The theme of this film is a bit irritating; Greta Garbo is a temptress of men, and is (of course) judged for it. She spends the night with a man she meets at a masquerade ball (Antonio Moreno) and declares her love for him despite being married, so it's interesting to me that he's not the one labeled a tempter. Her husband has a thing going on with his maid, seems to know of the affairs she's had, and uses the jewels she's received to help his finances, so it's interesting that he escapes harsh judgment.
Garbo has some really nice moments in the film, such as when she kisses Moreno early on, but some others which lack any semblance of subtlety. Director Fred Niblo gives us a close-up of her face as she's making eyes at him while taking a sip of wine; she's beautiful and all, but it's over-the-top. No wonder she hated this part. Later she seethes with desire as she looks down on the two Argentinians fighting bare-chested with whips for her honor. Did I mention over-the-top?
"Men have died for you - forsaken work and honor - for you!" says one man in an intertitle, continuing to blame Garbo's character. "Not for me - but for my body! Not for my happiness, but for theirs!" she replies. Ok, she stands up for herself at least a little. And then there is that next line that so truly captures Garbo: "But there is one thing about me that is a part of God - my love - for you." She is damned for tempting men with her physical charms, and yet divine for the purity of her love for one man; this was a recurring theme in her films. The "saintly vamp" character is emphasized further by a vision she has of a man in a bar when she's starting to hit rock bottom; she imagines him as Jesus, and gives him her ruby.
The film gets melodramatic and goes on much too long at 117 minutes. Even a giant dam explosion is done "for her" ... see how much trouble a woman causes? While an intertitle blares out "Men's work! - to the martial music of hammer blows - the shriek of steam whistles - Work that would reclaim the wasteland - Men's work! -" oh if only these temptresses would leave men alone. There is certainly symbolism in Moreno's character trying to stop the flood waters with sandbags, and I thought, gee, they might have named the film "Torrent."
I considered a slightly lower rating, but there are several iconic Garbo images in the film, and enough happening on the screen to keep it interesting. I liked it especially early on, with the intertitle "Spring - and the nights of Paris, Throb with love and desire" segueing to the nice scene at the masquerade ball which leads to a night of passion. The shots under the table during a dinner party, with all those (gasp) calves and ankles is also perfect for the period. The action in Argentina, with Lionel Barrymore mostly wasted, and the story dragging out, gets a bit much. I give it credit for the ending (the original one), which while moralistic, seems honest, and still carries some emotional weight.
Garbo has some really nice moments in the film, such as when she kisses Moreno early on, but some others which lack any semblance of subtlety. Director Fred Niblo gives us a close-up of her face as she's making eyes at him while taking a sip of wine; she's beautiful and all, but it's over-the-top. No wonder she hated this part. Later she seethes with desire as she looks down on the two Argentinians fighting bare-chested with whips for her honor. Did I mention over-the-top?
"Men have died for you - forsaken work and honor - for you!" says one man in an intertitle, continuing to blame Garbo's character. "Not for me - but for my body! Not for my happiness, but for theirs!" she replies. Ok, she stands up for herself at least a little. And then there is that next line that so truly captures Garbo: "But there is one thing about me that is a part of God - my love - for you." She is damned for tempting men with her physical charms, and yet divine for the purity of her love for one man; this was a recurring theme in her films. The "saintly vamp" character is emphasized further by a vision she has of a man in a bar when she's starting to hit rock bottom; she imagines him as Jesus, and gives him her ruby.
The film gets melodramatic and goes on much too long at 117 minutes. Even a giant dam explosion is done "for her" ... see how much trouble a woman causes? While an intertitle blares out "Men's work! - to the martial music of hammer blows - the shriek of steam whistles - Work that would reclaim the wasteland - Men's work! -" oh if only these temptresses would leave men alone. There is certainly symbolism in Moreno's character trying to stop the flood waters with sandbags, and I thought, gee, they might have named the film "Torrent."
I considered a slightly lower rating, but there are several iconic Garbo images in the film, and enough happening on the screen to keep it interesting. I liked it especially early on, with the intertitle "Spring - and the nights of Paris, Throb with love and desire" segueing to the nice scene at the masquerade ball which leads to a night of passion. The shots under the table during a dinner party, with all those (gasp) calves and ankles is also perfect for the period. The action in Argentina, with Lionel Barrymore mostly wasted, and the story dragging out, gets a bit much. I give it credit for the ending (the original one), which while moralistic, seems honest, and still carries some emotional weight.