Leading Couples: Garbo and Gilbert

As I promised in my review of the new book Leading Couples, I watched the silent classic Flesh and the Devil (1926) to explore my fascination with Greta Garbo and John Gilbert. The story is about two friends, Leo (Gilbert) and Ulrich, whose friendship is bound by blood with a ritual they performed as children on the Isle of Friendship. When Felicitas (Garbo), a temptress, falls in love with Leo, he is forced into a duel by her husband. Sent off to Africa, Ulrich takes care of Felicitas and marries her, not knowing Leo's previous romantic attachment to her. The triangle becomes a square as Ulrich's little sister, Hertha, is hopelessly in love with Leo. Can Leo and Ulrich's friendship survive Felicitas' temptations?

The love shared between the two men is so intense it borders on the homoerotic. Their love rivals that they share for Felicitas. It's quite interesting. Passion, in many forms, is the driving force of the story as well as the characters. Also, Gilbert and Garbo had such great chemistry that the screen seems to light up when they are together. They had a real-life romance on and off throughout the years they knew each other.

Two Moments of Eletricity

1) A cigarette in the garden.

Leo (Gilbert) says to Felicitas (Garbo) "You know... when you blow out the match... that's an invitation to kiss you." WOW! If only I could use that line in real life (any guys out there with matches handy?). Cigarettes are so symbolic in classic movies. They are one of the most important tools to show sexual attraction. And this scene is a great example of that.

2) The Den of Sin

Felicitas lures Leo into her "den of sin", as I like to call it. It's basically the bedroom in the home that she and her husband share. Here, hidden from the rest of the world, they proceed to be all up on each other. The scene is so long and it lingers on each kiss that the passion elevates to a sort of heightened eroticism. Hot!

Interesting Facts about Garbo & Gilbert from Leading Couples

1) Garbo never married. The one time she came close was when she left Gilbert at the altar. This may or may not be a rumor. Garbo fans, please let me know!

2) Garbo was a notoriously shy hermit. Gilbert was the only person who go her to come to a film premiere, Bardelys and the Magnificent (1926), and smile for the camera.

3) Garbo helped Gilbert get a talkie role when his star was falling. She insisted he be cast opposite her in Queen Christina (1934).

4) Gilbert alowed Garbo to share billing above the title in Flesh and the Devil (1926) (see above image), even though he could have sole billing.

5) Gilbert encouraged Garbo to host parities. She was the most sociable she had ever been when she was with him.

6) When Gilbert passed away, a rumor spread saying that Garbo's response was "What's that to me?" Garbo was so upset, that she held a press conference to denounce the rumor as false.

Otto Preminger Lecture 11/13/2008

What I learned at the Otto Preminger lecture (and from Kevin in general)...

1) Otto Preminger employed Dalton Trumbo to write the movie Exodus (1960), even though Trumbo was blacklisted.

2) Leonard Maltin once said something to the effect of: Otto the director should tell Otto the actor not to overact.

3) Otto did two all black musicals, both starring Dorothy Dandridge. Carmen Jones (1955) and Porgy & Bess (1959).

4) It's speculated amongst film historians that Dana Andrews was Otto's favorite actor. They made 5 films together.

5) Otto often kept the camera on groups of people. He was an objective filmmaker and trusted the audience's intelligence to form opinions of their own. You'll see very few reaction shots in Preminger films.

6) Otto was all about realism. He also liked to cast real life people in their real life roles in his movies. For example, the conductor Shorty Rogers and his band Shorty Rogers and His Giants were in the film The Man with the Golden Arm (1956).

7) Jean Simmons had 4 weeks left of her RKO contract with Howard Hughes and had to make Angel Face (1953) against her wishes. Otto was hired since he was very efficient. Simmons cut her hair in protest.

8) In the film Laura (1944), an artist had done a painting that was to be used as a central point in the film. When Otto took on the project, he got rid of that painting and had Gene Tierney photographed. The photo was painted over to make it look like a real painting.

9) Martin Luther King, Jr. was asked by Otto to play a cameo role in Advise & Consent (1962). He was interested, but ultimately declined due to negative publicity that ensued from the offer.


Below is a picture of Kevin (left), me (middle) and Bob (right) shortly before the lecture started. Close friends Frank and Blythe attended too. The lecture turned out great. Kevin managed to provide a lot of information in just an hour. He showed clips from Man with the Golden Arm, Anatomy of a Murder and Fallen Angel and had a kick-ass Powerpoint presentation. Go Kevin!

You Otto See It: Stalag 17 (1953)

Gutten Morgen, Sergeants. Nasty weather we're having, eh? And I so much hoped we could give you a white Christmas... just like the ones you used to know...

This is my last entry before the lecture, which is today. This project was a lot of fun and I'm a little sad it's almost over. My next post will be what I learned from Kevin's lecture, in the same style from the one I did last year for Elia Kazan. I still have a few more Otto Preminger films on my Netflix queue, and I can post about them in the future, but for now this series is complete.

I have one big, gigantic, enormous reason why you Otto see Stalag 17 (1953). Because Otto Preminger is in it! He plays Oberst von Sherbach, the Kommondant of a German prisoner of war camp. Preminger did so well with his Nazi type roles that it became part of his image, even though he was Jewish and very anti-Nazi. He also played Nazis in The Pied Piper (1942), Margin for Error (1943), They Got Me Covered (1943) and Where Do We Go From Here (1945) (I'm not 100% sure on the last one). Mind you, Stalag 17 is not directed or produced by Otto Preminger. This is Billy Wilder's film. But after watching so many Preminger-directed films, it was a nice change to see him acting in one.