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Throughout her life |
Throughout her life, Garbo was known for taking long, daily walks with companions or by herself. She walked the streets of New York City dressed casually and wearing large sunglasses. "Garbo-watching" became a sport for photographers, the media, admirers, and those who were obsessed with her,<ref name="Mariani1975p54" /> but she maintained her elusive mystique to the end. |
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==Death== |
==Death== |
Revision as of 01:15, 11 September 2011
Greta Garbo | |
---|---|
File:Garbo Lenox Publicity.jpg | |
Born | Greta Lovisa Gustafsson 18 September 1905 Stockholm, Sweden |
Died | 15 April 1990 | (aged 84)
Occupation | Actress |
Years active | 1920–1941 |
Website | http://www.gretagarbo.com/ |
Greta Garbo (18 September 1905 – 15 April 1990), born Greta Lovisa Gustafsson in Sweden, was an international film star and icon during Hollywood's silent and classic periods. Many of Garbo's films, from her first, Torrent in 1926, to her last, 1941's Two-Faced Woman, were sensational hits, and all but three were profitable.[1] Garbo was nominated four times for an Academy Award and received an honorary one in 1954 for her "unforgettable screen performances". She also won the New York Film Critics Circle Award for Best Actress for both Anna Karenina (1935) and Camille (1936). In 1999, the American Film Institute ranked Garbo fifth on their list of greatest female stars of all time, after Katharine Hepburn, Bette Davis, Audrey Hepburn, and Ingrid Bergman.
Garbo launched her career with a secondary role in the 1924 Swedish film The Saga of Gosta Berling. Her performance caught the attention of Louis B. Mayer, who brought her to Hollywood in 1925 to work at Metro-Goldwyn-Mayer (MGM). She immediately stirred interest with her first silent film, Torrent, released in 1926; a year later, her performance in Flesh and the Devil, her third movie, made her an international superstar.[2]
With her first talking film, Anna Christie (1930), she received her first Academy Award nomination. MGM marketers enticed the public with the catch-phrase "Garbo talks!" In 1932, her immense popularity allowed her to dictate the terms of her contract, and she became increasingly choosy about her roles. Many critics and film historians consider her performance as the doomed courtesan Marguerite Gautier in Camille to be her finest. The role gained her a third Academy Award nomination. After working exclusively in dramatic films, Garbo turned to comedy with Ninotchka (1939), which earned her a fourth Academy Award nomination, and Two-Faced Woman (1941).
In 1941, she retired after appearing in 27 films. Although she was offered many opportunities to return to the screen, she declined most of them. Instead, she lived a private life, shunning publicity.
Biography
Childhood and youth (1905–1920)
Greta Lovisa Gustafsson was born in Stockholm, Sweden. She was the third and youngest child of Anna Lovisa (née Karlsson, 1872–1944)—a homemaker and later employee at a jam factory—and Karl Alfred Gustafsson (1871–1920), a laborer.[3][4] She had two siblings: Sven Alfred (1898–1967) and Alva Maria (1903–1926).[5]
Her parents met in Stockholm where her father made occasional trips from his home in Frinnaryd. He moved to Stockholm to become independent, and worked in various odd jobs, such as street cleaner, grocer, factory worker and butcher's assistant[6] He married Anna, who had recently relocated from Högsby.[7][8] The Gustafssons were impoverished and lived in a three-bedroom cold-water flat at Blekingegatan No. 32; they raised their three children in a working-class district regarded as the city's slum.[9] Garbo would later recall:
It was eternally gray—those long winter's nights. My father would be sitting in a corner, scribbling figures on a newspaper. On the other side of the room my mother is repairing ragged old clothes, sighing. We children would be talking in very low voices, or just sitting silently. We were filled with anxiety, as if there were danger in the air. Such evenings are unforgettable for a sensitive girl. Where we lived, all the houses and apartments looked alike, their ugliness matched by everything surrounding us.[10]
As a child, Garbo was a shy daydreamer.[11] She hated school[12][13] and preferred to play alone.[14] Yet she was an a imaginative child, and a natural leader[15] who became interested in theatre from an early age.[16] She directed her friends in make-believe games and performances[17] and dreamed about becoming an actress.[16][18] Later, she would participate in amateur theatre with her friends and frequent the Mosebacke Theater.[19] At the age of 13, Garbo graduated from school,[20] and typical for a Swedish working-class girl at that time, did not attend high school; she would later confess she had an inferiority complex about this.[21]
In the winter of 1919, the Spanish flu spread throughout Stockholm, and Garbo's father, to whom she was extremely close, became ill. He began missing work and eventually lost his job.[22] Garbo stayed at home looking after him and taking him to the hospital for weekly treatments. In 1920, when she was 14 years old, he died.[8][23] Alva, Garbo's sister began work in an insurance office while studying stenography.[21]
Early career (1920–1924)
She began her first job in 1920 as a soap-lather girl in a barbershop. Eventually, her friends advised to look for a better job. She then applied for, and accepted, a position in the PUB department store, running errands and working in the millinery department. Before long, she began modeling hats for the store's catalogs.[24] Her success advertising hats led a more lucrative job as a fashion model for PUB. In 1921, a director of film commercials for the store cast Garbo in a role advertising women's clothing. Thus began Garbo's cinematic career.[25]
In 1922, Garbo caught the attention of director Erik Arthur Petschler who gave her a part in his short comedy, Peter the Tramp.[26] From 1922 to 1924, she studied at The Royal Dramatic Theatre's Acting School in Stockholm. She was recruited in 1924 by director Mauritz Stiller to play a secondary role in his film The Saga of Gosta Berling, a dramatization of the famous novel by Nobel Prize winner Selma Lagerlöf. She played opposite Swedish film actor Lars Hanson. Stiller became her mentor, training her as a film actress and managing all aspects of her nascent career.[27] She followed her role in Gosta Berling with a leading part in the 1925 German film Die freudlose Gasse (The Joyless Street or The Street of Sorrow), directed by G. W. Pabst and co-starring Asta Nielsen.[28]
Accounts differ on the circumstances of her signing with Louis B. Mayer and MGM. Victor Seastrom, a respected Swedish director at MGM, was good friends with Stiller. Seastrom encouraged Mayer, at that time MGM's vice president and general manager, to meet Stiller on a trip to Berlin. There are two versions of what happened next. In one,[29] Mayer was initially interested in Stiller only. He was always looking for new talent and had done his research. He met Stiller and made an offer. Stiller made the unusual demand that Garbo be part of any contract, convinced that she would be an asset to his career. Mayer balked, but eventually agreed to a private viewing of Gosta Berling. Mayer was immediately struck by Garbo's presence and became more interested in her than in Stiller. "It was her eyes", his daughter said of her father's reaction; "I can make a star out of her." In the second version,[30] Mayer had already seen Gosta Berling before his Berlin trip and Garbo was his primary interest. On the way to the screening, Mayer said to his daughter, "This director is wonderful but what we really ought to look at is the girl. ... The girl, look at the girl!" In any case, a contract was drafted that included both of them and after several months, the two set sail for America on the last day of June 1925.
Silent films (1925–1929)
Stiller and Garbo arrived in Hollywood in the first week of July 1925.[31][32] Although she expected to work with Stiller on her first film,[33] she was cast in Torrent (1926), an adaptation of a novel by Vicente Blasco Ibáñez. She displaced Aileen Pringle, ten years her senior, and, under the direction of Monta Bell, played a vamp opposite Ricardo Cortez.[34][35] Torrent did well at the box office despite its cool reception by the trade press.[36] Garbo's performance was acclaimed.[37][38]
The success led Irving Thalberg (who had at first labeled Garbo "absolutely unusable")[39] to cast her in a similar role in a 1926 adaptation of another Ibáñez novel, The Temptress. After only one film, she was given top billing, playing opposite Antonio Moreno.[40] Her mentor Stiller, who had persuaded her to take the part, was assigned to direct.[41] For both Garbo, who did not want to play another vamp and did not like the script any more than she had the first one,[42] and Stiller, The Temptress was a harrowing experience. Garbo remembered it as a picture associated with doom: on the fourth day of production, she received a telegram from Stockholm informing her of the death of her sister Alva at the age of twenty-three.[43] MGM did not permit Garbo to return to Sweden for the funeral. Shortly thereafter, Stiller, who spoke little English, had difficulty adapting to the studio system,[44] and did not get on with Moreno,[45] was replaced by Fred Niblo. Reshooting The Temptress was expensive. Even though it became one of the top-grossing films of the 1926–27 season, with nearly US$1 million in receipts,[46] it was, because of its cost, the only Garbo film of the period to lose money.[47] However, Garbo again got very good reviews,[48][49][50][51] and MGM had a new star.[46][52]
Garbo went on to make eight more silent films and became an international sensation. With the exception of Torrent, all of her silent movies made a profit and most were hugely successful.[53] She starred in three of them with popular leading man John Gilbert.[54] Their on-screen chemistry soon translated into an off-camera romance, and by the end of their first production, Flesh and the Devil (1927), Garbo had begun to move in with Gilbert.[55][clarification needed] Gilbert allegedly proposed to her numerous times. Legend has it that when a double marriage was arranged in 1926 (with Eleanor Boardman and King Vidor), Garbo failed to appear at the ceremony. However, Garbo's recent biographers have questioned this story.[56][57][2]
Despite Garbo's incomparable popularity as a silent movie star,[58] the studio feared that her Swedish accent might impair her work in sound, and delayed the shift for as long as possible.[59][60] MGM itself made a slow changeover to sound.[61] Her last silent movie, The Kiss (1929), was also the studio's.[62]
Queen of MGM (1930–1939)
Garbo successfully made the transition to talkies. Publicized with the slogan "Garbo talks!", Anna Christie (1930), a film adaptation of the 1922 play by Eugene O'Neill, provided her first speaking role. The movie was the highest-grossing film of the year[63] and she received her first Academy Award nomination. Because of Anna Christie's popularity, she made a German version of the movie later that year. She won a second Academy Award nomination for her performance in her next picture, Romance (1930). In 1931, she played the World War I spy in Mata Hari opposite screen idol Ramón Novarro and was subsequently part of an all-star cast in Grand Hotel (1932), in which she played a Russian ballerina. Both of these films were blockbuster hits [1] and the phenomenon of "Garbomania" reached its zenith.[64] Although her domestic popularity was undiminished through the mid-1930s, most of her subsequent films made more money internationally.[65]
After a contract dispute with MGM, she signed a new contract with the studio in July 1932 which gave her more control over her films and co-stars.[66] Garbo demonstrated great loyalty to John Gilbert, whose career was fading, and, despite Louis B. Mayer's objection, insisted that he co-star in 1933's Queen Christina, in which she played one of her most celebrated roles.[67] (Laurence Olivier had originally been chosen to play opposite her.)[68] In 1935, David O. Selznick wanted to cast her as the dying heiress in Dark Victory, but Garbo chose Tolstoy's Anna Karenina (1935), in which she played another of her most renowned roles.[69] Her subsequent role as the doomed courtesan opposite Robert Taylor in George Cukor's Camille, 1936, earned her a third Academy Award nomination, and many film critics regard it as her finest performance.
After the disappointing Conquest (1937), Garbo was one of several major stars—including Crawford, Davis, Dietrich, and Katherine Hepburn—called "box office poison" in an open letter published by the National Theater Distributors of America.[70] She next starred in her first comedy, opposite Melvyn Douglas in Ernst Lubitsch's enormously popular Ninotchka (1939).[71] Ninotchka succeeded in lightening her somber and melancholy image, and she earned a fourth Academy Award nomination. The film was marketed with the tagline "Garbo laughs!", playing off the tagline for Anna Christie.
Last work (1940–1948)
With her last film, George Cukor's Two-Faced Woman (1941), MGM attempted to capitalize on Garbo's triumph as a comedienne by casting her in a romantic comedy which sought to portray her as an ordinary girl. She played a double role that featured her dancing the rumba, swimming, and skiing. The film was a critical, although not entirely a commercial, failure.[71] Garbo referred to the film as "my grave".[72] She was offered many roles in the coming years and showed interest in several, but in each case, she eventually turned the part down or the projects did not come to fruition.[73]
In 1948, Garbo signed a contract for $200,000 with producer Walter Wanger, who had produced Queen Christina in 1933, to shoot a picture based on Balzac's La Duchesse de Langeais. Max Ophüls was slated to adapt and direct.[74][75][76] Garbo made several screen tests, learned the script, and arrived in Rome in the summer of 1949 to shoot the picture. However, the financing failed to materialize and the project was abandoned.[73] The screen tests—the last time Garbo stepped in front of a movie camera—were thought to have been lost for 40 years before resurfacing in someone's garage.[77] Parts of the screen tests were included in the 2005 TCM documentary Garbo[78] and show her still radiant at age 43.[79]
In retirement
In general, Garbo in retirement led a private life of simplicity and leisure, assiduously trying to avoid the publicity she loathed.[80] Contrary to legend, she was never a recluse—which is not to say she didn't spend a lot of time alone. She has been forever linked to one of her lines in Grand Hotel: "I want to be alone." But she later remarked, "I never said, 'I want to be alone. I only said, I want to be let alone. There is all the difference.'"[81][82] In retirement she had many friends (in the United States and Europe) with whom she spent time and traveled.[83][84] Occasionally, she jet-setted with well-known and wealthy personalities.
Beginning in the 1940s, She became something of an art collector. Many of the paintings she purchased were of negligible value, but she did buy, for example, two impressionist paintings by Renoir and a still-life by Pierre Bonnard.[85]
Still, she often floundered about what to do and how to spend her time,[86] always struggling with her life-long melancholy, or depression, and anxiety, and her many eccentricities.[83][84]
On 9 February 1951, she became a naturalized citizen of the United States.[87] In 1953, she bought a seven-room apartment at 450 East 52nd Street in Manhattan, New York City,[88] where she lived for the rest of her life.[87]
In 1969, Italian motion picture director Luchino Visconti attempted to bring Garbo back to the screen. He had actively been working on a film adaptation of Proust's colossal work Remembrance of Things Past since 1969 with a prospective cast including Silvana Mangano, Alain Delon, Helmut Berger, Charlotte Rampling, Laurence Olivier and Garbo in the small part of Maria Sophia, Queen of Naples. Reportedly, Garbo went to Rome and did a color screen test for the role in 1971.[89] Visconti exclaimed: "I am very pleased at the idea that this woman, with her severe and authoritarian presence, should figure in the decadent and rarefied climate of the world described by Proust."[90][91] Visconti's dream of making his Proust film came closest to realization in 1971, but with its length of almost four hours, the budget turned out to be astronomical, and the project never came to fruition.[92][93]
Throughout her life, Garbo was known for taking long, daily walks with companions or by herself. She walked the streets of New York City dressed casually and wearing large sunglasses. "Garbo-watching" became a sport for photographers, the media, admirers, and those who were obsessed with her,[94] but she maintained her elusive mystique to the end.
Death
Greta Garbo died on 15 April 1990, aged 84, in New York Hospital as a result of pneumonia and renal failure.[22] She was successfully treated for breast cancer in 1984.[95] [96]
Garbo was cremated, and after a long legal battle, her ashes were finally interred in 1999 at Skogskyrkogården Cemetery just south of her native Stockholm.[97] She had invested very wisely, particularly in commercial property along Rodeo Drive in Beverly Hills.[98] She left her entire estate, estimated at $20,000,000, to her niece, Gray Reisfield.[22][99]
Personal life
From the early days of her career, Garbo avoided the social functions in Hollywood, preferring to spend her time alone or with a few friends. She seldom signed autographs,[100][101] answered no fan mail,[101][102][103] and gave few interviews.[101][104][105] Her refusal to give interviews gave rise to the press reporter expression "pulling a Garbo" or "going Garbo", referring to any such actions.[106] In her 1928 Photoplay interview she said:
I have always been moody. When I was just a little child, as early as I can remember, I have wanted to be alone. I detest crowds, don't like many people. I used to crawl into a corner and sit and think, think things over.[107]
She is closely associated with a line from Grand Hotel, one which the American Film Institute in 2005 voted the 30th most memorable movie quotes of all time,[108] "I want to be alone, I just want to be alone," a theme echoed in several of her other roles. For example, in Love, 1927, a title card reads, "I like to be alone"; in The Single Standard, 1929, her character says, "I am walking alone because I want to be alone";[109] in Susan Lenox (Her Fall and Rise), 1931, she says to a suitor, "This time I rise... and fall... alone"; in Inspiration, 1931, she tells a fickle lover, "I just want to be alone for a little while"; in Mata Hari, 1931, she says to her new amour, "I never look ahead. By next spring I shall probably be... quite alone"; and in Ninotchka, 1939, emissaries from Russia ask her, "Do you want to be alone comrade"? "No," she bluntly answers. By the early 1930s, the phrase had become indelibly linked with Garbo's persona,[81][82] if not her actual life.
In a surprise interview granted to the press on board the liner Kungsholm in October 1938 in New York, she was asked if she had enjoyed her vacation (in Europe, partly spent in Ravello with conductor Leopold Stokowski). Sighing huskily, Garbo replied, "You cannot have a vacation without peace and you cannot have peace unless left alone."[110]
Garbo never married, had no children, and lived alone.
Her most famous romance was in the late 1920s with her frequent co-star, John Gilbert. Her biographers discuss her affairs and friendships—long-term and short—with various men including, conductor Leopold Stokowski, nutritionist Gayelord Hauser, photographer Cecil Beaton, and George Schlee, husband of designer Valentina.[111]
Recent biographers and others speculate that she was bisexual, or lesbian, and that she had intimate relationships with women as well as with men.[112][113][114] Garbo was introduced to stage and screen actress Lilyan Tashman in 1927, for example, and allegedly had an affair with her. In any case, the two were close for three years.[115] Silent film star Louise Brooks claims she and Garbo had a brief liaison in 1928.[116][117] In 1931, Garbo befriended the writer and socialite Mercedes de Acosta, introduced to her by the author Salka Viertel. The pair allegedly began a sporadic and volatile romance.[118][119][114] They remained friends—with ups and downs—for almost thirty years.[120] When de Acosta published her controversial 1960 memoir, Here Lies the Heart, they became permanently estranged.[121]
Honors, awards, and nominations
Garbo was nominated four times for an Academy Award for Best Actress, including twice in 1930, for Anna Christie and Romance.[122][123] She might have been a victim of MGM's inner politics:[124] she lost out to Irving Thalberg's wife Norma Shearer, who won for The Divorcee. In 1937, Garbo was nominated for Camille, but Luise Rainer won for The Good Earth. Max Breen was among those critics indignant that her performance in Camille had been overlooked in favor of Rainer.[125] Finally, in 1939, Garbo was nominated for Ninotchka, but again came away empty-handed. Gone With the Wind swept the major awards, including Best Actress, which went to Vivien Leigh.[124][126] She was awarded an Academy Honorary Award "for her unforgettable screen performances" in 1954.[127] She did not show up at the ceremony, and the statuette was mailed to her home address.[124]
She twice received the New York Film Critics Circle Award for Best Actress for Anna Karenina, 1935, and Camille, 1936.
She won the National Board of Review Best Acting Award for Camille, 1936, Ninotchka, 1939, and Two-Faced Woman, 1941.
The Swedish royal medal, Litteris et Artibus, awarded to people who have made important contributions to culture, especially music, dramatic art or literature, was presented to Garbo in January 1937.[128] She won The National Board of Review Best Acting Award for Camille, 19
In a 1950 Daily Variety opinion poll, Garbo was voted Best Actress of the Half Century,[129]
In November 1983, Garbo was made a Commander of the Swedish Order of the Polar Star by order of King Carl XVI Gustaf, the King of Sweden.[130]
In 1999, the American Film Institute ranked Garbo fifth on their list of greatest female stars of all time, after Katharine Hepburn, Bette Davis, Audrey Hepburn, and Ingrid Bergman.[131]
For her contributions to cinema, she has a star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard.
She was once designated the most beautiful woman who ever lived by the Guinness Book of World Records.[132][133][134]
In September 2005, the United States Postal Service and Swedish Posten jointly issued two commemorative stamps bearing her image.[135][136][137]
On 6 April 2011, the Bank of Sweden announced that Garbo's portrait will be featured on the 100 krona banknote, beginning in 2014–15.[138]
Legacy
Garbo was an international superstar—some say the greatest—in the late silent era and the so-called "Golden-Age" of Hollywood.[139] Almost immediately, with the sudden popularity of her first pictures, she became a screen icon.[140] For most of her career, she was the highest paid star on the MGM lot.[141]
She introduced an unprecedented eroticism to the screen.[142]
She has been praised in the media and by personalities in cinema and culture:
Ephraim Katz (The Film Encyclopedia: The Complete Guide to Film and the Film Industry):[143]
Of all the stars who have ever fired the imaginations of audiences, none has quite projected a magnetism and a mystique equal to Garbo's. "The Divine", the "dream princess of eternity", the "Sarah Bernhardt of films", are only a few of the superlatives writers used in describing her over the years. … She played heroines that were at once sensual and pure, superficial and profound, suffering and hopeful, world-weary and life-inspiring".
Her instinct, her mastery over the machine, was pure witchcraft. I cannot analyse this woman's acting. I only know that no one else so effectively worked in front of a camera.
She had a talent that few actresses or actors possess. In close-ups she gave the impression, the illusion of great movement. She would move her head just a little bit and the whole screen would come alive, like a strong breeze that made itself felt.
Robert E. Sherwood (1929):[146]
She is one of the most amazing, puzzling, most provocative characters of this extraordinary age. She definitely doesn't belong in the 20th century. She doesn't even belong in this world.
[O]n screen, she's the greatest who ever was, or ever will be.
What, when drunk, one sees in other women, one sees in Garbo sober.
Garbo is the subject of several documentary features, including:
- The Divine Garbo (1990), TNT, produced by Ellen M. Krass and Susan F. Walker, narrated by Glenn Close[149][150]
- Greta Garbo: The Mysterious Lady (1998), Biography Channel, narrated by Peter Graves[151]
- Greta Garbo: A Lone Star (2001), AMC[152]
- Garbo (2005), directed by silent film expert Kevin Brownlow and narrated by Julie Christie[153]
During Garbo's Hollywood career, the animated cartoons frequently caricatured her. These include, from Warner Brothers:
- I've Got to Sing a Torch Song (1933)[154][155]
- Porky's Road Race (1937)[156]
- Speaking of the Weather (1937)[157][158]
- Have You Got Any Castles? (1938)[159]
- Porky's Five and Ten (1938)[160]
- Malibu Beach Party (1940)[161][162]
- Hollywood Steps Out (1941).[163][164]
Among the Disney cartoons that caricatured her are:
- Mickey's Gala Premiere (1933)[165][166]
- Mickey's Polo Team (1936)[167][168]
- Mother Goose Goes Hollywood (1938)[169][170]
- The Autograph Hound (1939).[171][172]
In the 1984 film Garbo Talks, directed by Sidney Lumet, a man attempts to fulfill his dying mother's request by arranging for her to meet the Great Garbo, reflecting the still strong popular obsession with the star.[173]
Filmography
Year | Title | Role | Director | Co-star | Notes |
---|---|---|---|---|---|
1920 | Mr and Mrs Stockholm Go Shopping | Elder sister | Swedish: Herrskapet Stockholm ute på inköp Garbo's segment is often known as How Not to Dress.[174] | ||
1921 | The Gay Cavalier | Maidservant | Uncredited Swedish: En lyckoriddare The film is lost | ||
1921 | Our Daily Bread | Companion | Swedish: Konsum Stockholm Promo[174] | ||
1921 | A Scarlet Angel | Extra | Uncredited Swedish: Kärlekens ögon The film is lost | ||
1922 | Peter the Tramp | Greta | Swedish: Luffar-Petter[174] | ||
1924 | The Saga of Gosta Berling | Elizabeth Dohna | Mauritz Stiller | Lars Hanson | Swedish: Gösta Berlings saga |
1925 | The Joyless Street | Greta Rumfort | G. W. Pabst | Asta Nielsen | German: Die freudlose Gasse |
1926 | Torrent | Leonora Moreno aka La Brunna |
Monta Bell | Ricardo Cortez | First American movie; all of Garbo's American movies were produced by MGM. |
1926 | The Temptress | Elena | Fred Niblo | Antonio Moreno | Mauritz Stiller (Garbo's Swedish mentor) was originally assigned to direct; his directing methods and personality led to conficts with MGM producer Irving Thalberg who fired him. |
1926 | Flesh and the Devil | Felicitas | Clarence Brown | John Gilbert | First of seven Garbo movies directed by Clarence Brown and first of four with co-star John Gilbert |
1927 | Love | Anna Karenina | Edmund Goulding | John Gilbert | Adapted from the novel Anna Karenina by Tolstoy |
1928 | The Divine Woman | Marianne | Victor Seastrom | Lars Hanson | Only a 9 minute reel exists. |
1928 | The Mysterious Lady | Tania Fedorova | Fred Niblo | Conrad Nagel | |
1928 | A Woman of Affairs | Diana Merrick Furness | Clarence Brown | John Gilbert | The first of seven Garbo films with actor Lewis Stone who, with the exception of Wild Orchids, played secondary roles. |
1929 | Wild Orchids | Lillie Sterling | Sidney Franklin | Nils Asther | |
1929 | The Single Standard | Arden Stuart Hewlett | John S. Robertson | Nils Asther, John Mack Brown |
|
1929 | The Kiss | Irene Guarry | Jacques Feyder | Conrad Nagel | Garbo's, and MGM's, last silent picture |
1930 | Anna Christie | Anna Christie | Clarence Brown | Charles Bickford, Marie Dressler |
Garbo's first talkie and first Academy Award nomination for Best Actress |
1930 | Romance | Madame Rita Cavallini | Clarence Brown | Gavin Gordon | Nominated—Academy Award for Best Actress |
1930 | Anna Christie | Anna Christie | Jacques Feyder | Hans Junkermann, Salka Viertel |
MGM's German version of Anna Christie was also released in 1930; Garbo's close friend Salka Viertel later co-wrote several of her screenplays. |
1931 | Inspiration | Yvonne Valbret | Clarence Brown | Robert Montgomery | |
1931 | Susan Lenox (Her Fall and Rise) | Susan Lenox | Robert Z. Leonard | Clark Gable | |
1931 | Mata Hari | Mata Hari | George Fitzmaurice | Ramon Novarro | After the multi-star Grand Hotel, Garbo's highest grossing film |
1932 | Grand Hotel | Grusinskaya | Edmund Goulding | John Barrymore, Lionel Barrymore, Joan Crawford, Wallace Beery |
|
1932 | As You Desire Me | Zara aka Marie | George Fitzmaurice | Melvyn Douglas, Erich von Stroheim |
First of three movies with Douglas |
1933 | Queen Christina | Queen Christina | Rouben Mamoulian | John Gilbert | |
1934 | The Painted Veil | Katrin Koerber Fane | Richard Boleslavski | George Brent | |
1935 | Anna Karenina | Anna Karenina | Clarence Brown | Fredric March | New York Film Critics Circle Award for Best Actress |
1936 | Camille | Marguerite Gautier | George Cukor | Robert Taylor | New York Film Critics Circle Award for Best Actress National Board of Review Best Acting Award Nominated—Academy Award for Best Actress |
1937 | Conquest | Countess Marie Walewska | Clarence Brown | Maurice Chevalier | |
1939 | Ninotchka | Nina Ivanovna "Ninotchka" Yakushova | Ernst Lubitsch | Melvyn Douglas | National Board of Review Best Acting Award Nominated—Academy Award for Best Actress Nominated—New York Film Critics Circle Award for Best Actress |
1941 | Two-Faced Woman | Karin Borg Blake | George Cukor | Melvyn Douglas | National Board of Review of Motion Pictures Best Acting Award |
References
- ^ a b Paris 1994, pp. 570–573.
- ^ a b Vieira 2005, p. 38.
- ^
Ware, Susan; Braukman, Stacy Lorraine (2004). Notable American Women: A Biographical Dictionary: Completing the Twentieth Century. Cambridge, MA: Harvard University Press. pp. 227–228. ISBN 978-0-674-01488-6. Retrieved 24 July 2010.
{{cite book}}
: Unknown parameter|coauthors=
ignored (|author=
suggested) (help) - ^ Sjölander, Ture (1971). Garbo. New York: Harper & Row. pp. 12–13. ISBN 978-0-06-013926-1. Retrieved 24 July 2010.
- ^
Furhammar, Leif (1991). Filmen i Sverige: en historia i tio kapitel (in Swedish). Höganäs: Wiken. p. 129. ISBN 978-91-7119-517-3. Retrieved 24 July 2010.
{{cite book}}
: Unknown parameter|coauthors=
ignored (|author=
suggested) (help) - ^ Souhami 1994, p. 64.
- ^ "Karl Alfred Gustafsson". Retrieved 7 December 2010.
- ^ a b Bainbridge 1955b, p. 76.
- ^ D'Amico, Silvio (1962). Enciclopedia dello spettacolo (in Italian). Rome: Casa editrice Le Maschere. p. 901. Retrieved 25 July 2010.
- ^
Lektyr (in Swedish). 9 (3). 17.
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ignored (help) - ^ Liberty. Liberty Library Corporation. 1974. pp. 27–31 & 54–57. Retrieved 4 August 2010.[dead link]
- ^ Biery 1928a. I hated school. I hated the bonds they put on me. There were so many things outside. I liked history best but I was afraid of the map - geography you call it. But I had to go to go to school like other children. The public school, just as you have in this country.
- ^ "After Twelve Years Greta Garbo Wants to Go Home to Sweden". Life. 8 November 1937. p. 81. Retrieved 4 August 2011.
- ^ Biery 1928a. I didn't play much. Except skating and skiing and throwing snowballs. I did most of my playing by thinking. I played a little with my brother and sister, pretending we were in shows. Like other children. But usually I did my own pretending. I was up and down. Very happy one moment, the next moment – there was nothing left for me.
- ^ Swenson 1997, p. 25.
- ^ a b Biery 1928a. Then I found a theater. I must have been six or seven. Two theaters, really. One was a cabaret; one a regular theater, – across from one another. And there was a back porch to both of them. A long plank on which the actors and actresses walked to get in the back door. I used to go there at seven o'clock in the evening, when they would be coming in, and wait until eight-thirty. Watch them come in; listen to them getting ready. The big back door was always open even in the coldest weather. Listen to their voices doing their parts in the productions. Smell the grease paint! There is no smell in the world like the smell of the backyard of a theater. No smell that will mean as much to me – ever. Night after night, I sat there dreaming. Dreaming when I would be inside – getting ready.
- ^ Swenson 1997, p. 26.
- ^ Biery 1928a. When I wasn't thinking, wasn't wondering what it was all about, this living; I was dreaming. Dreaming how I could become a player.
- ^ Jean Lacouture (1999). Greta Garbo: La Dame aux Caméras (in French). Paris: Liana Levi. p. 22. ISBN 978-2-86746-214-6. Retrieved 6 August 2010.
- ^ Robert Payne (November 1976). The Great Garbo. London: W. H. Allen. p. 22. ISBN 978-0-491-01538-7. Retrieved 4 August 2010.
In June 1919 she left school, and never returned.
- ^ a b Swenson 1997, p. 32.
- ^ a b c Parish, James Robert (4 August 2007). The Hollywood Book of Extravagance: The Totally Infamous, Mostly Disastrous, and Always Compelling Excesses of America's Film and TV Idols. Hoboken, NJ: John Wiley and Sons. p. 76. ISBN 978-0-470-05205-1. Retrieved 4 August 2010. Cite error: The named reference "Parish2007" was defined multiple times with different content (see the help page).
- ^ NYTimes 1990.
- ^ Swensen 1997, p. 36.
- ^ Paris 1994, p. 26.
- ^ Paris 1994, p. 34.
- ^ Paris 1994, pp. 54–61.
- ^ Paris 1994, pp. 67–69.
- ^ Swenson 1997, pp. 72–74.
- ^ Paris 1994, pp. 80–83.
- ^ Paris 1994, p. 84.
- ^ Swenson 1997, p. 85.
- ^ Wollstein, Hans J. (1994). Strangers in Hollywood: The History of Scandinavian Actors in American Films from 1910 to World War II. Metuchen, NJ: Scarecrow Press. p. 95. ISBN 978-0-8108-2938-1. Retrieved 20 July 2010.
- ^ Katchmer, George A. (1991). Eighty Silent Film Stars: Biographies and Filmographies of the Obscure to the Well Known. Jefferson, NC: McFarland. p. 193. ISBN 978-0-89950-494-0. Retrieved 20 July 2010.
- ^ Walker, Alexander; Metro-Goldwyn-Mayer (October 1980). Garbo: A Portrait. New York: Macmillan. p. 41. ISBN 978-0-02-622950-0. Retrieved 20 July 2010.
- ^ Jacobs, Lea (2 April 2008). The Decline of Sentiment: American Film in the 1920s. Berkeley: University of California Press. pp. 258–9. ISBN 978-0-520-25457-2. Retrieved 20 July 2010.
- ^
"The Torrent Review". Variety. 1 January 1926. Retrieved 20 July 2010.
Greta Garbo, making her American debut as a screen star, has everything with looks, acting ability and personality. When one is a Scandinavian and can put over a Latin characterization with sufficient power to make it most convincing, need there be any more said regarding her ability? She makes The Torrent worthwhile.
- ^
Hall, Hadaunt (22 February 1926). "A New Swedish Actress". The New York Times. Retrieved 20 July 2010.
In this current effort Greta Garbo, a Swedish actress, who is fairly well known in Germany, makes her screen bow to American audiences. As a result of her ability, her undeniable prepossessing appearance and her expensive taste in fur coats, she steals most of the thunder in this vehicle
- ^ Billquist, Fritiof (1960). Garbo: A Biography. New York: Putnam. p. 106. OCLC 277166. Retrieved 20 July 2010.
- ^ Rivera-Viruet, Rafael J.; Resto, Max (2008). Hollywood... Se Habla Español: Hispanics in Hollywood Films ... Yesterday, today and tomorrow. New York: Terramax Entertainment. pp. 31–37. ISBN 978-0-9816650-0-9. Retrieved 20 July 2010.
- ^ Thomsen, Bodil Marie (1997). Filmdivaer: Stjernens figur i Hollywoods melodrama 1920–40. [Anmeldelse] (in Danish). Copenhagen: Museum Tusculanum Press. p. 129. ISBN 978-87-7289-397-6. Retrieved 20 July 2010.
- ^ Flamini, Roland (22 February 1994). Thalberg: The Last Tycoon and the World of M-G-M. New York: Crown Publishers. ISBN 978-0-517-58640-2. Retrieved 20 July 2010.
- ^ Bainbridge 1955, p. 92.
- ^ Biery 1928c. Mr. Stiller is an artist. He does not understand about the American factories. He has always made his own pictures in Europe, where he is the master. In our country it is always the small studio. He does not understand the American Business. He could speak no English. So he was taken off the picture. It was given to Mr. Niblo. How I was broken to pieces, nobody knows. I was so unhappy I did not think I could go on.
- ^ Golden, Eve (2001). Golden images: 41 essays on silent film stars. Jefferson, NC: McFarland. p. 106. ISBN 978-0-7864-0834-4. Retrieved 20 July 2010.
- ^ a b
Vieira, Mark A. (15 November 2009). Irving Thalberg: Boy Wonder to Producer Prince. Berkeley: University of California Press. p. 67. ISBN 978-0-520-26048-1. Retrieved 22 July 2010.
{{cite book}}
: Invalid|ref=harv
(help) - ^ Koszarski, Richard (4 May 1994). An Evening's Entertainment: The Age of the Silent Feature Picture, 1915–1928. History of the American Cinema. Berkeley: University of California Press. p. 253. ISBN 978-0-520-08535-0. Retrieved 20 July 2010.
- ^
Brown, John Mason (1965). The worlds of Robert E. Sherwood: Mirror to His Times, 1896–1939. New York: Harper & Row. ISBN 978-0-313-20937-6. Retrieved 20 July 2010.
I want to go on record as saying that Greta Garbo in The Temptress knocked me for a loop. I had seen Miss Garbo once before, in The Torrent. I had been mildly impressed by her visualeffectiveness. In The Temptress, however, this effectiveness proves positively devastating. She may not be the best actress on the screen. I am powerless to formulate an opinion on her dramatic technique. But there is no room for argument as to the efficacy of her allure... [She] qualifies herewith as the official Dream Princess of the Silent Drama Department of Life.
- ^
Conway, Michael; McGregor, Dion; Ricci, Mark (1968). The Films of Greta Garbo. Secaucus, NJ: Citadel Press. p. 51. ISBN 978-0-86369-552-0. Retrieved 20 July 2010.
Harriette Underhill in the New York Herald Tribune: 'This is the first time we have seen Miss Garbo and she is a delight to the eyes! We may also add that she is a magnetic woman and a finished actress. In fact, she leaves nothing to be desired. Such a profile, such grace, such poise, and most of all, such eyelashes. They swish the air at least a half-inch beyond her languid orbs. Miss Garbo is not a conventional beauty, yet she makes all other beauties seem a little obvious.'
- ^
Zierold, Norman J. (1969). Garbo. New York: Stein and Day. p. 164. ISBN 978-0-8128-1212-1. Retrieved 20 July 2010.
'Greta Garbo vitalizes the name part of this picture. She is the Temptress. Her tall, swaying figure moves Cleopatra-ishly from delirious Paris to the virile Argentine. Her alluring mouth and volcanic, slumbrous eyes enfire men to such passion that friendships collapse.' Dorothy Herzog, New York Mirror (1926):
- ^ Hall, Morduant (11 October 1926). "The Temptress Another Ibanez Story". The New York Times. Retrieved 20 July 2010.
- ^ Paris 1994, p. 108.
- ^ Paris 1994, pp. 568–570.
- ^ Paris 1994, pp. 124–125.
- ^ Paris 1994, p. 121.
- ^ Paris 1994, p. 125.
- ^ Swenson 1997, p. 124.
- ^
Crafton, Donald (22 November 1999). The Talkies: American Cinema's Transition to Sound, 1926–1931. History of the American Cinema. Berkeley: University of California Press. pp. 494–5. ISBN 978-0-520-22128-4. Retrieved 17 July 2010.
In December 1929, according to the volume of Photoplay fan mail (...) Garbo remained the leading female star.
- ^ Crafton, Donald (22 November 1999). The Talkies: American Cinema's Transition to Sound, 1926–1931. History of the American Cinema. Berkeley: University of California Press. p. 295. ISBN 978-0-520-22128-4. Retrieved 17 July 2010.
- ^ Limbacher, James L. (1968). Four Aspects of the Film. Aspects of film. New York: Brussel & Brussel. p. 219. ISBN 978-0-405-11138-9. Retrieved 17 July 2010.
- ^ Crafton, Donald (22 November 1999). The Talkies: American Cinema's Transition to Sound, 1926–1931. History of the American Cinema. Berkeley: University of California Press. pp. 206–7. ISBN 978-0-520-22128-4. Retrieved 17 July 2010.
- ^ Vieira 2005, p. 100.
- ^ Vieira 2005, p. 111.
- ^ Vieira 2005, p. 161.
- ^ Paris 1994, pp. 572–573.
- ^ Paris 1994, p. 285.
- ^ Vieira 2005, p. 183.
- ^ Vieira 2005, p. 181.
- ^ Vieira 2005, pp. 207→210.
- ^ Chandler 2010, p. 119.
- ^ a b Paris 1994, p. 573.
- ^ Bainbridge 1955c, p. 129.
- ^ a b Bainbridge 1955c, p. 130.
- ^ Reid, John Howard (January 2006). Cinemascope 3: Hollywood Takes the Plunge. Morrisville, NC: Lulu Press. p. 44. ISBN 978-1-4116-7188-1. Retrieved 25 July 2010.
- ^ Kellow, Brian (November 2004). The Bennetts: An Acting Family. Lexington: University Press of Kentucky. p. 338. ISBN 978-0-8131-2329-5. Retrieved 25 July 2010.
- ^ Forrest, Jennifer; Koos, Leonard R. (2002). Dead Ringers: The Remake in Theory and Practice. SUNY Series, Cultural Studies in Cinema/Video. Abany: State University of New York Press. pp. 151–152. ISBN 978-0-7914-5169-4. Retrieved 25 July 2010.
- ^ Alberge, Dalya (20 August 2005). "Why Garbo just wanted to be alone". The Times. London. Retrieved 22 July 2010.
- ^ "Garbo: A TCM Original Documentary". TurnerClassicMovies.com. Turner Classic Movies. 12 November 2009. Retrieved 24 July 2010.
- ^ "Greta Garbo Profile". TurnerClassicMovies.com. Turner Classic Movies. 12 November 2009. Retrieved 24 July 2010.
- ^ Paris 1994, p. 57.
- ^ a b NYTimes 1990. A declaration often attributed to her was, "I want to be alone." Actually she said, "I want to be let alone."
- ^ a b Shapiro, Fred R., ed. (2006). The Yale Book of Quotations. New Haven: Yale University Press. p. 299. ISBN 978-0-300-10798-2. Retrieved 24 July 2010.
- ^ a b Paris 1994.
- ^ a b Swenson 1997.
- ^ Swenson 1997, pp. 426–427.
- ^ Paris 1994, p. 445.
- ^ a b Who's Who of American Women, 1983–1984. Berkeley Heights, NJ: Marquis Who's Who. December 1983. p. 279. ISBN 978-0-837-90413-9. Retrieved 24 July 2010.
- ^ Kalins Wise, Dorothy (20 May 1968). "Appraising the Most Expensive Apartment Houses in the City". New York. 1 (7). New York Media: 18. ISSN 0028-7369. Retrieved 24 July 2010.
- ^ Paris 1994, p. 460.
- ^
Time. 1 March 1971 http://www.time.com/time/magazine/article/0,9171,878913,00.html. Retrieved 26 July 2010.
Hardly since General Douglas MacArthur's "I shall return" has so momentous a comeback loomed. According to Italian Cinema Director Luchino Visconti, fabled Film Star Greta Garbo, 65, who has been dodging cameras for 30 years, has actually asked to play in his forthcoming movie version of Marcel Proust's seven-volume Remembrance of Things Past. The role that caught her fancy: Maria Sophia, the sixtyish Queen of Naples, who will have only one scene. Nothing has been signed as yet, but Visconti sounded as if Garbo's reappearance was already a fait accompli. Said he: "I am very pleased at the idea that this woman, with her severe and authoritarian presence, should figure in the decadent and rarefied climate of the world described by Proust."
{{cite journal}}
: Missing or empty|title=
(help) - ^ Parish, James Robert; Bowers, Ronald L. (1973). The MGM Stock Company: The Golden Era. London: Allan. p. 241. ISBN 978-0-7110-0501-3. Retrieved 26 July 2010.
- ^ Beugnet, Martine; Schmid, Marion (2004). Proust at the Movies. Studies in European Cultural Transition. Aldershot: Ashgate Publishing. pp. 50 ff. ISBN 978-0-7546-3541-3. Retrieved 26 July 2010.
- ^ Bacon, Henry (1998). Visconti: Explorations of Beauty and Decay. Cambridge: Cambridge University Press. pp. 208 ff. ISBN 978-0-521-59960-3. Retrieved 26 July 2010.
- ^ Mariani, John (29 December 1975). "The Greatest Movie Set Ever". New York Magazine. 9 (1). New York Media, LLC: 54. ISSN 0028-7369. Retrieved 23 July 2010.
- ^ Swenson 1997, p. 549.
- ^
Greg Gibson (3 January 2009). It Takes a Genome: How a Clash Between Our Genes and Modern Life Is Making Us Sick. Upper Saddle River, NJ: FT Press. p. 20. ISBN 978-0-13-713746-6. Retrieved 24 July 2010.
The list of famous women who have had breast cancer...
- ^
Becky Ohlsen (2004). Stockholm. Melbourne: Lonely Planet. p. 86. ISBN 978-1-74104-172-9. Retrieved 24 July 2010.
The Unesco World Heritage-listed graveyard Skogskyrkogården ... is also known as the final resting place of Hollywood actress Greta Garbo
- ^ Casa Vogue. Edizioni Condé Nast. 1993. Retrieved 24 July 2010.
- ^ "To die for: Greta Garbo". Telegraph. 21 September 2010. Retrieved 9 December 2010.
- ^ NYTimes 1936. (Garbo) refused to write her name for autograph hunters or to pose for newsreels.
- ^ a b c Bainbridge 1955a, p. 12.
- ^ NYTimes 1936. A woman held out a letter of introduction she said was written by a mutual friend, and Garbo said coldly: "I never accept letters."
- ^ NYTimes 1990. Her penchant for privacy broke all of Hollywood's rules, said her biographer, John Bainbridge. Except at the start of her career, he wrote in Garbo, she "granted no interviews, signed no autographs, attended no premieres, answered no fan mail."
- ^ NYTimes 1936. For the first time since she achieved international eminence in the motion-picture world, Miss Garbo granted an interview to the press and received the reporters en masse in the smoking lounge while the ship was at Quarantine.
- ^ NYTimes 1990. In a rare statement to reporters she acknowledged, "I feel able to express myself only through my roles, not in words, and that is why I try to avoid talking to the press."
- ^ Gever, Martha (8 September 2003). Entertaining Lesbians: Celebrity, Sexuality, and Self-Invention. Cambridge: New York. p. 144. ISBN 978-0-415-94480-9. Retrieved 24 July 2010.
- ^ Biery 1928a. ...When just a baby, I was always figuring, wondering what it was all about—just why we were living.
- ^ "AFI's 100 Years...100 Movie Quotes". Retrieved 24 July 2010.
- ^ Knowles, Elizabeth M. (2006). What They Didn't Say: A Book of Misquotations. Oxford: Oxford University Press. p. 67. ISBN 978-0-19-920359-8. Retrieved 24 July 2010.
- ^ Bainbridge 1955c, p. 118.
- ^ Swenson 1997, p. 405.
- ^ Paris 1994, p. 249.
- ^ Swenson, 1997 & pp. 491–493.
- ^ a b Vickers 1994.
- ^ Paris 1994, pp. 251–255.
- ^ Brooks, Louise; Jaccard, Roland; Schein, Gideon Y. (1977). Louise Brooks: Portrait d'une anti star [Louise Brooks: Portrait of an Anti-star]. Phébus. ISBN 978-2-8594-0502-1.
- ^ Weiss, Andrea (1992). Vampires & Violets: Lesbians in the Cinema. J. Cape. ISBN 978-0-224-03575-0.
- ^ Paris 1994, pp. 259–264.
- ^ Swenson 1997, p. 249.
- ^ Swenson 1997, p. 381, 511.
- ^ Swenson 1997, p. 515.
- ^ Kennedy, Matthew (1999). Marie Dressler: A Biography, With a Listing of Major Stage Performances, a Filmography and a Discography. Jefferson, NC: McFarland. p. 154. ISBN 978-0-7864-0520-6. Retrieved 25 July 2010.
- ^
"1929–30 Academy Awards Winners and History". Retrieved 23 July 2010.
For the first and only time in Academy history, multiple nominations were permitted for individual categories (notice that George Arliss defeated himself in the Best Actor category). [With a change of rules, this would be the last year in which performers could be nominated for roles in more than one film.]
- ^ a b c Levy, Emanuel (14 January 2003). All about Oscar: The History and Politics of the Academy Awards. New York: Continuum International Publishing Group. pp. 328–29. ISBN 978-0-8264-1452-6. Retrieved 25 July 2010. Cite error: The named reference "Levy2003" was defined multiple times with different content (see the help page).
- ^ Shipman, David (6 November 1970). Great Movie Stars: The Golden Years v. 1. New York: Crown. pp. 450–1. ISBN 978-0-356-18146-2. Retrieved 25 July 2010.
- ^ Parish, James Robert; Stanke, Don E. (1975). The Debonairs. New Rochelle, NY: Arlington House. p. 95. ISBN 978-0-87000-293-9. Retrieved 25 July 2010.
- ^ "The Official Academy Awards Database". Retrieved 13 July 2010.
- ^
"People, Jan. 11, 1937". Time. 11 January 1937. Retrieved 24 July 2010.
In Council of State King Gustaf of Sweden decorated Cinemactress Greta Garbo with the nation's gold medal litteris et artibus, highest Swedish award for artistic achievement.
- ^ "Cinema: Best of the Half-Century". Time. 6 March 1950. Retrieved 14 July 2010.
- ^
"Greta Garbo Honored". The New York Times. 3 November 1983. p. 17. Retrieved 25 July 2010.
Greta Garbo was made a Commander of the Swedish Order of the North Star yesterday by order of King Carl XVI Gustaf, the King of Sweden. The private ceremony in the New York home of Mrs. Jane Gunther was also attended by Mr. and Mrs. Sydney Gruson. The honor, extended only to foreigners, was presented to Miss Garbo by Count Wilhelm Wachtmeister, the Swedish Ambassador to the United States, in recognition of the actress's distinguished service to Sweden. Miss Garbo, born in Stockholm, is now an American citizen.
- ^ "AFI's 100 Years, 100 Stars, Greatest Film Star Legends". American Film Institute. 16 June 1999. Archived from the original on 22 August 2008. Retrieved 23 January 2011.
- ^ Petrucelli, Alan W. (9 September 2007). "Garbo's lonely legacy: Seeking the actress's final resting place". Pittsburgh Post-Gazette. Retrieved 25 July 2010.
- ^ Reynolds, Elisabeth (2 November 2005). "Greta Garbo Returns". The Epoch Times. Retrieved 25 July 2010.
- ^ Callahan, Dan (7 September 2005). "DVD Review: Garbo – The Signature Collection". Slant Magazine. Retrieved 25 July 2010.
- ^ Healey, Matthew (17 September 2005). "Arts, Briefly; Another Garbo Role". The New York Times. Retrieved 17 July 2010.
- ^
"Greta Garbo Has Starring Role on U.S. Postal Stamp" (Press release). United States Postal Service. 25 September 2005. Retrieved 9 September 2008.
...the U.S. Postal Service and Sweden Post jointly issued two commemorative postage stamps bearing her likeness. Both stamps, issued near what would have been her 100th birthday, are engravings based on a 1932 photograph...
- ^
ed. William J. Gicker (2006). "Greta Garbo 37¢". USA Philatelic. 11 (3): 12.
{{cite journal}}
:|access-date=
requires|url=
(help);|author=
has generic name (help);|format=
requires|url=
(help) - ^ "Sweden's new banknotes and coins". Stockholm: Sveriges Riksbank. 6 April 2011. Retrieved 6 April 2011.
- ^ Paris 1994, p. 4.
- ^ Vieira 2005, p. 6.
- ^ Vieira 2005, p. 7.
- ^ Paris 1994, pp. 35–36.
- ^ Katz, Ephraim (1979). The Film Encyclopedia: The Complete Guide to Film and the Film Industry (1st ed.). New York: Thomas Y. Crowell Co. p. 465. ISBN 978-0-690-01204-0.
- ^ Davis, Bette (1990) [1962]. The Lonely Life. New York: Berkley Books. p. 116. ISBN 978-0-425-12350-8.
- ^ Long, Robert Emmet (2001). George Cukor: Interviews. Conversations with Filmmakers. Jackson: University Press of Mississippi. p. 47. ISBN 978-1-57806-387-1.
- ^
Alpert, Hollis (5 September 1965). "Saga of Greta Lovisa Gustafsson – Saga of Greta Garbo". The New York Times. Retrieved 22 July 2010.
{{cite news}}
: Invalid|ref=harv
(help) - ^ Paris 1994, p. xiv.
- ^ Paris 1994, p. 235.
- ^ O'Connor, John J. (3 December 1990). "Reviews/Television; A Life of Garbo, Mostly Through Films". The New York Times. Retrieved 19 August 2011.
{{cite news}}
: Cite has empty unknown parameter:|1=
(help) - ^ "The Divine Garbo". IMDB. Retrieved 6 August 2011.
- ^ "'Biography' Greta Garbo: The Mysterious Lady". IMDB. Retrieved 6 August 2011.
- ^ Linan, Steven (4 September 2011). "'Garbo' Paints a Full Portrait of Star". Los Angeles Times. Retrieved 16 August 2011.
- ^ "Garbo". IMDB. Retrieved 6 August 2011.
- ^ "I've Got to Sing a Torch Song". IMDB. Retrieved 15 July 2010.
- ^ Webb 2000, p. 251.
- ^ "Porky's Road Race". IMDB. Retrieved 15 July 2010.
- ^ Webb 2000, p. 462.
- ^ "Speaking of the Weather". IMDB. Retrieved 15 July 2010.
- ^ "Have You Got Any Castles?". IMDB. Retrieved 6 August 2011.
- ^ "Porky's Five & Ten". IMDB. Retrieved 15 July 2010.
- ^ Webb 2000, p. 300.
- ^ "Malibu Beach Party". IMDB. Retrieved 15 July 2010.
- ^ Webb 2000, p. 227.
- ^ "Hollywood Steps Out". IMDB. Retrieved 15 July 2010.
- ^ "Mickey's Gala Premiere". IMDB. Retrieved 15 July 2010.
- ^
Zielinski, Siegfried (1999). Audiovisions: Cinema and Television as Entr'actes in History. Film Culture in Transition. Amsterdam: Amsterdam University Press. p. 105. ISBN 978-90-5356-313-7.
{{cite book}}
:|access-date=
requires|url=
(help) - ^ Webb 2000, p. 311.
- ^ "Mickey's Polo Team". IMDB. Retrieved 15 July 2010.
- ^ "Mother Goose Goes Hollywood". IMDB. Retrieved 15 July 2010.
- ^ Dowell, Gary; Holman, Greg; Mangus, Don (2007). Halperin, James L. (ed.). HCA Comics Dallas Auction Catalog #824. Dallas, TX: Heritage Auctions. p. 131. ISBN 978-1-59967-133-8. Retrieved 13 July 2010.
- ^ "The Autograph Hound". IMDB. Retrieved 15 July 2010.
- ^
Grant, John (1992). Encyclopedia of Walt Disney's Animated Characters. New York: Hyperion. p. 367. ISBN 978-1-56282-904-9.
{{cite book}}
:|access-date=
requires|url=
(help) - ^ Canby, Vincent (12 October 1984). "Film: 'Garbo Talks,' Directed By Sidney Lumet". The New York Times. p. 8. Retrieved 24 July 2010.
- ^ a b c The Saga of Gosta Berling (DVD). New York: Kino International. 2006. UPC 738329046927.
Bibliography
- Bainbridge, John (1955). Garbo (1st ed.). Garden City, NY: Doubleday. 256 pages. OCLC 1215789. Retrieved 22 July 2010.
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suggested) (help)- Bainbridge, John (1971). Garbo (reissued) (1st ed.). New York: Holt, Rinehart & Winston. 320 pages. ISBN 978-0-03-085045-5. Retrieved 22 July 2010.
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- Bainbridge, John (1971). Garbo (reissued) (1st ed.). New York: Holt, Rinehart & Winston. 320 pages. ISBN 978-0-03-085045-5. Retrieved 22 July 2010.
- Bainbridge, John (10 January 1955). "The Great Garbo". Life. Retrieved 22 July 2010.
{{cite journal}}
: Invalid|ref=harv
(help) - Bainbridge, John (17 January 1955). "The Great Garbo: Part Two - Greta's Haunted Path to Stardom". Life. Retrieved 22 July 2010.
{{cite journal}}
: Invalid|ref=harv
(help) - Bainbridge, John (24 January 1955). "The Great Garbo: Part Three - The Braveness to Be Herself". Life. Retrieved 22 July 2010.
{{cite journal}}
: Invalid|ref=harv
(help) - Biery, Ruth (April 1928). "The Story of Greta Garbo As Told By her to Ruth Biery, Chapter I". Photoplay. Retrieved 22 July 2010.
{{cite journal}}
: Invalid|ref=harv
(help)CS1 maint: date and year (link) - Biery, Ruth (May 1928). "The Story of Greta Garbo As Told By her to Ruth Biery, Chapter II". Photoplay. Retrieved 22 July 2010.
{{cite journal}}
: Invalid|ref=harv
(help)CS1 maint: date and year (link) - Biery, Ruth (June 1928). "The Story of Greta Garbo As Told By her to Ruth Biery, Chapter III". Photoplay. Retrieved 22 July 2010.
{{cite journal}}
: Invalid|ref=harv
(help)CS1 maint: date and year (link) - Borg, Sven Hugo (1933). The Only True Story of Greta Garbo's Private Life. London: Amalgamated Press. Retrieved 22 July 2010.
{{cite book}}
: Invalid|ref=harv
(help) - Chandler, Charlotte (2010). I Know Where I'm Going: Katharine Hepburn, A Personal Biography. New York: Simon & Schuster. p. 119. ISBN 978-1-4391-4928-7. Retrieved 21 August 2011.
{{cite book}}
: Invalid|ref=harv
(help) - LaSalle, Mick (6 July 2005). "Interview with John Gilbert's daughter, Leatrice Gilbert Fountain". San Francisco Chronicle.
- McLellan, Diana (2000). The Girls : Sappho Goes to Hollywood (Hardcover ed.). New York: St. Martin's Press. ISBN 978-0-312-24647-1. Retrieved 22 July 2010.
{{cite book}}
: Invalid|ref=harv
(help); Unknown parameter|month=
ignored (help) - "Greta Garbo Back – A Bit Less Aloof: Film Star, Still Showing the Effects of Illness, Consents to 10-Minute interview". The New York Times. 4 May 1936. Retrieved 12 July 2010.
- New York Times, The (16 April 1990). "Greta Garbo, 84, Screen Icon Who Fled Her Stardom, Dies". Retrieved 22 July 2010.
- Palmborg, Rilla Page (1931). The Private Life of Greta Garbo. Garden City, NY: Doubleday, Doran & Company, Inc. ISBN 978-90-00-00721-9. Retrieved 22 July 2010.
{{cite book}}
: Invalid|ref=harv
(help) - Paris, Barry (1994). Garbo. New York: Alfred A. Knopf. ISBN 978-0-8166-4182-6.
- Ricci, Stefania, ed. (2010). Greta Garbo - The Mystery of Style. Milan: Skira Editore. ISBN 978-88-572-0580-9.
{{cite book}}
: Invalid|ref=harv
(help) - Souhami, Diana (1994). Greta and Cecil. San Francisco: Harper. ISBN 978-0-06-250829-4. Retrieved 24 July 2010.
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(help) - Swenson, Karen (1997). Greta Garbo: A life Apart. New York: Scribner. ISBN 978-0-684-80725-6.
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(help) - Vickers, Hugo (1994). Loving Garbo: The Story of Greta Garbo, Cecil Beaton, and Mercedes de Acosta. New York: Random House. ISBN 978-0-679-41301-1.
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(help) - Vieira, Mark A. (2005). Greta Garbo: A Cinematic Legacy. New York: Harry A. Abrams. ISBN 978-0-8109-5897-5.
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(help) - Webb, Graham (2000). The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features, and Sequences, 1900–1979. University of Michigan. ISBN 978-0-7864-0728-6. Retrieved 22 July 2010.
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(help)