August 2011. 
  163. ^ Linan, Steven (4 September 2011). "'Garbo' Paints a Full Portrait of Star". Los Angeles Times. http://articles.latimes.com/2001/sep/04/entertainment/ca-41799. Retrieved 16 August 2011. 
  164. ^ "TCM offers close-up of silent star Garbo". Associated Press. 6 September 2005. http://articles.boston.com/2005-09-06/ae/29221217_1_kevin-brownlow-greta-garbo-mysterious-star. Retrieved 8 January 2012. 
  165. ^ Katz, Ephraim (1979). The Film Encyclopedia: The Complete Guide to Film and the Film Industry (1st ed.). New York: Thomas Y. Crowell Co.. p. 465. ISBN 978-0-690-01204-0. 
  166. ^ Davis, Bette (1990) [1962]. The Lonely Life. New York: Berkley Books. p. 116. ISBN 978-0-425-12350-8. 
  167. ^ Long, Robert Emmet (2001). George Cukor: Interviews. Conversations with Filmmakers. Jackson: University Press of Mississippi. p. 47. ISBN 978-1-57806-387-1. 
  168. ^ a b c The Saga of Gosta Berling (DVD). New York: Kino International. 2006. UPC 738329046927. http://www.kino.com/video/item.php?product_id=943. 

[edit] Bibliography

[edit] External links

Wikimedia Commons has media related to: Greta Garbo
Wikiquote has a collection of quotations related to: Greta Garbo
Male Legends
Female Legends

Retrieved from "http://en.wikipedia.org/w/index.php?title=Greta_Garbo&oldid=474685428"
Personal tools
Namespaces
Variants
Actions
Navigation
Interaction
Toolbox
Print/export
Languages