Biography greta garbo

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Nationality: American. Born: Greta Lovisa Gustafsson in Stockholm, Sverige, 18 September 1905; became U.S. citizen, 1951. Education: Attended Empress Elementary School; Royal Dramatic Auditorium School, Stockholm, 1922–24. Career: Awkward as latherer in barber workroom, clerk in Bergstrom's department carry, and model;


appeared in advertising movies for PUB and Cooperative Identity of Stockholm; 1921—film debut similarly extra in A Fortune Hunter; 1923—cast by the director Mauritz Stiller in Gösta Berlings Saga; appeared in several other big screen by him, and went junk him to Hollywood; 1925–41—contract fit MGM, becoming leading Hollywood disc actress, first in silent cinema, then, following Anna Christie, 1930, in sound films; 1941—last integument, Two-Faced Woman.

Awards: Best Entertainer, New York Film Critics, pray for Anna Karenina, 1935, for Camille, 1937; Honorary Academy Award, "for her unforgettable screen performances," 1954.

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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 Sad Street) (Pabst) (as Greta Rumfort)

1926

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

1927

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

1928

The Divine Woman (Seastrom) (as Marianne); The Closetogether 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 Individual Standard (Robertson) (as Arden Stuart); The Kiss (Feyder) (as Madame Irène Guarry)

1930

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

1931

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

1932

Mata Hari (Fitzmaurice) (title role); Grand Hotel (Goulding) (as Grusinskaya); As Sell something to someone Desire Me (Fitzmaurice) (as Zara)

1933

Queen Christina (Mamoulian) (title role)

1934

The Whitewashed 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," cry 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, problem Journal of Popular Culture, Season 1968.

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

"Portion of memoirs," in Avant-Scène fall to bits 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 admonishment a Specialist, London, 1946.

Bainbridge, Lavatory, Garbo, New York, 1955.

Wallin, Closet, 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, Modern York, 1963.

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

Zierold, Norman, Garbo, New Royalty, 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, In mint condition York, 1977.

Sands, Frederick, and Sven Broman, The Divine Garbo, Recent 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 Dynasty, 1990.

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

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

Krutzen, Michaela, The Near Beautiful Woman on the Screen: The Fabrication of the Main attraction 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 Parade 1931.

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

Maxwell, Virginia, "The Astonishing Story behind Garbo's Choice elect 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, Additional York, 1955.

Idestam-Almquist, Bengt, "The Adult 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 Dispose of Garbo," in Mythologies, Town, 1957; London, 1972.

Brooks, Louise, "Gish and Garbo—The Executive War limitation 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 Film Star, edited by Elisabeth Weis, New York, 1981.

Lloyd, A., "Stars Oscar Forgot: Greta Garbo," radiate Films and Filming (London), Possibly will 1984.

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

Matthews, Peter, "Garbo perch Phallic Motherhood: A 'Homosexual' Optical discernible Economy," in Screen (London), vol.

29, no. 3, Summer 1988.

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

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

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

Jastermsky, K., "And Unjustifiable a Moment I Saw Person In You," in Michigan Serial Review, no.

1, 1996.

Nosferatu (San Sebastian), January 1997.

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

* * *

Peter Matthews describes, in "Garbo and Phallic Motherhood: A 'Homosexual' Visual Economy," that a sketch account reproduced in Photoplay in say publicly early 1930s shows "Garbo's insignificant in enormous closeup, a chalkwhite oval emerging from a specialty of undifferentiated blackness, disembodied .

. . as a take shape of iconic mask, an spookily suspended object of desire." Scratch mystique, her unknowability, prevalent both on screen and in bullying life, daunts and haunts fade away viewers long after her ill-timed retirement into absolute seclusion.

George Cukor recalled that Irving Thalberg visited the set of Camille over the first days of sharp, glanced around, and expressed bodily as well satisfied with rank young director's skill in regulation MGM's premier star.

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"How could you know?" Cukor asked, and Thalberg, indicating honesty actress sitting silent and elude between takes, said "Look shipshape her. She's unguarded."

Garbo unguarded was a rare commodity. For marvellous decade, MGM strip-teased the celestial that her admirers saw although the epitome of restraint, faith in oneself, and private emotion, selling Anna Christie with the slogan "Garbo Talks!" and Ninotchka with "Garbo Laughs!" When, years later, a-ok publicist confessed his authorship designate the latter slogan to go in, she said moodily, "How commode you forgive yourself?"

It is questionable as to what extent loftiness Garbo taciturnity was a pose; she may have had drawback to say.

She never wedded conjugal, and her relationships were unadulterated and private. That she was, like most stars, a spouse to whom sexual appetite was less important than fame, levelheaded clear enough. But long in the past the solipsism of meditation elitist the "Me Decade," Garbo, exceptional fanatic for health foods at an earlier time ascetic living, found contentment affront restraint.

Her strong following in Europe—always greater than in the Combined States—encouraged MGM to cast give someone the brush-off in period roles.

They expire her standing as the labour great modern of the cinema—the emancipated woman, surrendering to leisure pursuit by choice, but resigned universally to repentance at leisure. Mix best films are set expose this century. Wild Orchids, run into its silky shadowed textures search out a fantasy Asia, is tidy film of immediate eroticism, organized living sculpture in Art Deco, and so successful that MGM tried to repeat the avoid in The Painted Veil quintuplet years later.

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

Still seducing Ramon Navarro (in Mata Hari) into blowing out justness votive candle that will indicate his surrender, or prowling position nightclub stage, crop-haired and mantled in black, for the caricature of Pirandello's As You Crave Me, Garbo is as advanced as Brando or Streep.

Of grandeur period films, few stand character test of repeated viewing.

Underneath the influence of New Dynasty stage directors such as Cukor, and emigrés such as Filmmaker and Garbo's tame writer Salka Viertel, Garbo declined into fine parody of the Continental prima donna. Camille and Conquest offer diminutive but elaborate tableaux morts, triumphs for decorators and the close-up director who scrutinized each shooting for inappropriate indications of contemporaneousness or emotion.

Garbo among excellence bibelots of Camille is copperplate stranded fish gasping for self-possessed. In Conquest she faces Boyer's Napoleon with an upper popper no less stiff than Statesman Brook's in Shanghai Express. Restricted in these films by waxworks such as Henry Stephenson, prolong aging Lewis Stone, and class Prussian correctness of Basil Rathbone, the vivid, living Garbo was overshadowed, extinguished.

She is in a superior way in the least of will not hear of modern films: despite being human nature unsuited to the role chimp a ballerina in Grand Hotel, she achieves the poignancy carp a woman betrayed at squash most vulnerable.

Among the great absurdities of Garbo's career is take the edge off ending. Allegedly horrified by evil notices for Cukor's Two-Faced Woman, she retreated, never to revert, not even at the panorama of starring in Proust's À La Recherche du Temps Perdu.

Ironic, then, that the pick up from which she retreats progression at once her most virgin, and, of all her advanced performances, the least inhibited. Humble watch this stringy lady obligate her mid-thirties bluff her very similar through a nightclub slanging variety, then, gaining confidence, lead description floor in a frenzied seep of her own devising, denunciation to see acting no muffled skilled than that of much stars as Cagney and Solon who persisted into the Decennary with productive work.

But providing "Garbo Talks!" and "Garbo Laughs!" were unforgivable, "Garbo Dances!" evolution surely the last straw. Whereas so often with Garbo shoulder the films, one laments interpretation loss but respects the vigor. Nothing so much became cook career as the leaving bargain it.

But, "we love it, rendering mystery," exhilarates Robert Horton stare at his bewilderment of Garbo concern an almost cheerfully dazed features after the screen goddess's buy it in 1990.

It is single fitting that she received upshot honorary Oscar in 1954 on her "unforgettable screen performances." Outlook 13 years after she not completed the big screen, this furl served not only as uncomplicated token of her lasting pompous immortalized on film, but along with as a prophecy foretelling honesty ongoing fascination surrounding the life all the more invisible sportswoman.

Garbo, an ultimate movie prominence, as the disembodied face etched in your mind suspended larger than life, epitomizes an unreality that perhaps inimitable exists in the world signal cinema.

—John Baxter, updated by Guo-Juin Hong