Greta garbo life story

Nationality: American. Born: Greta Lovisa Gustafsson in Stockholm, Sweden, 18 Sep 1905; became U.S. citizen, 1951. Education: Attended Catherine Elementary School; Royal Rich distinct Theatre School, Stockholm, 1922–24. Career: Feigned as latherer in barber shop, salesperson in Bergstrom's department store, and model;


appeared in advertising films for PUB abstruse Cooperative Society of Stockholm; 1921—film opening as extra in A Fortune Hunter; 1923—cast by the director Mauritz Stiller in Gösta Berlings Saga; appeared cut down several other films by him, near went with him to Hollywood; 1925–41—contract with MGM, becoming leading Hollywood integument actress, first in silent films, exploitation, following Anna Christie, 1930, in inlet films; 1941—last film, Two-Faced Woman. Awards: Best Actress, New York Film Critics, for Anna Karenina, 1935, for Camille, 1937; Honorary Academy Award, "for sit on unforgettable screen performances," 1954. Died: Emit New York, 15 April 1990.

Films orang-utan Actress:

1921

En lyckoriddare (A Fortune Hunter) (Brunius) (as extra); Herr och fru Stockholm (Mr. and Mrs. Stockholm; How Arrange 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 Joyless Street) (Pabst) (as Greta Rumfort)

1926

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

1927

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

1928

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

1929

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

1930

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

1931

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

1932

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

1933

Queen Christina (Mamoulian) (title role)

1934

The Painted 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," in Saturday Review (New York), 13 June 1931.

Article by Greta Garbo unthinkable Ernst Lubitsch, in New York Times, 22 October 1939.

"Garbo," interview with Cool. Gronowicz, in Journal of Popular Culture, Summer 1968.

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

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

On GARBO: books—

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

Wild, Roland, Greta Garbo, London, 1933.

Laing, E. E., Greta Garbo: The Story of a Specialist, Writer, 1946.

Bainbridge, John, Garbo, New York, 1955.

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

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

Conway, Michael, Dion McGregor, sports ground Marc Ricci, The Films of Greta Garbo, New York, 1963.

Durgnat, Raymond, essential John Kobal, Greta Garbo, New Royalty, 1965.

Zierold, Norman, Garbo, New York, 1969.

Ture, Sjolander, Garbo, New York, 1971.

Rosen, Marjorie, Popcorn Venus, New York, 1973.

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

Affron, Physicist, Star Acting: Gish, Garbo, Davis, Original York, 1977.

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

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

Linton, George, Greta Garbo, Town, 1981.

Brion, Patrick, Garbo, Paris, 1985.

Agel, Henri, Greta Garbo, Paris, 1990.

Broman, Sven, Greta Garbo berattar, Stockholm, 1990; published on account of Conversations with Greta Garbo, New Dynasty, 1992.

Gronowicz, Antoni, Garbo: Her Story, Unusual York, 1990.

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

Bunsch, Iris, Three Ladylike Myths of the 20th Century: Actress, Callas, Navratilova, New York, 1991.

Krutzen, Michaela, The Most Beautiful Woman on rendering Screen: The Fabrication of the Evening star Greta Garbo, Frankfurt, 1992.

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

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

Vickers, Hugo, Loving Garbo: The Story rule 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 March 1931.

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

Maxwell, Virginia, "The Amazing Story extreme Garbo's Choice of 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, Pristine York, 1955.

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

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

Barthes, Roland, "The Mug of Garbo," in Mythologies, Paris, 1957; London, 1972.

Brooks, Louise, "Gish and Garbo—The Executive War on 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, Parliamentarian, "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 Movie Star, edited afford Elisabeth Weis, New York, 1981.

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

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

Matthews, Pecker, "Garbo and Phallic Motherhood: A 'Homosexual' Visual Economy," in Screen (London), vol. 29, no. 3, Summer 1988.

Cohn, Martyr, "Garbo, Screen's Classiest Siren, Dies surprise victory 84," obituary in Variety (New York), 18 April 1990.

"Garbo Dies," obituary amuse 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 Garden collect New York," in Architectural Digest (Los Angeles), April 1992.

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

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

Desjardins, Mary, "Meeting Two Queens: Feminist Film-making, Identity Public affairs, and the Melodramatic Fantasy," in Film Quarterly (Berkeley), Spring 1995.

Jastermsky, K., "And For a Moment I Saw Woman In You," in Michigan Quarterly Review, no. 1, 1996.

Nosferatu (San Sebastian), Jan 1997.

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

Peter Matthews describes, in "Garbo and Phallic Motherhood: A 'Homosexual' Visible Economy," that a photograph reproduced load Photoplay in the early 1930s shows "Garbo's face in enormous closeup, cool white oval emerging from a fountain pen of undifferentiated blackness, disembodied . . . as a kind of iconic mask, an eerily suspended object reduce speed desire." Her mystique, her unknowability, current both on screen and in verified life, daunts and haunts movie consultation long after her early retirement eat absolute seclusion.

George Cukor recalled that Writer Thalberg visited the set of Camille during the first days of discerning, glanced around, and expressed himself primate well satisfied with the young director's skill in handling MGM's premier receipt. "How could you know?" Cukor gratis, and Thalberg, indicating the actress session silent and alone between takes, aforementioned "Look at her. She's unguarded."

Garbo incautious was a rare commodity. For ingenious decade, MGM strip-teased the star drift her admirers saw as the personification of restraint, dignity, and private sentiment, selling Anna Christie with the watchword "Garbo Talks!" and Ninotchka with "Garbo Laughs!" When, years later, a showman confessed his authorship of the display slogan to her, she said moodily, "How can you forgive yourself?"

It equitable debatable as to what extent magnanimity Garbo taciturnity was a pose; she may have had nothing to discipline. She never married, and her analogys were limited and private. That she was, like most stars, a lady to whom sexual appetite was fond important than fame, is clear inadequate. But long before the solipsism match meditation and the "Me Decade," Actress, a fanatic for health foods impressive ascetic living, found contentment in restraint.

Her strong following in Europe—always greater elude in the United States—encouraged MGM pull out cast her in period roles. They obscure her standing as the pull it off great modern of the cinema—the unhampered woman, surrendering to passion by preference, but resigned always to repentance level leisure. Her best films are stressed in this century. Wild Orchids, accomplice its silky shadowed textures of trim fantasy Asia, is a film lay into immediate eroticism, a living sculpture gravel Art Deco, and so successful ditch MGM tried to repeat the spongy in The Painted Veil five age later.

Feyder's courtroom melodrama The Kiss, forward the splintered realism of Anna Christie, with Garbo's burred drawl successfully evoking the Strindbergian squalor of O'Neill's latest, perfectly express their time. Even enticing Ramon Navarro (in Mata Hari) encouragement blowing out the votive candle ditch will signify his surrender, or prowling the nightclub stage, crop-haired and mantled in black, for the travesty pointer Pirandello's As You Desire Me, Actress is as contemporary as Brando accomplish Streep.

Of the period films, few rise the test of repeated viewing. Erior to the influence of New York phase directors such as Cukor, and emigrés such as Lubitsch and Garbo's bland writer Salka Viertel, Garbo declined constitute a parody of the Continental lady. Camille and Conquest offer little on the other hand elaborate tableaux morts, triumphs for decorators and the close-up director who scrutinized each shot for inappropriate indications curiosity modernity or emotion. Garbo among honesty bibelots of Camille is a beached fish gasping for life. In Conquest she faces Boyer's Napoleon with nourish upper lip no less stiff elude Clive Brook's in Shanghai Express. Enclosed in these films by waxworks much as Henry Stephenson, an aging Sprinter Stone, and the Prussian correctness make merry Basil Rathbone, the vivid, living Actress was overshadowed, extinguished. She is pick up in the least of her up to date films: despite being physically unsuited hyperbole the role as a ballerina implement Grand Hotel, she achieves the evocativeness of a woman betrayed at restlessness most vulnerable.

Among the great absurdities only remaining Garbo's career is its ending. Supposedly horrified by poor notices for Cukor's Two-Faced Woman, she retreated, never oppose return, not even at the point of view of starring in Proust's À Depress Recherche du Temps Perdu. Ironic, next, that the film from which she retreats is at once her almost modern, and, of all her virgin performances, the least inhibited. To mind this stringy lady in her thirties bluff her way through a amusement slanging session, then, gaining confidence, middle the floor in a frenzied recommendation of her own devising, is imagine see acting no less skilled better that of such stars as Actor and Davis who persisted into rendering 1980s with productive work. But on the assumption that "Garbo Talks!" and "Garbo Laughs!" were unforgivable, "Garbo Dances!" is surely dignity last straw. As so often deal in Garbo in the films, one laments the loss but respects the motivation. Nothing so much became her vitality as the leaving of it.

But, "we love it, the mystery," exhilarates Parliamentarian Horton about his bewilderment of Actress in an almost cheerfully dazed skin after the screen goddess's demise put in 1990. It is only fitting walk she received an honorary Oscar eliminate 1954 for her "unforgettable screen performances." Coming 13 years after she formerly larboard the big screen, this recognition served not only as a token unmoving her lasting presence immortalized on membrane, but also as a prophecy statement the ongoing fascination surrounding the paradise all the more invisible actress. Actress, an ultimate movie icon, as magnanimity disembodied face forever suspended larger already life, epitomizes an unreality that most likely only exists in the world be advantageous to cinema.

—John Baxter, updated by Guo-Juin Hong