Greta garbo biography filmography of actor

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Nationality: American. Born: Greta Lovisa Gustafsson in Stockholm, Sverige, 18 September 1905; became U.S. citizen, 1951. Education: Attended Wife Elementary School; Royal Dramatic Music- hall School, Stockholm, 1922–24. Career: Laid hold of as latherer in barber betray, clerk in Bergstrom's department retailer, and model;


appeared in advertising cinema for PUB and Cooperative Brotherhood of Stockholm; 1921—film debut sort extra in A Fortune Hunter; 1923—cast by the director Mauritz Stiller in Gösta Berlings Saga; appeared in several other cinema by him, and went market him to Hollywood; 1925–41—contract sure of yourself MGM, becoming leading Hollywood ep actress, first in silent flicks, then, following Anna Christie, 1930, in sound films; 1941—last vinyl, Two-Faced Woman.

Awards: Best Sportsman, New York Film Critics, tend Anna Karenina, 1935, for Camille, 1937; Honorary Academy Award, "for her unforgettable screen performances," 1954. Died: In New York, 15 April 1990.

Films as Actress:

1921

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

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

1922

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

1924

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

1925

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

1926

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

1927

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

1928

The Divine Woman (Seastrom) (as Marianne); The Sphinx-like Lady (Niblo) (as Tania); A Woman of Affairs (Brown) (as Diana Merrick)

1929

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

1930

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

1931

Inspiration (Brown) (as Yvonne); Susan Lenox: Her Chute and Rise (The Rise make out Helga) (Leonard) (title role)

1932

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

1933

Queen Christina (Mamoulian) (title role)

1934

The Stained Veil (Boleslawski) (as Katrin)

1935

Anna Karenina (Brown) (title role)

1937

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

1939

Ninotchka (Lubitsch) (title role)

1941

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

Publications

By GARBO: articles—

"What the Public Wants," pulsate Saturday Review (New York), 13 June 1931.

Article by Greta Actress and Ernst Lubitsch, in New York Times, 22 October 1939.

"Garbo," interview with A.

Gronowicz, well-heeled Journal of Popular Culture, Season 1968.

"Ma vie d'artiste," reprinted punishment 1930 Ciné-Magazine, in Avant-Scène armour Cinéma (Paris), 15 March 1981.

"Portion of memoirs," in Avant-Scène buffer Cinéma (Paris), 15 March 1981.

On GARBO: books—

Palmborg, Rilla Page, The Private Life of Greta Garbo, New York, 1931.

Wild, Roland, Greta Garbo, London, 1933.

Laing, E.

E., Greta Garbo: The Story selected a Specialist, London, 1946.

Bainbridge, Can, Garbo, New York, 1955.

Wallin, Toilet, Garbo en stjärnas väg, Stockholm, 1955.

Billquist, Fritiof, Garbo: A Biography, New York, 1960.

Conway, Michael, Dion McGregor, and Marc Ricci, The Films of Greta Garbo, Pristine York, 1963.

Durgnat, Raymond, and Toilet Kobal, Greta Garbo, New Dynasty, 1965.

Zierold, Norman, Garbo, New Dynasty, 1969.

Ture, Sjolander, Garbo, New Dynasty, 1971.

Rosen, Marjorie, Popcorn Venus, In mint condition York, 1973.

Corliss, Richard, Greta Garbo, New York, 1974.

Affron, Charles, Star Acting: Gish, Garbo, Davis, Recent York, 1977.

Sands, Frederick, and Sven Broman, The Divine Garbo, Latest York, 1979.

Walker, Alexander, Greta Garbo: A Portrait, New York, 1980.

Linton, George, Greta Garbo, Paris, 1981.

Brion, Patrick, Garbo, Paris, 1985.

Agel, Henri, Greta Garbo, Paris, 1990.

Broman, Sven, Greta Garbo berattar, Stockholm, 1990; published as Conversations with Greta Garbo, New York, 1992.

Gronowicz, Antoni, Garbo: Her Story, New Royalty, 1990.

Haining, Peter, The Legend garbage Garbo, London, 1990.

Bunsch, Iris, Three Female Myths of the Ordinal Century: Garbo, Callas, Navratilova, Newborn York, 1991.

Krutzen, Michaela, The Height Beautiful Woman on the Screen: The Fabrication of the Knowhow Greta Garbo, Frankfurt, 1992.

Paris, Barry, Garbo: A Biography, New Royalty, 1993.

Souhami, Diana, Greta and Cecil, San Francisco, 1994.

Vickers, Hugo, Loving Garbo: The Story of Greta Garbo, Cecil Beaton, and Mercedes de Acosta, New York, 1994.

On GARBO: articles—

Tully, Jim, "Greta Garbo," in Vanity Fair (New York), June 1928.

Virgilia, S., "Greta Garbo," in New Yorker, 7 Hike 1931.

Booth, Clare, "The Great Garbo," in Vanity Fair (New York), February 1932.

Maxwell, Virginia, "The Graceful Story behind Garbo's Choice manipulate Gilbert," in Photoplay (New York), January 1934.

Canfield, M.

C., "Letter to Garbo," in Theatre Arts (New York), December 1937.

Huff, Theodore, "The Career of Greta Garbo," in Films in Review (New York), December 1951.

Tynan, Kenneth, "Garbo," in Sight and Sound (London), Spring 1954.

Current Biography 1955, Fresh York, 1955.

Idestam-Almquist, Bengt, "The Workman Who Found Garbo," in Films and Filming (London), August 1956.

Fleet, S., "Garbo: The Lost Star," in Films and Filming (London), December 1956.

Barthes, Roland, "The Features of Garbo," in Mythologies, Town, 1957; London, 1972.

Brooks, Louise, "Gish and Garbo—The Executive War phrase Stars," in Sight and Sound (London), Winter 1958–59.

Whitehall, Richard, "Garbo—How Good Was She?," in Films and Filming (London), September 1963.

Nordberg, Carl Eric, "Greta Garbo's Secret," in Film Comment (New York), Summer 1970.

Culff, Robert, "Greta Garbo's Hollywood Silents," in Silent Picture (London), Autumn 1972.

Thomson, D., "Waiting for Garbo," in American Film (Washington, D.C.), October 1980.

Corliss, Richard, "Greta Garbo," in The Dusting Star, edited by Elisabeth Weis, New York, 1981.

Lloyd, A., "Stars Oscar Forgot: Greta Garbo," scuttle Films and Filming (London), Might 1984.

Lubitsch, Ernst, "Mon travail avec Greta Garbo," in Positif (Paris), June 1985.

Matthews, Peter, "Garbo ray Phallic Motherhood: A 'Homosexual' Optic Economy," in Screen (London), vol.

29, no. 3, Summer 1988.

Cohn, Lawrence, "Garbo, Screen's Classiest Circe, Dies at 84," obituary find guilty Variety (New York), 18 Apr 1990.

"Garbo Dies," obituary in New Republic, 7 May 1990.

Kauffman, Artificer, "Greta Garbo," in New Republic, 21 May 1990.

Horton, Robert, "The Mysterious Lady," in Film Comment (New York), July/August 1990.

Norman, Barry, in Radio Times (London), 20 April 1991.

Horan, G., "Greta Garbo: The Legendary Star's Secret Park in New York," in Architectural Digest (Los Angeles), April 1992.

Golden, Eve, "Garbo: the Mysterious Lady," in Classic Images (Muscatine), June 1994.

Norman, Barry, in Radio Times (London), 24 September 1994.

Desjardins, Agreeable, "Meeting Two Queens: Feminist Film-making, Identity Politics, and the Sensational Fantasy," in Film Quarterly (Berkeley), Spring 1995.

Jastermsky, K., "And Take to mean a Moment I Saw Personally In You," in Michigan Serial Review, no.

1, 1996.

Nosferatu (San Sebastian), January 1997.

Levy, S., "Greta Garbo in Anna Christie," contain Movieline (Escondido), March 1997.

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Peter Matthews describes, in "Garbo and Phallic Motherhood: A 'Homosexual' Visual Economy," that a exposure reproduced in Photoplay in goodness early 1930s shows "Garbo's endure in enormous closeup, a chalkwhite oval emerging from a policy of undifferentiated blackness, disembodied .

. . as a model of iconic mask, an spookily suspended object of desire." In return mystique, her unknowability, prevalent both on screen and in authentic life, daunts and haunts mistiness viewers long after her indeed retirement into absolute seclusion.

George Cukor recalled that Irving Thalberg visited the set of Camille about the first days of shrewd, glanced around, and expressed themselves as well satisfied with justness young director's skill in employment MGM's premier star.

"How could you know?" Cukor asked, additional Thalberg, indicating the actress session silent and alone between takes, said "Look at her. She's unguarded."

Garbo unguarded was a infrequent commodity. For a decade, MGM strip-teased the star that turn down admirers saw as the outline of restraint, dignity, and unconfirmed emotion, selling Anna Christie go one better than the slogan "Garbo Talks!" current Ninotchka with "Garbo Laughs!" While in the manner tha, years later, a publicist known his authorship of the spatter slogan to her, she held moodily, "How can you condone yourself?"

It is debatable as provision what extent the Garbo save was a pose; she haw have had nothing to aver.

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She never married, direct her relationships were limited topmost private. That she was, regard most stars, a woman fit in whom sexual appetite was dull important than fame, is great enough. But long before magnanimity solipsism of meditation and character "Me Decade," Garbo, a zealot for health foods and rigorous living, found contentment in restraint.

Her strong following in Europe—always higher quality than in the United States—encouraged MGM to cast her answer period roles.

They obscure coffee break standing as the first mass modern of the cinema—the free woman, surrendering to passion surpass choice, but resigned always on two legs repentance at leisure. Her outshine films are set in that century. Wild Orchids, with secure silky shadowed textures of boss fantasy Asia, is a coating of immediate eroticism, a cartoon sculpture in Art Deco, be proof against so successful that MGM exhausted to repeat the effect make happen The Painted Veil five ripen later.

Feyder's courtroom melodrama The Kiss, and the splintered realism be beneficial to Anna Christie, with Garbo's bristly drawl successfully evoking the Strindbergian squalor of O'Neill's original, utterly express their time.

Even coquettish Ramon Navarro (in Mata Hari) into blowing out the votive candle that will signify crown surrender, or prowling the nightspot stage, crop-haired and draped join black, for the travesty innumerable Pirandello's As You Desire Me, Garbo is as contemporary likewise Brando or Streep.

Of the stretch of time films, few stand the complex of repeated viewing.

Under rank influence of New York concentration directors such as Cukor, stall emigrés such as Lubitsch accept Garbo's tame writer Salka Viertel, Garbo declined into a satire of the Continental heroine. Camille and Conquest offer little however elaborate tableaux morts, triumphs luggage compartment decorators and the close-up jumped-up who scrutinized each shot en route for inappropriate indications of modernity defeat emotion.

Garbo among the curios of Camille is a abandoned fish gasping for life. Contain Conquest she faces Boyer's Bonaparte with an upper lip thumb less stiff than Clive Brook's in Shanghai Express. Surrounded give it some thought these films by waxworks specified as Henry Stephenson, an derogatory Lewis Stone, and the German correctness of Basil Rathbone, authority vivid, living Garbo was overshadowed, extinguished.

She is better deduct the least of her advanced films: despite being physically inappropriate to the role as swell ballerina in Grand Hotel, she achieves the poignancy of trig woman betrayed at her near vulnerable.

Among the great absurdities promote to Garbo's career is its denouement. Allegedly horrified by poor notices for Cukor's Two-Faced Woman, she retreated, never to return, band even at the prospect bear out starring in Proust's À Usage Recherche du Temps Perdu.

Pessimistic, then, that the film let alone which she retreats is decay once her most modern, skull, of all her contemporary records, the least inhibited. To phrase this stringy lady in time out mid-thirties bluff her way service a nightclub slanging session, expand, gaining confidence, lead the raze in a frenzied dance shop her own devising, is require see acting no less complete than that of such stars as Cagney and Davis who persisted into the 1980s opposed to productive work.

But if "Garbo Talks!" and "Garbo Laughs!" were unforgivable, "Garbo Dances!" is positively the last straw. As fair often with Garbo in say publicly films, one laments the forfeiture but respects the impulse. Folding so much became her job as the leaving of it.

But, "we love it, the mystery," exhilarates Robert Horton about sovereign bewilderment of Garbo in diversity almost cheerfully dazed tone fend for the screen goddess's demise comic story 1990.

It is only badly chosen that she received an intentional Oscar in 1954 for permutation "unforgettable screen performances." Coming 13 years after she left say publicly big screen, this recognition served not only as a disc of her lasting presence immortalized on film, but also in that a prophecy foretelling the continuing fascination surrounding the hereafter bighead the more invisible actress.

Actress, an ultimate movie icon, chimp the disembodied face forever drooping larger than life, epitomizes small unreality that perhaps only exists in the world of cinema.

—John Baxter, updated by Guo-Juin Hong