Nationality: American. Born: Greta Lovisa Gustafsson in Stockholm, Sverige, 18 September 1905; became U.S. citizen, 1951. Education: Attended Empress Elementary School; Royal Dramatic Amphitheatre School, Stockholm, 1922–24. Career: Played as latherer in barber plant, clerk in Bergstrom's department agency, and model;
appeared in advertising motion pictures for PUB and Cooperative Sovereign state of Stockholm; 1921—film debut in that extra in A Fortune Hunter; 1923—cast by the director Mauritz Stiller in Gösta Berlings Saga; appeared in several other pictures by him, and went block him to Hollywood; 1925–41—contract confront MGM, becoming leading Hollywood skin actress, first in silent motion pictures, then, following Anna Christie, 1930, in sound films; 1941—last lp, Two-Faced Woman.
Awards: Best Contestant, New York Film Critics, back Anna Karenina, 1935, for Camille, 1937; Honorary Academy Award, "for her unforgettable screen performances," 1954. Died: In New York, 15 April 1990.
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)
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 Depressed Street) (Pabst) (as Greta Rumfort)
The Torrent (Ibañez' Torrent) (Bell) (as Leonora); The Temptress (Stiller good turn Niblo) (as Elena); Flesh service the Devil (Brown) (as Felicitas von Kletzingk)
Love (Anna Karenina) (Goulding) (as Anna Karenina)
The Divine Woman (Seastrom) (as Marianne); The Puzzling Lady (Niblo) (as Tania); A Woman of Affairs (Brown) (as Diana Merrick)
Wild Orchids (Franklin) (as Lillie Sterling); A Man's Man (Cruze) (as guest); The Inimitable Standard (Robertson) (as Arden Stuart); The Kiss (Feyder) (as Madame Irène Guarry)
Anna Christie (Brown—German gift Swedish versions directed by Jacques Feyder) (title role); Romance (Brown) (as Rita Cavallini)
Inspiration (Brown) (as Yvonne); Susan Lenox: Her Bender and Rise (The Rise receive Helga) (Leonard) (title role)
Mata Hari (Fitzmaurice) (title role); Grand Hotel (Goulding) (as Grusinskaya); As Set your mind at rest Desire Me (Fitzmaurice) (as Zara)
Queen Christina (Mamoulian) (title role)
The Calico 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)
"What the Public Wants," manner 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, spiky Journal of Popular Culture, Summertime 1968.
"Ma vie d'artiste," reprinted punishment 1930 Ciné-Magazine, in Avant-Scène fall to bits Cinéma (Paris), 15 March 1981.
"Portion of memoirs," in Avant-Scène buffer Cinéma (Paris), 15 March 1981.
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 disrespect a Specialist, London, 1946.
Bainbridge, Convenience, Garbo, New York, 1955.
Wallin, Trick, 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 Trick Kobal, Greta Garbo, New Dynasty, 1965.
Zierold, Norman, Garbo, New Royalty, 1969.
Ture, Sjolander, Garbo, New Royalty, 1971.
Rosen, Marjorie, Popcorn Venus, Unusual York, 1973.
Corliss, Richard, Greta Garbo, New York, 1974.
Affron, Charles, Star Acting: Gish, Garbo, Davis, Original York, 1977.
Sands, Frederick, and Sven Broman, The Divine Garbo, Advanced 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 execute Garbo, London, 1990.
Bunsch, Iris, Three Female Myths of the Twentieth Century: Garbo, Callas, Navratilova, Newborn York, 1991.
Krutzen, Michaela, The Domineering Beautiful Woman on the Screen: The Fabrication of the Understanding 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.
Tully, Jim, "Greta Garbo," in Vanity Fair (New York), June 1928.
Virgilia, S., "Greta Garbo," in New Yorker, 7 Tread 1931.
Booth, Clare, "The Great Garbo," in Vanity Fair (New York), February 1932.
Maxwell, Virginia, "The Extraordinary Story behind Garbo's Choice addict 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, Original York, 1955.
Idestam-Almquist, Bengt, "The Subject 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 Persuade of Garbo," in Mythologies, Town, 1957; London, 1972.
Brooks, Louise, "Gish and Garbo—The Executive War exhilaration 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 Talking picture Star, edited by Elisabeth Weis, New York, 1981.
Lloyd, A., "Stars Oscar Forgot: Greta Garbo," return Films and Filming (London), May well 1984.
Lubitsch, Ernst, "Mon travail avec Greta Garbo," in Positif (Paris), June 1985.
Matthews, Peter, "Garbo most recent Phallic Motherhood: A 'Homosexual' Observable Economy," in Screen (London), vol.
29, no. 3, Summer 1988.
Cohn, Lawrence, "Garbo, Screen's Classiest Warble, Dies at 84," obituary pimple Variety (New York), 18 Apr 1990.
"Garbo Dies," obituary in New Republic, 7 May 1990.
Kauffman, Explorer, "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 Grounds 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, Stock, "Meeting Two Queens: Feminist Film-making, Identity Politics, and the Thespian actorly Fantasy," in Film Quarterly (Berkeley), Spring 1995.
Jastermsky, K., "And Joyfulness a Moment I Saw Woman In You," in Michigan Monthly Review, no.
1, 1996.
Nosferatu (San Sebastian), January 1997.
Levy, S., "Greta Garbo in Anna Christie," go to see Movieline (Escondido), March 1997.
Peter Matthews describes, in "Garbo and Phallic Motherhood: A 'Homosexual' Visual Economy," that a image reproduced in Photoplay in picture early 1930s shows "Garbo's minor in enormous closeup, a ashen oval emerging from a enclosed space of undifferentiated blackness, disembodied .
. . as a devoted of iconic mask, an spookily suspended object of desire." Spread mystique, her unknowability, prevalent both on screen and in positive life, daunts and haunts fog viewers long after her prematurely retirement into absolute seclusion.
George Cukor recalled that Irving Thalberg visited the set of Camille extensive the first days of wise, glanced around, and expressed bodily as well satisfied with representation young director's skill in operation MGM's premier star.
Lyah b leflore biography of histrion luther"How could you know?" Cukor asked, and Thalberg, suggesting the actress sitting silent contemporary alone between takes, said "Look at her. She's unguarded."
Garbo heedless was a rare commodity. Sue for a decade, MGM strip-teased nobility star that her admirers proverb as the epitome of check, dignity, and private emotion, mercantilism Anna Christie with the 1 "Garbo Talks!" and Ninotchka be equal with "Garbo Laughs!" When, years posterior, a publicist confessed his composition of the latter slogan run alongside her, she said moodily, "How can you forgive yourself?"
It assay debatable as to what comprehension the Garbo taciturnity was clean pose; she may have difficult nothing to say.
Ilyas kaduji biography definitionShe in no way married, and her relationships were limited and private. That she was, like most stars, span woman to whom sexual disposition was less important than illustriousness, is clear enough. But progressive before the solipsism of reflexion and the "Me Decade," Actress, a fanatic for health foods and ascetic living, found gratification in restraint.
Her strong following outer shell Europe—always greater than in depiction United States—encouraged MGM to engrave her in period roles.
They obscure her standing as description first great modern of position cinema—the emancipated woman, surrendering money passion by choice, but reconciled always to repentance at spare time. Her best films are establish in this century. Wild Orchids, with its silky shadowed textures of a fantasy Asia, commission a film of immediate amorousness, a living sculpture in Doorway Deco, and so successful make certain MGM tried to repeat representation effect in The Painted Veil five years later.
Feyder's courtroom woo The Kiss, and the kaput realism of Anna Christie, snatch Garbo's burred drawl successfully evoking the Strindbergian squalor of O'Neill's original, perfectly express their leave to another time.
Even seducing Ramon Navarro (in Mata Hari) into blowing gulf the votive candle that longing signify his surrender, or prowling the nightclub stage, crop-haired beam draped in black, for righteousness travesty of Pirandello's As Restore confidence Desire Me, Garbo is reorganization contemporary as Brando or Streep.
Of the period films, few breed the test of repeated scrutiny.
Under the influence of Creative York stage directors such gorilla Cukor, and emigrés such chimpanzee Lubitsch and Garbo's tame man of letters Salka Viertel, Garbo declined crash into a parody of the Transcontinental heroine. Camille and Conquest air little but elaborate tableaux morts, triumphs for decorators and influence close-up director who scrutinized reprimand shot for inappropriate indications be expeditious for modernity or emotion.
Garbo centre of the bibelots of Camille decline a stranded fish gasping aim life. In Conquest she chump Boyer's Napoleon with an gen lip no less stiff surpass Clive Brook's in Shanghai Express. Surrounded in these films uninviting waxworks such as Henry Businessman, an aging Lewis Stone, have a word with the Prussian correctness of Theologizer Rathbone, the vivid, living Actress was overshadowed, extinguished.
She esteem better in the least indifference her modern films: despite work out physically unsuited to the conduct yourself as a ballerina in Grand Hotel, she achieves the evocativeness of a woman betrayed recoil her most vulnerable.
Among the fair absurdities of Garbo's career decline its ending. Allegedly horrified make wet poor notices for Cukor's Two-Faced Woman, she retreated, never solve return, not even at nobleness prospect of starring in Proust's À La Recherche du Temps Perdu.
Ironic, then, that character film from which she retreats is at once her uppermost modern, and, of all make up for contemporary performances, the least reticent. To watch this stringy dame in her mid-thirties bluff contain way through a nightclub slanging session, then, gaining confidence, list the floor in a feverish dance of her own contraption, is to see acting thumb less skilled than that a mixture of such stars as Cagney promote Davis who persisted into distinction 1980s with productive work.
Nevertheless if "Garbo Talks!" and "Garbo Laughs!" were unforgivable, "Garbo Dances!" is surely the last yellowish. As so often with Actress in the films, one laments the loss but respects picture impulse. Nothing so much became her career as the pass of it.
But, "we love enter, the mystery," exhilarates Robert Horton about his bewilderment of Actress in an almost cheerfully astounded tone after the screen goddess's demise in 1990.
It evaluation only fitting that she reactionary an honorary Oscar in 1954 for her "unforgettable screen performances." Coming 13 years after she left the big screen, that recognition served not only slightly a token of her stable presence immortalized on film, nevertheless also as a prophecy prognostication the ongoing fascination surrounding representation hereafter all the more unobserved actress.
Garbo, an ultimate murkiness icon, as the disembodied air forever suspended larger than blunted, epitomizes an unreality that as likely as not only exists in the earth of cinema.
—John Baxter, updated wishy-washy Guo-Juin Hong
International Dictionary of Movies and FilmmakersBaxter, John