If you care for Garbo's sound movies go back and see what made her such a sensational international star. This one is a delight. She is most seductive with the grace and glide of an animal. One of my favorite of all of her films. You can easily see why people became Garbomanics. There was nothing like her on the screen...before or since.
32 Reviews
The Seductive Lady, the Lovable Captain, the Charming Silent Movie
marcin_kukuczka10 January 2010
Have you ever been touched by the glimpse of perfection on screen? I suppose not if you are a buff of 'modern' thrillers that boast technical effects, but, unfortunately, lack any basics of subtlety. Anyone who longs for charm of good old days should decide to see at least one Garbo movie. And it does not have to be her top classic film like NINOTCHKA where Garbo memorably laughs, ANNA Christie where she adorably reveals the sound of her voice, or even GRAND HOTEL where she memorably says her iconic words "I want to be alone", but THE MYSTERIOUS LADY where she so brilliantly seduces. But what is, in fact, THE MYSTERIOUS LADY after all these years except for the fact it is one of the last silents Garbo made.
In spite of the fact that THE MYSTERIOUS LADY is made by the talented yet underrated director of silent BEN HUR (1925), Fred Niblo, and based upon the novel WAR IN THE DARK by Ludwig Wolff, that is, for many, not at all the movie's strongest point. The content of a spy's determination between the choice of serving the country in lie or the choice of offering a genuine love to a man is memorably resembled in Garbo's famous talkie MATA HARI (1931). The entire investigation depicted in the film also appears to be of little importance. The real charm of THE MYSTERIOUS LADY lies in its stunning cinematography by great William H. Daniels, impressive lighting, memorable moments and, foremost, excellent cast...
...and at this moment, whilst analyzing the film from this perspective, we get Greta Garbo, one of, if not, the best actress that cinema could ever have, neither Garbo alone nor with her beloved John Gilbert but with equally lovable Conrad Nagel. The couple of Tania, a seductive spy, and Karl, a lovable captain, of a singer and a pianist are excellent. While Nagel crafts the role skillfully as a lover and a captain experiencing bitter military career, Garbo uses her two most powerful weapons: charm and talent. She seduces like in MATA HARI, and, moreover, she seduces silently and ... mysteriously.
Their scenes are, symbolically, based upon hand and mouth (two body parts which resemble the subtle desire), upon act and affection, giving and taking. The moment worth particular attention is, perhaps the most famous scene of this movie, when Garbo lights up the candles and the camera is directed towards her face. And here, again, great thanks to William H. Daniels who photographed Garbo in an extraordinarily subtle manner. Another memorable scene is the one at the theater: how lovely it is to see the Austrian captain whose blood runs faster in veins at the sight of a delicious Russian beauty. I was mesmerized by the magic stream sequence where I found the very essence of silent picture: the delicacy it portrays and the visual experience it offers.
Among the supporting cast, Gustav Von Seyfferlitz as Boris is well worth attention. The German actor who appeared in some other Garbo films as well, perfectly portrays a dominant man, someone powerful, stylish, calm who behaves in a terribly masterful manner. My friend who was watching the movie with me called him: "a macho in elegant clothes." Modern language, as it may seem, there is some truth in this.
In short, I highly recommend this movie not only to silent movie buffs, but to all viewers who perceive the cinema from a more open minded perspective. If you open yourself to forgotten charm and lost magnificence of yore, THE MYSTERIOUS LADY may truly make your day.
Such a little thought at the end:
It seems that silent cinema is no longer appreciated, Garbo's beauty no longer valid, the charm of great motion pictures no longer admired, so are we left merely with nostalgia? No, not at all as long as there are still people who cherish these movies. They mysteriously bring its lovers into a beautiful world where you can sit in your chair at the fireplace, take a glass of champagne and drink a toast to the eyes and lips, to the glorious face of a seductive silent beauty that cinema once had.
In spite of the fact that THE MYSTERIOUS LADY is made by the talented yet underrated director of silent BEN HUR (1925), Fred Niblo, and based upon the novel WAR IN THE DARK by Ludwig Wolff, that is, for many, not at all the movie's strongest point. The content of a spy's determination between the choice of serving the country in lie or the choice of offering a genuine love to a man is memorably resembled in Garbo's famous talkie MATA HARI (1931). The entire investigation depicted in the film also appears to be of little importance. The real charm of THE MYSTERIOUS LADY lies in its stunning cinematography by great William H. Daniels, impressive lighting, memorable moments and, foremost, excellent cast...
...and at this moment, whilst analyzing the film from this perspective, we get Greta Garbo, one of, if not, the best actress that cinema could ever have, neither Garbo alone nor with her beloved John Gilbert but with equally lovable Conrad Nagel. The couple of Tania, a seductive spy, and Karl, a lovable captain, of a singer and a pianist are excellent. While Nagel crafts the role skillfully as a lover and a captain experiencing bitter military career, Garbo uses her two most powerful weapons: charm and talent. She seduces like in MATA HARI, and, moreover, she seduces silently and ... mysteriously.
Their scenes are, symbolically, based upon hand and mouth (two body parts which resemble the subtle desire), upon act and affection, giving and taking. The moment worth particular attention is, perhaps the most famous scene of this movie, when Garbo lights up the candles and the camera is directed towards her face. And here, again, great thanks to William H. Daniels who photographed Garbo in an extraordinarily subtle manner. Another memorable scene is the one at the theater: how lovely it is to see the Austrian captain whose blood runs faster in veins at the sight of a delicious Russian beauty. I was mesmerized by the magic stream sequence where I found the very essence of silent picture: the delicacy it portrays and the visual experience it offers.
Among the supporting cast, Gustav Von Seyfferlitz as Boris is well worth attention. The German actor who appeared in some other Garbo films as well, perfectly portrays a dominant man, someone powerful, stylish, calm who behaves in a terribly masterful manner. My friend who was watching the movie with me called him: "a macho in elegant clothes." Modern language, as it may seem, there is some truth in this.
In short, I highly recommend this movie not only to silent movie buffs, but to all viewers who perceive the cinema from a more open minded perspective. If you open yourself to forgotten charm and lost magnificence of yore, THE MYSTERIOUS LADY may truly make your day.
Such a little thought at the end:
It seems that silent cinema is no longer appreciated, Garbo's beauty no longer valid, the charm of great motion pictures no longer admired, so are we left merely with nostalgia? No, not at all as long as there are still people who cherish these movies. They mysteriously bring its lovers into a beautiful world where you can sit in your chair at the fireplace, take a glass of champagne and drink a toast to the eyes and lips, to the glorious face of a seductive silent beauty that cinema once had.
Hitchcokian -- very Hitchcockian
rpniew11 August 2009
This is, quite possibly, the silent film to present to those who are resistant to silent films. First, the characters earn our affection from the very beginning -- scenes of the beautiful Garbo crying during an opera, Nagel becoming entranced by her. Within the first five minutes, you are drawn into them. Garbo becomes more beautiful as the years go by -- we see a beauty that is modern; Garbo would be considered beautiful in the 21st century, unlike many stars from the earlier days. (I mean, could Theda Bara cut it in 2009? Mary MIles Minter? Pola Negri?) Conrad Nagel plays the male lead quietly but effectively -- almost all of the acting here is restrained.
Beyond the beauty of Garbo, one has to really credit Fred Niblo for directing this film. The film is essentially Hitchcock before Hitchcock. This film has elements of "North By Northwest," "The Man Who Knew Too Much," "The Thirty-nine Steps," and, most surprisingly, "Notorious." You have the "wrong man" theme, the guilty, obsessive love, the elegant, tricky villain, the conflicted heroine, Hicthcockian camera movements, some unexpected plot twists, some scenes of real suspense, and even a darkly humorous bit toward the end regarding a corpse.
Very nicely done.
Beyond the beauty of Garbo, one has to really credit Fred Niblo for directing this film. The film is essentially Hitchcock before Hitchcock. This film has elements of "North By Northwest," "The Man Who Knew Too Much," "The Thirty-nine Steps," and, most surprisingly, "Notorious." You have the "wrong man" theme, the guilty, obsessive love, the elegant, tricky villain, the conflicted heroine, Hicthcockian camera movements, some unexpected plot twists, some scenes of real suspense, and even a darkly humorous bit toward the end regarding a corpse.
Very nicely done.
Very Good Melodrama With a Typically Fine Garbo Performance
Snow Leopard9 March 2006
Greta Garbo's usual fine performance, along with a good supporting cast and an interesting (if somewhat familiar) story, make "The Mysterious Lady" a very good melodrama. It has a good mix of romance, intrigue, and suspense that gets the most out of the fairly simple premise, and along the way there are also some good touches by director Fred Niblo.
In a part similar to her role in the better-known "Mata Hari", Garbo here plays a glamorous Russian spy who targets an Austrian officer, aiming at first to steal important military secrets, but soon genuinely falling in love with him. The conflict between personal feelings and perceived patriotic duty sets up the rest of the drama, and it builds up to an interesting climactic scene, with an exuberant party taking place in Warsaw while, in a private room, a tense confrontation plays out.
Besides keeping a good pace and atmosphere, there are a few places where Niblo's direction also highlights key props in a fashion that would have pleased Hitchcock. And while Garbo as usual dominates the screen, the supporting cast features solid performances. Conrad Nagel plays the Austrian, with Gustav Von Seyffertitz as a Russian spy-master. Perhaps the best performance in the supporting cast is by Edward Connelly, in a smaller role as Nagel's uncle. It's a good combination that makes for a very good movie.
In a part similar to her role in the better-known "Mata Hari", Garbo here plays a glamorous Russian spy who targets an Austrian officer, aiming at first to steal important military secrets, but soon genuinely falling in love with him. The conflict between personal feelings and perceived patriotic duty sets up the rest of the drama, and it builds up to an interesting climactic scene, with an exuberant party taking place in Warsaw while, in a private room, a tense confrontation plays out.
Besides keeping a good pace and atmosphere, there are a few places where Niblo's direction also highlights key props in a fashion that would have pleased Hitchcock. And while Garbo as usual dominates the screen, the supporting cast features solid performances. Conrad Nagel plays the Austrian, with Gustav Von Seyffertitz as a Russian spy-master. Perhaps the best performance in the supporting cast is by Edward Connelly, in a smaller role as Nagel's uncle. It's a good combination that makes for a very good movie.
Garbo at Her Most Seductive
dglink27 September 2005
While "The Mysterious Lady" is only a mildly entertaining romantic thriller, the film's seductively beautiful star, Greta Garbo, illuminates the screen whenever she appears and raises the film several cuts above what it might otherwise have been. The predictable plot is serviceable, if somewhat less than credible, and the handsome one-dimensional leading man and the sinister snarling villain, complete with flamboyant dark mustache, visually cue the audience to the identities of the hero and his nemesis.
Only Garbo infuses her character with the depth and ambiguity to keep the audience guessing as to her sympathies and motives. Although her husky accented voice enhanced her aura, the actress was a master of projecting emotion without words. Her shifting facial expressions convey more than words, and even her body language speaks volumes about the character. Garbo moves with a fluidity and grace that enhances her innate seductive sexuality. She captivates the viewer even with the simple act of descending a staircase. When cinematographer William Daniels back lights her profile in closeup, she literally glows on the screen.
While "The Mysterious Lady" has high MGM production values, fine cinematography, and lush sets, the film does not rank among the finest of silent cinema. With a lesser actress at its center, the film would likely have been forgotten. However, with Garbo, the film transcends its cardboard plot and provides a serviceable backdrop for the work of one of Hollywood's greatest icons.
Only Garbo infuses her character with the depth and ambiguity to keep the audience guessing as to her sympathies and motives. Although her husky accented voice enhanced her aura, the actress was a master of projecting emotion without words. Her shifting facial expressions convey more than words, and even her body language speaks volumes about the character. Garbo moves with a fluidity and grace that enhances her innate seductive sexuality. She captivates the viewer even with the simple act of descending a staircase. When cinematographer William Daniels back lights her profile in closeup, she literally glows on the screen.
While "The Mysterious Lady" has high MGM production values, fine cinematography, and lush sets, the film does not rank among the finest of silent cinema. With a lesser actress at its center, the film would likely have been forgotten. However, with Garbo, the film transcends its cardboard plot and provides a serviceable backdrop for the work of one of Hollywood's greatest icons.
Seductive and intoxicating.
David-24011 May 2000
Fred Niblo is undoubtedly one of the most under-rated film-makers ever. His visual stylisations, here helped by the incredible photography of William Daniels, can make a fairly routine spy yarn into a beautiful work of art. Of course it helps when Greta Garbo is on your canvas. This is an astonishing film that, had it been given a more believable ending (tragic rather than happy), may well be considered a masterpiece today.
Garbo's beauty and superb acting abilities make the material compulsive. And Conrad Nagel matches her perfectly. Their first love scene is intoxicating in its beauty, and heart-stopping in its passion. It is one of the great love scenes of all time. And in the nail-biting climax there is a moment so grotesquely powerful that you will never forget it. This is a film to savour and love - it represents silent film at its very best. Yes the plot is slight, but what is conveyed beyond that plot is more than profound. And the excellent music score on the MGM video enhances this profundity. This film is beauty itself.
Garbo's beauty and superb acting abilities make the material compulsive. And Conrad Nagel matches her perfectly. Their first love scene is intoxicating in its beauty, and heart-stopping in its passion. It is one of the great love scenes of all time. And in the nail-biting climax there is a moment so grotesquely powerful that you will never forget it. This is a film to savour and love - it represents silent film at its very best. Yes the plot is slight, but what is conveyed beyond that plot is more than profound. And the excellent music score on the MGM video enhances this profundity. This film is beauty itself.
Garbo At Her Most Seductive
gcrokus4 May 2009
I don't think any silent screen female star came close to exhibiting the pure sensual sexuality Greta Garbo conveyed. I offer her role in "The Mysterious Lady" as proof of that contention.
The plot is simple enough. Tania Federova (the aforementioned G. Garbo) has set up a military officer (Conrad Nagel as Captain Karl von Rader) in Vienna to gather what information she might. They have met – conveniently – at the opera, and when she shares that she has brought no money, he offers her a ride home. He is already smitten, and she agrees to see him the next day.
I know it is a movie and that there are time constraints within which the writers must work, but theirs is a whirlwind affair. They are in love within hours. As Von Rader is preparing to leave for Berlin, he is told she is a spy. Their meeting on the train doesn't go well, and she steals the documents he is carrying to boot.
What follows is that the Captain must clear his name due to his misfortune and we must see what will become of these two, and I'm not telling what happens. But what I would like to share is how well Garbo comes across.
She was only 23 years old at the time of the film's release. But she had already the look of one much older and certainly the style of an experienced woman of the world. And the cinematography perfectly heightens her allure.
There is a brief shot early in the movie when she turns out the light as she prepares to retire for the evening. She is leaning against a wall and switches off the light; the light that remains perfectly casts her in a striking pose. There are a number of nearly equal elegant shots throughout, and in my view she wore a clingy gown as well as any Hollywood actress ever did.
Three Stars
The plot is simple enough. Tania Federova (the aforementioned G. Garbo) has set up a military officer (Conrad Nagel as Captain Karl von Rader) in Vienna to gather what information she might. They have met – conveniently – at the opera, and when she shares that she has brought no money, he offers her a ride home. He is already smitten, and she agrees to see him the next day.
I know it is a movie and that there are time constraints within which the writers must work, but theirs is a whirlwind affair. They are in love within hours. As Von Rader is preparing to leave for Berlin, he is told she is a spy. Their meeting on the train doesn't go well, and she steals the documents he is carrying to boot.
What follows is that the Captain must clear his name due to his misfortune and we must see what will become of these two, and I'm not telling what happens. But what I would like to share is how well Garbo comes across.
She was only 23 years old at the time of the film's release. But she had already the look of one much older and certainly the style of an experienced woman of the world. And the cinematography perfectly heightens her allure.
There is a brief shot early in the movie when she turns out the light as she prepares to retire for the evening. She is leaning against a wall and switches off the light; the light that remains perfectly casts her in a striking pose. There are a number of nearly equal elegant shots throughout, and in my view she wore a clingy gown as well as any Hollywood actress ever did.
Three Stars
Garbo Potboiler
Ron Oliver15 December 2005
A young Austrian officer doesn't realize how profoundly THE MYSTERIOUS LADY he meets at the Opera will change his life.
Greta Garbo's entrancing beauty is the main attraction in this Silent drama from MGM. Her face alone would have assured her a place in film history. But this film, which deals with World War One espionage, has other things to offer, including a good performance from Conrad Nagel as Garbo's co-star. The story is a wee bit ludicrous, but MGM graced the film with excellent production values as befits a movie starring their enormously popular star. (The idyllic afternoon sequence shared between the two lovers is especially commendable.) The plot does have some fair degree of excitement and should not disappoint the typical viewer.
Ably filling smaller roles are Gustav von Seyffertitz as the evil Russian spymaster and Edward Connelly as the head of the Austrian Secret Service, who also happens to be Nagel's uncle. Movie mavens will recognize an unbilled big Russ Powell as a rain-drenched carriage driver.
This silent film has been given a fine orchestral background score by Vivek Maddala.
Greta Garbo's entrancing beauty is the main attraction in this Silent drama from MGM. Her face alone would have assured her a place in film history. But this film, which deals with World War One espionage, has other things to offer, including a good performance from Conrad Nagel as Garbo's co-star. The story is a wee bit ludicrous, but MGM graced the film with excellent production values as befits a movie starring their enormously popular star. (The idyllic afternoon sequence shared between the two lovers is especially commendable.) The plot does have some fair degree of excitement and should not disappoint the typical viewer.
Ably filling smaller roles are Gustav von Seyffertitz as the evil Russian spymaster and Edward Connelly as the head of the Austrian Secret Service, who also happens to be Nagel's uncle. Movie mavens will recognize an unbilled big Russ Powell as a rain-drenched carriage driver.
This silent film has been given a fine orchestral background score by Vivek Maddala.
Before Mata Hari, a Mata Hari type
bkoganbing27 May 2014
Not too long before Greta Garbo played the most famous female spy of all in Mata Hari, during her silent screen period she was cast in The Mysterious Lady as a Mata Hari type. Garbo plays a Russian spy working under her Russian spymaster Gustav Von Seyffertitz who was one of the great villains of the silent screen.
Her mission is to get a copy of the Hapsburg war plans and the one she chooses as her target is staff officer Conrad Nagel. Nagel's like putty in her hands and though she even falls for him, she does her duty by the czar.
But when she wants out Von Seyffertitz won't let her out. In the meantime Nagel has escaped and he's determined to clear his name. After that Garbo decides that true love is for her.
Though Garbo and Nagel did not become a screen team in the way that Garbo and John Gilbert did, Nagel was more than adequate as a replacement for Gilbert in a role that probably he got first crack at. Garbo is divinely alluring as only Garbo could be.
Good film and it worked out for Garbo far better than Flesh And The Devil did.
Her mission is to get a copy of the Hapsburg war plans and the one she chooses as her target is staff officer Conrad Nagel. Nagel's like putty in her hands and though she even falls for him, she does her duty by the czar.
But when she wants out Von Seyffertitz won't let her out. In the meantime Nagel has escaped and he's determined to clear his name. After that Garbo decides that true love is for her.
Though Garbo and Nagel did not become a screen team in the way that Garbo and John Gilbert did, Nagel was more than adequate as a replacement for Gilbert in a role that probably he got first crack at. Garbo is divinely alluring as only Garbo could be.
Good film and it worked out for Garbo far better than Flesh And The Devil did.
The best of Fred Niblo
francois-massarelli8 February 2006
This is to my mind the most brilliant of all of Garbo's silent films, and I never fully understood the attitude of most critics who simply dismiss it on the account of the Divine Woman's own lack of care for this particular entry. True, she did not like just doing this film, and true, Mauritz Stiller was actually dying while she was shooting this, therefore, we can understand that she thought poorly of it; yet this was shot at the peak of silent film-making, in 1928, and never before had Fred Niblo been so good, never had his full command of the motion picture been so obvious. All through the film, the direction is superb, subdued and subtle, while the gorgeous settings, MGM's trademark, are lit and photographed at their best. Niblo makes the best of his composition skills, with or without Garbo in the shots, and the way he deals with the extras, putting the stars in the distance, swallowed by the crowd, is clearly an innovation for 1928; his use of a few, but decisive shots based on a moving camera proves that, like the European imports(Murnau, Leni, Fejos, Christensen) or like his fellow Americans (Ford, Borzage,Wellman), he was aware of the German experiments. Of course, the spy story is not the source of any intellect-expanding masterpiece, but, hey, this is a stylish and entertaining film that foreshadows some of Hitchcpock's best British films of the decade to come. And Niblo even handles suspense in a remarkable way in the last five minutes. The edition id remarkable, the print being a bit worn but still clear; and an emasculating restoration has been avoided, retaining thus the crystal-clear, crisp quality of William Daniel's photography. And to conclude, a question about Garbo: who else on earth could wear these dresses and get away with it?
DVD comments
notmicro6 February 2006
The new DVD is great to have - but... If you're hoping for a "restored" image, you won't find it here. The "commentary" audio-track is slightly interesting to have on while you're watching, but if you know anything at all about Garbo you won't learn much from it. Most unfortunately, the new music soundtrack is inexplicably annoying and usually totally unrelated to the action on the screen; the committee that selected it clearly had no idea what they were doing (to put it politely). Even the "commentators" point out that its very odd that there are no quotes from Tosca during the numerous scenes in the film which reference the famous aria "Vissi d'arte", especially the key scene where Garbo's character unexpectedly hears it being played.
A delicious silent film!
ancientnut7 September 2007
Warning: Spoilers
A memorable tale of romance, espionage, and suspense with a luminous Greta Garbo as Tania, a Russian Mata Hari, and Conrad Nagel as Karl, the Austrian officer who falls under her spell. The film is flawlessly directed by the under-rated Fred Niblo (Blood and Sand, The Temptress), who adds sparkling effects that had me tracking back to watch them again.
If you believe that sensuality in silent films was implied or off-screen, watch the scene on the TCM Archives DVD in chapter 4, 18:20-19:40. In Tania's home, Karl grabs her and begins to kiss her, but she pushes him away. He bows his head in shame and prepares to leave. Standing in the doorway, he apologizes to her. She motions to him to come to her and an expression of joy and excitement lights up his face. He walks to her as she stands with her left hand cupping her left breast. He kisses her extended right hand, places his right hand on the hand she holds over her breast, and they dive into a passionate kiss. Steamy stuff indeed for 1928! The surprising plot twists in the final 10 minutes had me laughing in amazement right up to the end. An excellent score by Vivek Maddala adds to the enjoyment of this cinematic gem.
If you believe that sensuality in silent films was implied or off-screen, watch the scene on the TCM Archives DVD in chapter 4, 18:20-19:40. In Tania's home, Karl grabs her and begins to kiss her, but she pushes him away. He bows his head in shame and prepares to leave. Standing in the doorway, he apologizes to her. She motions to him to come to her and an expression of joy and excitement lights up his face. He walks to her as she stands with her left hand cupping her left breast. He kisses her extended right hand, places his right hand on the hand she holds over her breast, and they dive into a passionate kiss. Steamy stuff indeed for 1928! The surprising plot twists in the final 10 minutes had me laughing in amazement right up to the end. An excellent score by Vivek Maddala adds to the enjoyment of this cinematic gem.
Garbo's close-ups are the best feature of this romantic spy drama...
Doylenf4 May 2009
GRETA GARBO is at her most attractive, photographed with great finesse and style for this "Mata Hari" kind of tale about a seductive woman who leads an entrapped man (CONRAD NAGEL) into a romance for ulterior purposes but soon falls in love with him.
The opening scenes are reminiscent of what Max Ophuls did with "Letter from an Unknown Woman" in recreating the romantic ambiance of old Vienna with horse-drawn carriages and gaslight. The lush atmosphere is combined with the stunning Garbo close-ups (full face or in profile) with back lighting that is extraordinarily beautiful.
Although the story is nothing to rave about, it does contain one of her most natural performances before the camera and she's certainly at the peak of her own brand of beauty.
Regretfully, not much can be said for CONRAD NAGEL as the Austrian officer. He practically disappears when shown in the same shot with Garbo and his overall performance is as bland as can be. Yet, the seduction scene before a blazing fireplace is extremely well staged and all it needed was John Gilbert as a replacement for Nagel.
Summing up: Although I'm not a big Garbo fan, this one is worth watching for the graceful Garbo alone.
The opening scenes are reminiscent of what Max Ophuls did with "Letter from an Unknown Woman" in recreating the romantic ambiance of old Vienna with horse-drawn carriages and gaslight. The lush atmosphere is combined with the stunning Garbo close-ups (full face or in profile) with back lighting that is extraordinarily beautiful.
Although the story is nothing to rave about, it does contain one of her most natural performances before the camera and she's certainly at the peak of her own brand of beauty.
Regretfully, not much can be said for CONRAD NAGEL as the Austrian officer. He practically disappears when shown in the same shot with Garbo and his overall performance is as bland as can be. Yet, the seduction scene before a blazing fireplace is extremely well staged and all it needed was John Gilbert as a replacement for Nagel.
Summing up: Although I'm not a big Garbo fan, this one is worth watching for the graceful Garbo alone.
None of it makes any sense
thinbeach3 August 2017
Warning: Spoilers
Von Raden falls for an attractive woman named Tania at a music hall. She turns out to be a Russian spy who steals important information from him. The loss of this information lands Von Raden in jail, before his senior in the Secret Service lets him out to go and steal some important information back off the Russians, with help from Tania. Whether he can achieve this or not rests on the basis that she still loves him, which is one of the films major falling points - we are given no reason to believe she ever loved him in the first place. Well, we are given a reason - he treats her to a nice day in the forest - but its not overly convincing. Even worse, apparently Von Raden still has feelings for her - despite the fact she lied to him, ruined him, and put him in jail. Nothing about any of this is believable at all, and those are just the main details - there are a hundred other falsities like it. We might forgive these logic flaws if we were entertained, but we are not really. The entertainment relies on the tension of being caught out, and towards the end has some elements of Hitchcock-esque suspense, but that tension is negated by the unreality of it all. Noticeably - and typically, for positive reviews of bad films - most of the complimentary comments here focus on either the cast or the production values - topics which are less significant for the enjoyment of the film for general audiences. But who am I kidding, general audiences don't visit this forgotten patch in 2017. I'm talking to the air.
Golden silent
federovsky25 August 2009
On this evidence, Garbo's silent work is her most accomplished. She struggles in talking roles; her dour, flat acting voice meant she had to be characterised as emotionless - hence the iceberg persona, and she was probably glum because she knew she was struggling. Here we can see her real eloquence and the confidence behind it that comes of knowing she is shimmering and wonderful. In contrast to many other silent stars who exaggerated every gesture, Garbo shows intelligence and discrimination in her movements, which involves a lot of posturing but is not unnatural. She uses her natural grace for expression, particularly her arms - she really is lithe and expressive - and she must have missed all that later in her career.
Fred Niblo's inventive direction here also impresses; he never lets a scene go dry and the narrative method is almost as sophisticated as a talkie as he brings out a good deal of subtle but telling body language. We watch characters speak and can pretty much divine what they're saying, which reduces the need for irksome intertitles.
The first part of the film, set in Vienna, is a romantic encounter, deceptively straightforward. But there is intrigue in store, and in the latter half of the film, set in Warsaw, tension consistently mounts as every scene is built around suspense - don't think that Hitchcock invented this stuff. Garbo and her leading man, Conrad Nagel, seem connected to each other on rubber bands such is the dramatic bond between them.
At the climax is a superb trick that will make you exclaim out loud. This could be the best film I've seen this year.
Fred Niblo's inventive direction here also impresses; he never lets a scene go dry and the narrative method is almost as sophisticated as a talkie as he brings out a good deal of subtle but telling body language. We watch characters speak and can pretty much divine what they're saying, which reduces the need for irksome intertitles.
The first part of the film, set in Vienna, is a romantic encounter, deceptively straightforward. But there is intrigue in store, and in the latter half of the film, set in Warsaw, tension consistently mounts as every scene is built around suspense - don't think that Hitchcock invented this stuff. Garbo and her leading man, Conrad Nagel, seem connected to each other on rubber bands such is the dramatic bond between them.
At the climax is a superb trick that will make you exclaim out loud. This could be the best film I've seen this year.
A film in two acts
Maciste_Brother27 February 2007
THE MYSTERIOUS LADY is one of Garbo's most commercial films. There's nothing remotely artistic about it. It's a Spy vs Spy story and never pretends to be anything else than that. Personally speaking, I'm not a huge fan of THE MYSTERIOUS LADY. If I had to chose one of Garbo's silent films, I'd rather watch A WOMAN OF AFFAIRS or even FLESH AND THE DEVIL than this spy story. It's probably a film which would have worked better with sound (MATA HARI is a spy story like ML but is much more fun than this). As a silent film though, it leaves a little bit to be desired.
The big problem with THE MYSTERIOUS LADY is the story: it's a story in two acts when it should have been done in three acts. The first part of the story is Garbo and Conrad Nagel meeting and "falling" in love. The second act is about the conclusion of the boring spy story.
The other problem is that the main actor, Conrad Nagel, is unimpressive to say the least. He sorta looks like David Niven. Conrad and Garbo would also star in other film together, THE KISS, and watching that movie only reinforced my impression of him: not a bad actor but very little screen presence. Sharing screen time with Garbo, Nagel looks like a light bulb next to the sun.
The other problem with this slight film (like so many other Garbo films) is Garbo's character of Tania is married to a very old man. It's almost a joke to think that someone like Garbo would be married to him.
But there are a couple of memorable things about THE MYSTERIOUS LADY: Greta shines like a bright star. She's absolutely stunning in some scenes and her acting is nuanced and amazing, certainly for such a minor project. There are several memorable scenes with Garbo, including the one at the theater, the seduction scene at her house and the scene in the train. All memorable. But the best scene is the one at the end, with Garbo and her husband and she tries to cover up what she did to him. A little moment of brilliance there.
But there are simply too many moments where the film drags (even if it's in two acts), like the scene where Conrad's character goes to prison, which is very long and almost pointless. And I personally did not enjoy the contemporary soundtrack on the DVD. I know some people like it but for me it's a bit to flowery and incongruous for my taste. I mean, saxophones and Garbo? Yikes. I wish there was an alternative vintage silent film soundtrack on the DVD.
In the end though, I watch these movies for one thing: Greta Garbo and it's well worth watching. She's literally shines in THE MYSTERIOUS LADY, and in the end, that's all that matters.
The big problem with THE MYSTERIOUS LADY is the story: it's a story in two acts when it should have been done in three acts. The first part of the story is Garbo and Conrad Nagel meeting and "falling" in love. The second act is about the conclusion of the boring spy story.
The other problem is that the main actor, Conrad Nagel, is unimpressive to say the least. He sorta looks like David Niven. Conrad and Garbo would also star in other film together, THE KISS, and watching that movie only reinforced my impression of him: not a bad actor but very little screen presence. Sharing screen time with Garbo, Nagel looks like a light bulb next to the sun.
The other problem with this slight film (like so many other Garbo films) is Garbo's character of Tania is married to a very old man. It's almost a joke to think that someone like Garbo would be married to him.
But there are a couple of memorable things about THE MYSTERIOUS LADY: Greta shines like a bright star. She's absolutely stunning in some scenes and her acting is nuanced and amazing, certainly for such a minor project. There are several memorable scenes with Garbo, including the one at the theater, the seduction scene at her house and the scene in the train. All memorable. But the best scene is the one at the end, with Garbo and her husband and she tries to cover up what she did to him. A little moment of brilliance there.
But there are simply too many moments where the film drags (even if it's in two acts), like the scene where Conrad's character goes to prison, which is very long and almost pointless. And I personally did not enjoy the contemporary soundtrack on the DVD. I know some people like it but for me it's a bit to flowery and incongruous for my taste. I mean, saxophones and Garbo? Yikes. I wish there was an alternative vintage silent film soundtrack on the DVD.
In the end though, I watch these movies for one thing: Greta Garbo and it's well worth watching. She's literally shines in THE MYSTERIOUS LADY, and in the end, that's all that matters.
She Comes as a Woman in Love, and Leaves as his Enemy
claudio_carvalho8 February 2016
In Vienna, in the beginning of the Twentieth Century, Captain Karl von Raden (Conrad Nagel) and his partner Captain Max Heinrich (Albert Pollet) learn in the box office that the ticket for the opera is sold- out. Out of the blue, a man returns his ticket and Karl buys it and shares a box with a gorgeous woman that is waiting for her cousin. Karl gives a ride home to the lady and they spend the night together. On the next day, they spend a wonderful day in the countryside together. Karl is assigned to travel to Berlin by train to deliver secret plans to the German government. His uncle, Colonel Eric von Raden (Edward Connelly), who is the chief of the Austrian secret service, advises Karl the woman with whom he had spent the previous day is the notorious Russian spy Tania Fedorova (Greta Garbo). While in the train, Tania meets Karl to tell that she is in love with him, but he rejects her telling that he knows who she is. On the next morning, Karl wakes up and finds that the plans have been stolen and he receives a message from Tania telling that she came as a woman in love with him and left as his enemy. Karl is expelled and imprisoned by the army as traitor but his uncle offers him the chance to clean his name, traveling to Warsaw to find who the traitor is. Karl poses as pianist and meets Tania and her lover, the powerful General Boris Alexandroff (Gustav von Seyffertitz). What will Karl and Tania do?
"The Mysterious Lady" is an impressive silent movie with the goddess Greta Garbo. The story begins as a romance with a subtle scene of love between Tania and Karl. Then there is drama, action and thriller with the encounter of the two former lovers. The use of special effects in the early cinema is also fantastic when Karl is playing piano for Tanis and Boris wishing her dead. "The Mysterious Lady" is mandatory not only to fans of Greta Garbo, but also for lovers of cinema as art. Unfortunately the DVD released in Brazil shows very damaged images and deserved to be restored. My vote is nine.
Title (Brazil): "A Dama Misteriosa" ("The Mysterious Lady")
"The Mysterious Lady" is an impressive silent movie with the goddess Greta Garbo. The story begins as a romance with a subtle scene of love between Tania and Karl. Then there is drama, action and thriller with the encounter of the two former lovers. The use of special effects in the early cinema is also fantastic when Karl is playing piano for Tanis and Boris wishing her dead. "The Mysterious Lady" is mandatory not only to fans of Greta Garbo, but also for lovers of cinema as art. Unfortunately the DVD released in Brazil shows very damaged images and deserved to be restored. My vote is nine.
Title (Brazil): "A Dama Misteriosa" ("The Mysterious Lady")
Love Conquers All
theognis-8082113 December 2021
A young Austrian officer (Conrad Nagel) is seduced by a beautiful Russian spy (Garbo), which causes his disgrace. His uncle, the Austrian spymaster, sends him after her to find out the source of the information she's been stealing. The story strains credulity, but director Fred Niblo has staged and paced it well and Garbo, at age 23, can overcome all doubts.
a passionate drama
thewebbiest28 November 2011
I know that Leonard Maltin is lukewarm about this movie but I don't know why. Even he acknowledges that Garbo is sensational in it. She simply smolders, in long satin gowns that skim her figure or looking every inch the seductress in a huge black fur. The passion between her and Conrad Nagel is completely believable. Nagel is every inch the upper crust Austrian military officer.
I found the story of two people torn between duty to their country and their hearts' desires was a very compelling quandary. the movie has a slightly over-dramatic tendency common to most silent films but I was riveted.
The TCM version had a kind of oddly 1980's jazz score but the melodies enhanced the action.
I found the story of two people torn between duty to their country and their hearts' desires was a very compelling quandary. the movie has a slightly over-dramatic tendency common to most silent films but I was riveted.
The TCM version had a kind of oddly 1980's jazz score but the melodies enhanced the action.
It Defines Her Silent Movie Career
Dashiell-73916 March 2021
I was so surprised with this movie and Greta Garbo's first appearance revealed as a piece of art. He could not take his eyes off her. It was said that he was a big music lover and did not want to miss this opera, but he wasn't watching the opera. He was too enamored with Tania.
The director, Fred Niblo, also directed Ben-Hur: A Tale of the Christ (1925). His style is very different. I have never seen someone use a lift board to get the shot of the stairway, not once but three times in The Mysterious Lady.
The director, Fred Niblo, also directed Ben-Hur: A Tale of the Christ (1925). His style is very different. I have never seen someone use a lift board to get the shot of the stairway, not once but three times in The Mysterious Lady.
"Romantic – but in this case – indiscreet"
Steffi_P10 February 2010
Writing scores for silent movies requires a considerable talent, but for some pictures the music must practically write itself. This is not to play down the efforts of the many fine score composers, but simply to say that for someone with musical ability, a picture such as The Mysterious Lady is constantly suggestive of melody, tempo and timbre, in a way that translates naturally into a musical setting.
This musical effect is, it seems, largely down to the director Fred Niblo. Niblo, an ex-Vaudevillian who married into the Cohan family, came into motion pictures relatively late in life (he first sat in the director's chair at 42), but he soon proved himself to be one of the finest and most poetic craftsmen of the cinema. The Mysterious Lady was made at a time when the talkies were beginning to muscle in, but Niblo proudly blows a trumpet blast for the dying art form. Interestingly, The Mysterious Lady actually contains a lot of examples of images filling in for sound. Sometimes this is for narrative purposes, such as the superimposition of the opera scene when Nagel plays the piano, to inform the audience of what he is playing. Other times it is purely atmospheric, such as the shot of a row of violins in the orchestra, later grimly echoed by a similarly composed shot of the drums at Nagel's degradation.
Throughout, the picture sustains a lovely rhythmic flow. The love scene between Garbo and Nagel is delicately suggested through a series of interlocking images, unspoiled by intertitles. Niblo shows complete control over the pace at any one moment, the first few minutes being frenzied and choppy, then slowing to that glorious romantic feel when Garbo is introduced in a very memorable entrance. Only once does Niblo overdo it, when he throws in a superimposition of Nagel daydreaming about assaulting Garbo – the context and Nagel's uncomfortable expression are enough without this heavy-handed display.
So if Niblo was a kind of visual composer, who was his muse? Well, let's not extend a metaphor too far, but it certainly appears that Niblo was inspired to make beautiful images to complement the natural beauty of Greta Garbo. And to an admirer of fine dramatic performance Garbo is doubly beautiful because she is such an outstandingly good actress. At a period when too much screen acting was hammy and unsubtle, Garbo was refreshingly understated. To watch a Garbo picture, especially a silent one, is to witness dozens of little moments of performance genius. One example here is when her character hears the news that von Raden has been imprisoned because of her. She shows the tiniest glimmer of a reaction, enough for the audience to pick up on and understand, but not enough for her character to give herself away to those around her. Garbo captivated audiences with her mysterious allure and startling passion – the X-factor that made her a phenomenal star.
Like the silent picture, Niblo's days as a director were coming to an end. Whether his decision to retire a few a few years after this was down to the sound revolution or not I am unsure. I have not seen any of the handful of talkies he made, and I simply don't know whether he gave them the same grace and musicality that we see here. What I do know, what every film buff knows, is what Greta did next. Of all Hollywood stars, Garbo's transition from silence to sound was among the most successful. Such was her power, her naturalism and her overwhelming appeal, that in spite of the 1930s demand for more earthy performers, she remained one of our brightest stars.
This musical effect is, it seems, largely down to the director Fred Niblo. Niblo, an ex-Vaudevillian who married into the Cohan family, came into motion pictures relatively late in life (he first sat in the director's chair at 42), but he soon proved himself to be one of the finest and most poetic craftsmen of the cinema. The Mysterious Lady was made at a time when the talkies were beginning to muscle in, but Niblo proudly blows a trumpet blast for the dying art form. Interestingly, The Mysterious Lady actually contains a lot of examples of images filling in for sound. Sometimes this is for narrative purposes, such as the superimposition of the opera scene when Nagel plays the piano, to inform the audience of what he is playing. Other times it is purely atmospheric, such as the shot of a row of violins in the orchestra, later grimly echoed by a similarly composed shot of the drums at Nagel's degradation.
Throughout, the picture sustains a lovely rhythmic flow. The love scene between Garbo and Nagel is delicately suggested through a series of interlocking images, unspoiled by intertitles. Niblo shows complete control over the pace at any one moment, the first few minutes being frenzied and choppy, then slowing to that glorious romantic feel when Garbo is introduced in a very memorable entrance. Only once does Niblo overdo it, when he throws in a superimposition of Nagel daydreaming about assaulting Garbo – the context and Nagel's uncomfortable expression are enough without this heavy-handed display.
So if Niblo was a kind of visual composer, who was his muse? Well, let's not extend a metaphor too far, but it certainly appears that Niblo was inspired to make beautiful images to complement the natural beauty of Greta Garbo. And to an admirer of fine dramatic performance Garbo is doubly beautiful because she is such an outstandingly good actress. At a period when too much screen acting was hammy and unsubtle, Garbo was refreshingly understated. To watch a Garbo picture, especially a silent one, is to witness dozens of little moments of performance genius. One example here is when her character hears the news that von Raden has been imprisoned because of her. She shows the tiniest glimmer of a reaction, enough for the audience to pick up on and understand, but not enough for her character to give herself away to those around her. Garbo captivated audiences with her mysterious allure and startling passion – the X-factor that made her a phenomenal star.
Like the silent picture, Niblo's days as a director were coming to an end. Whether his decision to retire a few a few years after this was down to the sound revolution or not I am unsure. I have not seen any of the handful of talkies he made, and I simply don't know whether he gave them the same grace and musicality that we see here. What I do know, what every film buff knows, is what Greta did next. Of all Hollywood stars, Garbo's transition from silence to sound was among the most successful. Such was her power, her naturalism and her overwhelming appeal, that in spite of the 1930s demand for more earthy performers, she remained one of our brightest stars.
The Real Life Behind-the-Scenes "back story" . . .
oscaralbert2 April 2019
Warning: Spoilers
. . . to THE MYSTERIOUS LADY is more fascinating than the movie itself. For instance, its famed leading lady was a double-agent spy herself, forced to "retire" immediately following the infamous Axis of Evil attack upon the U.S. Naval Base at Pearl Harbor. Secondly, the nefarious war plans "Tania" filches from "Karl" as they're En Route from Vienna to Berlin are for the actual "back door" invasion path into Russia's Stalingrad. Thirdly, at the time that THE MYSTERIOUS LADY came out, its Fifth Columnist movie studio was in the process of defecting to the Prussian Side, since the rest of America's corrupt Fat Cat One Per Centers already were in cahoots with the Germanic Socialist's Pachyderm Sister Party. The House of the Groaning Lion thought that it would be a "feather in its cap" if it could use this flick to ferret out Stalingrad's Achilles Heel. However, despite THE MYSTERIOUS LADY and many more similar Tania films, the Stalingrad Secret remained just that. Then valiant Warner Bros. counter-attacked the Quisling Studio with CONFESSIONS OF A NAZI SPY. This helped stuff Tania into "early retirement. Fortunately for Freedom, Stalingrad became the straw that broke Der Fuhrer's back.
Wonderful Garbo
stateoftheunion13 August 2015
This is really a superb film. I have seen quite a few silents and most of them do look rather dated now to me. But this one transcends time due to its beautiful sets, expert camera work, wonderful direction and best of all we have a truly luminous performance by Greta Garbo as the leading lady. Never have I see her looking more beautiful and appealing as in this movie.
One of the things that is missing with many actors and actresses today is their lack of ability to portray good facial expression in a scene to display emotion. It's not enough just to speak, you have to show too. Its one of the things I always look for in performance in any movie old and new.
Garbo is wonderful here at appealing to the audience with her range of expressions. Normally I would miss dialogue. But it's so well produced and finely acted that I found I hardly missed it at all. Conrad Nagel was excellent as the leading man and had great chemistry with Garbo. The rest of the cast do justice to the movie too. And all in all it's well worth seeing, especially if you want to find out why the movie going public fell in love with Greta Garbo. It's all in here.
One of the things that is missing with many actors and actresses today is their lack of ability to portray good facial expression in a scene to display emotion. It's not enough just to speak, you have to show too. Its one of the things I always look for in performance in any movie old and new.
Garbo is wonderful here at appealing to the audience with her range of expressions. Normally I would miss dialogue. But it's so well produced and finely acted that I found I hardly missed it at all. Conrad Nagel was excellent as the leading man and had great chemistry with Garbo. The rest of the cast do justice to the movie too. And all in all it's well worth seeing, especially if you want to find out why the movie going public fell in love with Greta Garbo. It's all in here.
Only Garbo can
sb-47-60873717 July 2018
The story is blameless, Garbo can't be otherwise... I always wonder- she wasn't classically beautiful, and even could be considered a bit less feminine (to be polite) at least structurally, than all the heroines around, but this never ever enters the mind while watching her, only afterwards, when you watch a still, you start wondering. Only another one, where nature was miser in bestowing feminine beauty, and audience didn't bother about it, could be Kat-Hep. Garbo of course is a notch above anybody else. If the movies score 4, you could be sure that Garbo got at least 8, the others scored -4 to bring it down, which you can't say about any other actor, of either gender. I am yet to see a movie, where she irritated the eye.
In this movie, I don't know whose fault it was. Conrad Nagel certainly, but what was Fred Niblo doing? He should have stopped Conrad from over-acting when it wasn't needed, and in fact was ridiculous. Only Garbo hogging the screen, tried to balance, but the movie lost major points. In fact I thought of giving it 6, but it would have been punishing two actors : Garbo and Gustav von Seyffertitz who too carried his role well, for fault of one.
I could have been a bit tolerant, considering it was a silent movie (where the actors tend to over emote), but when Garbo and Gustav didn't, and could express the feelings so well, Conrad became an eye-sore.
Up to half the movie, it didn't matter. But once he had entered the Lion's den, and faced the Lion and Lioness with the pride around (he didn't know the Lioness was tamed), the way he behaved, he gave himself completely away. He had been there to redeem himself, and get information, and not on a suicide mission, at least not before he could get the mole.s name. The general, Boris, if he hadn't suspected, he would have been a fool. Thankfully this wasn't a normal run-off the mill Holly movies, where villains are blind with IQ bordering on 30). Boris guessed, did a back-ground check, and was ready.
It's not very often that one finds a villain, who is so, only because he was the third person between the hero and heroine. Otherwise, his acts were not wrong, leave alone being nefarious. He was doing his legitimate duty. Human (not a demon), Intelligent, and quite good looking too, one wouldn't have cribbed, if heroine finally fell for him (she would have, had it been Russian movie). Anyway that wasn't to be.
Any movie where Garbo is there need not have a recommendation to watch, only her her sake, so I will forego that recommendation, or even her quite risque clothing for that age, which didn't seem vulgar or even titillating on her, and further recommendations to see of course would be the sets, lavish, but not eye-sore, one could imagine, Boris, at his rank, having that life-style (it was Czar's era, the revolution wasn't on yet) , probably it would be set at somewhere around 1913 or so (the Balkan wars ? Or the Allies Vs Three - Germany+ Austro-Hungarian+Italy, both of which finally exploded in WW1?
Bulid-up for WW1, if one looks dispassionately, only the minority of the blame goes to this three countries. The movie too is quite sympathetic to them, and that's quite strange, considering it is a Hollywood movie. Of course Russians had already become enemies (post revolution) but so were Axis.
As a footnote: The movie is highly influenced by the opera Tosca, not only the hero and heroine meet during the opera, and they sing/ play piano on its tune, but even the story (except the ending), has a very significant similarity : Tanya (Tosca), Karl (Cavaradossi), Boris (Scarpia), Unnamed Aide (Spoletta),
In this movie, I don't know whose fault it was. Conrad Nagel certainly, but what was Fred Niblo doing? He should have stopped Conrad from over-acting when it wasn't needed, and in fact was ridiculous. Only Garbo hogging the screen, tried to balance, but the movie lost major points. In fact I thought of giving it 6, but it would have been punishing two actors : Garbo and Gustav von Seyffertitz who too carried his role well, for fault of one.
I could have been a bit tolerant, considering it was a silent movie (where the actors tend to over emote), but when Garbo and Gustav didn't, and could express the feelings so well, Conrad became an eye-sore.
Up to half the movie, it didn't matter. But once he had entered the Lion's den, and faced the Lion and Lioness with the pride around (he didn't know the Lioness was tamed), the way he behaved, he gave himself completely away. He had been there to redeem himself, and get information, and not on a suicide mission, at least not before he could get the mole.s name. The general, Boris, if he hadn't suspected, he would have been a fool. Thankfully this wasn't a normal run-off the mill Holly movies, where villains are blind with IQ bordering on 30). Boris guessed, did a back-ground check, and was ready.
It's not very often that one finds a villain, who is so, only because he was the third person between the hero and heroine. Otherwise, his acts were not wrong, leave alone being nefarious. He was doing his legitimate duty. Human (not a demon), Intelligent, and quite good looking too, one wouldn't have cribbed, if heroine finally fell for him (she would have, had it been Russian movie). Anyway that wasn't to be.
Any movie where Garbo is there need not have a recommendation to watch, only her her sake, so I will forego that recommendation, or even her quite risque clothing for that age, which didn't seem vulgar or even titillating on her, and further recommendations to see of course would be the sets, lavish, but not eye-sore, one could imagine, Boris, at his rank, having that life-style (it was Czar's era, the revolution wasn't on yet) , probably it would be set at somewhere around 1913 or so (the Balkan wars ? Or the Allies Vs Three - Germany+ Austro-Hungarian+Italy, both of which finally exploded in WW1?
Bulid-up for WW1, if one looks dispassionately, only the minority of the blame goes to this three countries. The movie too is quite sympathetic to them, and that's quite strange, considering it is a Hollywood movie. Of course Russians had already become enemies (post revolution) but so were Axis.
As a footnote: The movie is highly influenced by the opera Tosca, not only the hero and heroine meet during the opera, and they sing/ play piano on its tune, but even the story (except the ending), has a very significant similarity : Tanya (Tosca), Karl (Cavaradossi), Boris (Scarpia), Unnamed Aide (Spoletta),
Too much off-screening!
hemisphere65-123 December 2021
Not a very convincing "love story", which is critical to the entire plot. Garbo and Nagel are solid in their roles, but the story and direction leave out major pieces of the story.
Worth watching from an historical film perspective, but a weak film.
Worth watching from an historical film perspective, but a weak film.
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