When Russian representatives Iranoff (Sig Rumann), Buljanoff (Felix Bressart), and Kopalski (Alexander Granach) are sent to Paris to sell the jewels of the Grand Duchess Swana (Ina Claire), the negotiations do not go smoothly. The Grand Duchess, now living in Paris, initiates a lawsuit, and the three agents find themselves seduced by the entrancing Parisian lifestyle. Enter Nina Ivanovna Yakushova - or Ninotchka (Greta Garbo) - a stern Communist envoy, sent to find out the reason for the delay. Determined to not fall into the same pit as her predecessors, Ninotchka (1939) instead finds herself succumbing to the wooing of Count Leon d'Algout (Melvyn Douglas), a ne'er-do-well playboy, and Swana's latest lover. In conjunction with the Food in Film Blogathon, we'll look at Ninotchka though the lens of food and beverage. Ernst Lubitsch's film sparkles like the champagne that intoxicates Ninotchka and Leon and satisfies like Ninotchka's workman's lunch. A nominee for the 1939 Best Picture Oscar, it marked a redemption for Greta Garbo who had been labeled as "Box Office Poison" in 1938. This was her first comedy, and resulted in the last of her 3 nominations for the Best Actress Oscar. (She'd already been nominated for Anna Christie (1930) and Camille (1938)). In 1955, she was awarded an Honorary Oscar. Not surprisingly, she did not attend the ceremony.
Food represents a corrupting influence in Ninotchka. Among the initial temptations that seduce Iranoff, Buljanoff, and Kopalski is the readily available room service in their luxurious hotel. Ninotchka tries to resist the temptation by eating lunch where working men eat, but even there she is expected to relish her food and care about what she is eating. Leon cautions her that she has insulted the restaurant owner and must apologize "by eating everything that he brings you with relish, by drinking everything with
gusto, by having a good time for the first time in your natural life!" Ninotchka's ultimate downfall is represented when she is drunk on champagne. She's been raised on goat's milk and vodka. Champagne is a new, heady experience for her. In comparison, the lack of food in Russia is constant theme. The jewels that the ambassadors are in Paris to sell will provide food for the citizens. Grand Duchess Swana convinces Ninotchka to leave Paris by pointing out the number of people who will starve while their court case if fought. When the quartet return to Russia, they pool their ration of a single egg apiece to make an omelet. Finally,when Iranoff, Buljanoff, and Kopalski again leave Russia - never to return - it is to open a restaurant in Turkey.
Greta Garbo is amazing in the film. Yet, her two most intriguing scenes were ones she did not want to play. According to this TCM article, Garbo was reluctant to play the drunk scene - finding it "unbecoming". Co-star Melvyn Douglas also stated that she "was unable to articulate so much as a titter during the shooting of the restaurant scene." Yet, somehow in the film, laugh she did, and legend was born. Bela Lugosi has almost a cameo appearance as Commissar Razinin. With his beard and scowl, he is properly menacing (he's been mentioned prior to his appearance as someone with whom you do not want to tangle). It's a good role, and makes for an interesting break from the horror films that would dominate his career.
Both Cary Grant and William Powell were considered for the role of Leon (AFI Catalog); Melvyn Douglas is excellent in the role. You believe him both as a wastrel and as a man who is sincerely in love for the first time. A stage actor with Broadway experience, Mr. Douglas came to film with the advent of sound. He continued to work in both mediums, adding radio and television to his resume, until his death in 1981 - 14 months after the death of his wife of nearly 50 years Congresswoman Helen Gahagan Douglas. The pair met while appearing in the Broadway production of Tonight or Never (Mr. Douglas had been previously married and had a son). They had two children; their grand-daughter is actress Illeana Douglas.
The story was redone as a play on the Paris stage in 1950, as well as a radio play (part of the Screen Guild Theater) with Joan Fontaine and William Powell in the leads. A musical followed in 1954. Silk Stockings, with music and lyrics by Cole Porter, and starring Hildegarde Neff and Don Ameche (and with a very young Julie Newmar in a minor role) ran for 478 performances. The film version, starring Fred Astaire and Cyd Charisse was released in 1957. Then, in 1960, a television version of Ninotchka was aired on ABC, with Maria Schell and Gig Young in the leads.
There were, not surprisingly, censorship issues. The Russians didn't like the film (and threatened theater owners in Vienna with reprisals if they exhibited the film!). As this New Yorker article points out, it won no love from the Germans either - the German couple at the railroad station issuing their salute to the Fuhrer is a clear barb at the Nazis. Lubitsch was no fan of the German Reich - three years later, he would release his biting comedy, To Be or Not To Be (1942). Regardless, the New York Times was in heaven, calling Ninotchka "one of the sprightliest comedies of the year." Besides the awards mentioned above, it was also nominated for Best Writing (Original Story) and Best Writing (Screenplay). It ranks at #52 on AFI 100 Years, 100 Laughs. We'll leave you with this scene, of Garbo laughing (and eating - and she's not eating "raw beets and carrots"). Enjoy!
1937's Camille, with Greta Garbo as the notorious Marguerite
Gautier was the subject of our latest discussion. Garbo, of course, is
wonderful as the opportunistic courtesan who falls in love with the
scion (Robert Taylor as Armand) of a well-to-do family. While
Marguerite resists the attentions of - and her feelings for - Armand,
she finds herself desperately in love with him. A summer alone with him
convinces her that she can change to a simpler lifestyle, but the mores
of the time interfere, and Marguerite is faced with a choice - stay
with Armand, to his ruin, or leave him and break both their hearts.
Garbo
is just remarkable here. Her silent era training is evident as she uses
her face, her eyes and her body - rather than her voice, to show us
Marguerite's physical deterioration. She LOOKS sick - beautiful, but
quite ill. Yet she is not overstated or exaggerated. She is the
epitome of suffering, trying to summon her last ounce of strength to
greet the man she chased away.
Also wonderful is Lionel Barrymore as Armand's father, Monsieur Duval. Barrymore could play his character as a villain, but he does not. Monsieur
Duval is merely a loving father who dreads hurting a woman who seems to
be very sweet, and very much in love with his son, but who will soon
cause his downfall if they continue their relationship. When one
realizes that Barrymore is less than 2 years from being forced into a
wheelchair for the rest of his life (he suffered from severe arthritis
that prevented him from walking), one realizes that he is acting through
his pain.
Robert Taylor, too, is excellent, with
Armand's naivety shining from his youthful face. Armand seems sometimes
like a sex object - a lovely creature for Marguerite to adore. Taylor
fits that bill as well, but also is able to make you understand why
Marguerite would give up everything to be with this lovely, gentle man.
This
is a beautifully designed film as well, with magnificent costumes (by
Adrian). Our group had a bit of discussion on the tendency of some
films to not quite get the hair style right for the period - which is
NOT the case here. The whole atmosphere of the film is perfection. It
is interesting to note that the silent version of the film is also
available (on the DVD of Camille), with Rudolph Valentino as
Armand and Nazimova as Marguerite. It is certainly worth a look if only
as a comparison to its magnificent remake.
Our latest movie is Grand Hotel, wherein Joan Crawford appears as Flaemmchen,
a stenographer who almost falls into a fate worse than death. Released
in 1932, this movie certainly falls into the Precode period. With
a stellar cast, that includes John and Lionel Barrymore, Greta Garbo,
Wallace Beery, and Jean Hersholt, the movie runs several different
plotlines that have all managed to intersect by the conclusion of the
film. Most famous as the source of Greta Garbo's most famous line ("I
want to be alone"), Grand Hotel is a showcase for MGM's biggest stars.
The
relationship of Crawford's Flaemmchen, John Barrymore's Baron, and
Lionel Barrymore's Kringelein is perhaps the most enjoyable part of the
movie. There is a real chemistry among the three, and watching the two
Barrymore brothers bounce off one another is a delight. We also get to
watch Crawford's character become infatuated with the Baron (who, of
course, is falling in love with the ballerina Grusinskaya
- played by Garbo). When we get to the conclusion, with Flaemmchen
falling into a temptation she finds almost impossible to resist, the
Baron getting into a predicament he cannot escape, and General
Director Preysing (Wallace Beery) finally getting his comeuppance, we
find ourselves mostly satisfied with the ending, if a little saddened by
its inevitability.
If you get the
opportunity to see the DVD of this film, do check out the excellent
mini-documentary that is included in the special features - it is a real
treat. This trailer will give you a look at all the stars:
As Dr.Otternschlag (Lewis Stone) tells us, "Grand
Hotel... always the same. People come, people go. Nothing ever
happens." But of course, it does, and with life-changing effects. Next
time, join us for another star-studded Crawford film.
For this meeting, we looked at Garbo's Queen Christina.
This is a wonderful film in so many ways. Let's begin at the beginning
- before we even see the glorious Garbo. We were so impressed by Cora
Sue Collins as the young Christina. Just her walk told her story. Only
six years old, but already with a mind of her own, and the ability to
rule, she is both amusing and enthralling. I look forward to seeing a
few more of this actress' films (she appears to have "retired" in 1945).
Then,
we get to Garbo. Her relationship with Aage (C. Aubrey Smith), her
body-man, is unique indeed. How many films actually show a man walking
unbidden into a woman's bedroom to awaken her for the day's work?
Immediately, we understand the dichotomy that is Christina. We quickly
discover she has a lover (Ian Keith, as Count Magnus) and perhaps
another one in the person of her lady-in-waiting, Ebba (Elizabeth
Young). The kiss that Christina bestows on her young maid, and her
anger at discovering Ebba with a young man point up that there is much
more to this relationship than merely that of a Queen and her
handmaiden.
Finally, we get to her nights with John Gilbert. How
is it that EVERY item in the room seems to be phallic? Even a bunch of
grapes make one sit up and take notice. We felt that John Gilbert is a
very underrated actor. We were not sure why his career ended so early.
As we all know, his voice was just fine. Perhaps a bit tenor, but
certainly not unpleasant, and the chemistry between him and Garbo is
palpable. His duel with Ian Keith was exciting; his death scene totally
moving. And then, there is Garbo again. Her face a mask of
determination and pain. I defy anyone to not be moved at the sight of
her staring off into her future. Here it is:
