Although I have been aware for years of her being a major name in Hollywood, I have sadly kept missing the chance to see a Greta Garbo title. Taking a look at the listings for the HOME cinema in Manchester, I was excited to spot an upcoming 35MM screening of a Garbo film, leading to me getting ready to meet the Queen.
View on the film:
Sailing with Christina to a beautiful final shot, co-writer / director Rouben Mamoulian & Can-Can (1960-also reviewed) cinematographer William H. Daniels draw an immaculate atmosphere, via silky close-ups, expertly designed tracking shots, (a trademark of Mamoulian's ultra-stylized panning shots, and sparkling superimposition's on Christina secretly spending several nights with Antonio at a snowy inn.
Closely working with The Wizard of Oz costume designer "Adrian" and production designer/ fellow director Edgar G. Ulmer, Rouben Mamoulian laces the wide-shots with a regal mood, displaying the stunning attention to detail that gives the palace a luxury appearance, as Mamoulian kneels to deliver graceful push-ins on Christina's lavish, androgynous outfits.
Woven together by ten different writers, (which included Crime Without Passion (1934-also reviewed) co-director Ben Hecht ) the writers make the markings of the many hands behind the screenplay, invisible on-screen, thanks to threading comedic Rom-Com meet-cute one-liners in Christina and Antonio getting to know each other at the inn, with high-end Costume Melodrama, from Christina fighting the power behind the throne, for what she believes is the best direction to take her country in.
Made just over a year before the Hays Code, the writers superbly take full advantage of the Pre-Code era with cracking double entendre one-liners.
Whilst the romance on the surface appears to be between Antonio (played by a John Gilbert in his penultimate role) and Christina, (played with a mesmerizing expressiveness by Greta Garbo) the writers (and director) make clear, that Christina's heart is for Ebba, (played in a subtle, understated manner by Elizabeth Young) via Young and Garbo facial expressing in the two kisses they share the romance which tragically must remain unsaid,as Christina sets sail.
View on the film:
Sailing with Christina to a beautiful final shot, co-writer / director Rouben Mamoulian & Can-Can (1960-also reviewed) cinematographer William H. Daniels draw an immaculate atmosphere, via silky close-ups, expertly designed tracking shots, (a trademark of Mamoulian's ultra-stylized panning shots, and sparkling superimposition's on Christina secretly spending several nights with Antonio at a snowy inn.
Closely working with The Wizard of Oz costume designer "Adrian" and production designer/ fellow director Edgar G. Ulmer, Rouben Mamoulian laces the wide-shots with a regal mood, displaying the stunning attention to detail that gives the palace a luxury appearance, as Mamoulian kneels to deliver graceful push-ins on Christina's lavish, androgynous outfits.
Woven together by ten different writers, (which included Crime Without Passion (1934-also reviewed) co-director Ben Hecht ) the writers make the markings of the many hands behind the screenplay, invisible on-screen, thanks to threading comedic Rom-Com meet-cute one-liners in Christina and Antonio getting to know each other at the inn, with high-end Costume Melodrama, from Christina fighting the power behind the throne, for what she believes is the best direction to take her country in.
Made just over a year before the Hays Code, the writers superbly take full advantage of the Pre-Code era with cracking double entendre one-liners.
Whilst the romance on the surface appears to be between Antonio (played by a John Gilbert in his penultimate role) and Christina, (played with a mesmerizing expressiveness by Greta Garbo) the writers (and director) make clear, that Christina's heart is for Ebba, (played in a subtle, understated manner by Elizabeth Young) via Young and Garbo facial expressing in the two kisses they share the romance which tragically must remain unsaid,as Christina sets sail.