The wealthy Arden Stuart is bored in a party; after refusing the wedding proposal of Tommy Hewlett, she drives her car with her driver to a lonely place. She has one night stand with him ... See full summary »
John S. Robertson
Johnny Mack Brown
Young Harry is in love and wants to marry an actress, much to the displeasure of his family. Harry thinks that Bishop Armstrong knows nothing about love so Armstrong tells him the story of ... See full summary »
While at a ski lodge, Larry Blake sees instructor Karin Borg and decides to sign up for private lessons. The next thing he knows, she is Mrs. Blake. When he announces that he is going back ... See full summary »
Irene is unhappily married to an older businessman, but very much in love with a handsome young lawyer. He doesn't want to add to her unhappiness by ruining her marriage; she is terrified of her husband's jealousy and anger. They decide to stop seeing each other, and she bides her time with Pierre, a young friend of the family who walks their dogs and is in puppy love with Irene. When Pierre is about to leave for college, he begs her for a goodbye kiss. She agrees, and who should walk in while it is happening, but her ailing and financially distraught husband... Written by
Gary Dickerson <email@example.com>
The Kiss (1929) was the final silent film produced by Metro-Goldwyn-Mayer. It was also the final silent film of stars Greta Garbo and Conrad Nagel.
The subtle acting and sophisticated (and purely visual) storytelling show how far silent cinema had come by the late 1920s. When talkies took over Hollywood, the acting regressed back to that of the stage, the background music was replaced with static hiss, and even basic film-making techniques were restrained due to the sound equipment. It would take a few years for sound technology to grow in sophistication.
Removed from its distinction as the end of an era, The Kiss is an average melodrama, especially for Garbo, who plays an unhappily married woman in love with another man. She looks luminous and acts completely with her eyes, her brilliance showing through even in material such as this. Conrad Nagel is competent in an unchallenging role, and Lew Ayres is simultaneously adorable and somewhat sinister as the young man smitten with Garbo.
The big twist is predictable and the recorded score is cheesy, using Tchaikovsky's Romeo and Juliet theme as the lovers' leitmotif, but overall, this is a skillfully made bit of melodramatic fluff, the last gasp of MGM's silent output.
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