Evening star., 1930-03-23


Carlo does not depend upon a mysterious elu-
siveneSS for charm. She is not a histrionic
freak, passive creature potent only in sex lure.
But that she is very human, with distinct
individuality And she is a striking actress,
capable of gigantic dramatic heights.
When the time came for the screen seductreSS
to talk in pictures the motion picture industry
and her worldwide fans waited anxiously.
Would the illusion and mystery collapse that
have surrounded this girl of Scandinavian heri-
tage since she first caught her admirers in q
web of sirenic lure? Would hlmdom's greatest
star fall?
Every one knew or suspected that the Carlo
had an accent, but few knew how much
or how little accent she had. How her voice
would At her peculiar personality was the ques-
ton upon which hung not only the curious con-
lecture of her public but the fortune invested
in her by her producers.
WHILE every one else was a-fiutter, Garbo
the most concerned, alone seemed uncon-
cerned-a habitual trait with her. Whatever
she feels inside. her few acquaintances agree,
never shows outside. What wicked poker
opponent she would make!
Not even voice test did Greta Garbo hazard
She simply studied her lines and walked on the
set. The moment she looked up and saw the
microphone over her head was the most I'M
portant of her career. She was going to talk in
pictures. Or she wasn't.
On this critical occasion Greta Garbo is said
to have betrayed not the slightest trace of
anxiety. Instead, she merely nodded readiness
and started talking:
Gimme drink of whiSky-ginger ale on the
side-and don't be stingy baby!"
On and on she talked The scene ran almost
nine minutes, an unusually long dialogue scene
to be screened. in one take"
Up in the glassed monitor room the voice
mixer listened intently as the words reached
him through the recording system. Then he
leaned back and grinned down at Clarence
Brown, the director, who had glanced anxiously
now and again for sign of approval.
Brown smiled back-a smile of mingled relief
and elation. All over the set electricians, prop
boys, cameramen and scrip girls looked at each
other. faces wreathed IN smiles
Garbo could talk. And what voicel
A VOICE with a haunting quality voice
deep and husky, with an occasionally heavy
gutteral accent and a peculiarly contrasting
musical flow of words!
Garbo, head cupped in her hands listened
I'm the play-back room without the flicker of
an eyelash. Then:
'That doesn't sound like me, does it?"
When the days work was developed, although
agitated and nervous she walked with her
characteristic calm to the projection room to
and hear her first scenes. After that she
never went again to view another foot of Anna
Christie"
The usual previews in obscure theaters were
But the Garbo waited until the picture was
shown at the downtown Criterion Theater when
she drove up in her little red roadster and un-
noticed, slipped inside to see how it turned out.
With the showing Of Anna Christie" the
Los Angeles theater established a new prece-
dent Such crowds lined up outside the Cri-
terion that the manager found it necessary to
open at o'clock in the morning and remain
open until midnight. This means about 10
shows day, yet after weeks the crowds are
still going strong
"Anna Christie" has broken box-ofice history
In Los Angeles Strange, too when you consider
the Somber type of picture and its metamorpho-
sis OF the glamorous Greta.
The setting of this Eugene OTIeil monotone
of the sea Is q coal barge, battling the Atlantic
storms. Greta herself, as Anna the Minnesota
farm girl who has been taught by men the
meaning of hate and despair, is no longer the
practiced seductreSs with lidded eyes. In man
nish sweater and skirt slicker and boots. there
Is nothing Of the old allure Of the temptress
In slinky satins and chnging velvetS
Even the Garbo gestures, the clutching Of her
throat, the provocative raising of long arm to
head. accentuating each curve Of her figure, are
missing.
Yet new allure replaces the old Aside from
her deep-set, natural and native talent for the
dramatic art there clings to this amazing young
Swedish actress an aura Of mystery nothing will
dispel This always will make her the more In
triguing to an American public which loves It's
drama
The silence of the old Garbo pictures is
perhaps more responsible than any other thing
for the illusion that has been built up Her
exotic appeal Is entirely of cinematic making
and not one scintilla deserved or justified by
her own being.
THOSE who have come close enough to know
and study Garbo tell me that the PERSONAL
ity she submergeS in her screen roles is very
different from the woman herself. A most
interesting observation came to me from q CO.
worker at Metro GoldWyn- Mayer studios to