The virtues of "The Temptress" are nearly too many to list. The cast, especially Greta Garbo, convey what would now be pages of dialog through their eyes and faces and bodily motions. One of the funniest parts, close to the beginning, is the camera's dive under the table during the dinner party sequence. When we see the flirtations taking place we realize that, even though everyone in the cast was alive during the reign of Queen Victoria, it appeared that the Victorian Age ended thousands of years before.
Before we get to historical context a word should be said about the male lead, Antonio Moreno. His leading lady is deservedly famous but Moreno, who was born in Madrid, is no slouch. He was a very popular leading man in the 1920's. The year after this he starred, opposite Clara Bow in "It." People remember that Elinor Glyn bestowed the title "The 'It' Girl" on Bow. They seldom recall that she named Moreno "The 'It' Boy" (and she named Rex the Wonder Horse "The 'It' Animal). He starred opposite the Gish sisters, Gloria Swanson and America's Sweetheart, Mary Pickford. Early in his career he starred in so many serials that he was dubbed, "King of the Cliff-hangers." When pictures gained the ability to talk he retreated to Mexico to make movies. He eventually returned to the States and made several movies here, including "Creature from the Black Lagoon" (1954) and "The Searchers" (1956).
Now, about that promised context. This film can be justly criticized, from a 21st century perspective, as being a macho fantasy of a seductive woman tempting virtuous men. While there have been such women their numbers are dwarfed by the massive legions of women who have been lured, pursued, coerced and compelled into liaisons that were not of their choosing. The myth of the temptress goes back, in all likelihood, into pre-history. We see it in Greek mythology where the sirens used their songs to lure innocent sailors to their doom on the rocks. There was Lilith, of Jewish lore, who insisted on being Adam's equal. Then there was the enchantress, Mohini, in Hindu myth that would madden her lovers and lead them to their doom. The list goes ever on.
In the world of American folklore there's the vampire. We're not talking the undead blood sucker who catches fire in sunlight. This vampire is often simply known as a "vamp." She is a femme fatale who seduces innocent men, robbing them of their virtue, their independence, and, ultimately, their lives (or leaving them empty husks of their once robust selves). It is a male fantasy that has endured for thousands of years, despite the obvious fact that it is the male in the power position too often taking advantage of the female.
This idea was very popular in early film (it became Theda Bara's calling card as she ordered an innocent male victim, "Kiss me my fool!"). It continued on at least into the 1930's (take a look at the Marx Brothers' 1932 film, "Horse Feathers" featuring the first cousin of the vampire, the sexually insatiable "college widow" - women who were usually young and never married - closer in spirit to the black widow spider).
In light of this stereotype Garbo's performance is even more remarkable. Except with Moreno she never initiates any of these flirtations. It's clearly a projection of aspiring suitors. She is able to convey disdain and a world weariness with that very expressive face.
If you don't like silent films this may not be your cup of tea. You're better off sticking with the excellent silent comedies. But if you enjoy compelling silent dramas you may want to check this one out.
Before we get to historical context a word should be said about the male lead, Antonio Moreno. His leading lady is deservedly famous but Moreno, who was born in Madrid, is no slouch. He was a very popular leading man in the 1920's. The year after this he starred, opposite Clara Bow in "It." People remember that Elinor Glyn bestowed the title "The 'It' Girl" on Bow. They seldom recall that she named Moreno "The 'It' Boy" (and she named Rex the Wonder Horse "The 'It' Animal). He starred opposite the Gish sisters, Gloria Swanson and America's Sweetheart, Mary Pickford. Early in his career he starred in so many serials that he was dubbed, "King of the Cliff-hangers." When pictures gained the ability to talk he retreated to Mexico to make movies. He eventually returned to the States and made several movies here, including "Creature from the Black Lagoon" (1954) and "The Searchers" (1956).
Now, about that promised context. This film can be justly criticized, from a 21st century perspective, as being a macho fantasy of a seductive woman tempting virtuous men. While there have been such women their numbers are dwarfed by the massive legions of women who have been lured, pursued, coerced and compelled into liaisons that were not of their choosing. The myth of the temptress goes back, in all likelihood, into pre-history. We see it in Greek mythology where the sirens used their songs to lure innocent sailors to their doom on the rocks. There was Lilith, of Jewish lore, who insisted on being Adam's equal. Then there was the enchantress, Mohini, in Hindu myth that would madden her lovers and lead them to their doom. The list goes ever on.
In the world of American folklore there's the vampire. We're not talking the undead blood sucker who catches fire in sunlight. This vampire is often simply known as a "vamp." She is a femme fatale who seduces innocent men, robbing them of their virtue, their independence, and, ultimately, their lives (or leaving them empty husks of their once robust selves). It is a male fantasy that has endured for thousands of years, despite the obvious fact that it is the male in the power position too often taking advantage of the female.
This idea was very popular in early film (it became Theda Bara's calling card as she ordered an innocent male victim, "Kiss me my fool!"). It continued on at least into the 1930's (take a look at the Marx Brothers' 1932 film, "Horse Feathers" featuring the first cousin of the vampire, the sexually insatiable "college widow" - women who were usually young and never married - closer in spirit to the black widow spider).
In light of this stereotype Garbo's performance is even more remarkable. Except with Moreno she never initiates any of these flirtations. It's clearly a projection of aspiring suitors. She is able to convey disdain and a world weariness with that very expressive face.
If you don't like silent films this may not be your cup of tea. You're better off sticking with the excellent silent comedies. But if you enjoy compelling silent dramas you may want to check this one out.