From the opening credits (a montage of bird's-eye views of Venice) it's clear that this film about the artistic and romantic ups and downs of a famed opera diva during a career crisis will be a cut above the usual. In addition to Gloria Swanson as the star, we have Samuel Goldwyn producing, a strong supporting cast, Gregg Toland as cinematographer, and costuming by Chanel.
The style and dialogue are sometimes Lubitschian, as if director Mervyn LeRoy had studied "The Love Parade" before shooting. Toland's camera swoops and pans from spot to spot, sometimes in tandem with dialogue and actions relayed from one character to another across the frame. The generally brisk pace sags in places when there is too much talk without wit.
Swanson is beautifully made up and photographed throughout but some of the skimpier Chanel outfits make her look somewhat matronly; she looks best in long shots with the more layered ensembles. The camera makes the most of her closeups, particularly the use of her large eyes. Douglas, repeating his role from the stage, seems to have effortlessly stepped into the role of sophisticated screen star.
Among the visual delights is an extended sequence in which Douglas tosses a bouquet with a note from the street through Swanson's second story window, which provokes conflicting emotions in her character as she retrieves it and then debates within herself whether or how to respond, all without speech. The sequence would have worked perfectly in the silent cinema.
For fans of "Grand Hotel," which post-dates this production, here is a chance to see Ferdinand Gottschalk and Greta Meyer (Garbo's manager and the hotel's housekeeper, respectively) in similar but meatier roles. Gottschalk especially shines. And Alison Skipworth contributes her customary & welcome dash of vinegar.
The style and dialogue are sometimes Lubitschian, as if director Mervyn LeRoy had studied "The Love Parade" before shooting. Toland's camera swoops and pans from spot to spot, sometimes in tandem with dialogue and actions relayed from one character to another across the frame. The generally brisk pace sags in places when there is too much talk without wit.
Swanson is beautifully made up and photographed throughout but some of the skimpier Chanel outfits make her look somewhat matronly; she looks best in long shots with the more layered ensembles. The camera makes the most of her closeups, particularly the use of her large eyes. Douglas, repeating his role from the stage, seems to have effortlessly stepped into the role of sophisticated screen star.
Among the visual delights is an extended sequence in which Douglas tosses a bouquet with a note from the street through Swanson's second story window, which provokes conflicting emotions in her character as she retrieves it and then debates within herself whether or how to respond, all without speech. The sequence would have worked perfectly in the silent cinema.
For fans of "Grand Hotel," which post-dates this production, here is a chance to see Ferdinand Gottschalk and Greta Meyer (Garbo's manager and the hotel's housekeeper, respectively) in similar but meatier roles. Gottschalk especially shines. And Alison Skipworth contributes her customary & welcome dash of vinegar.