The Mysterious Lady

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.

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.

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.

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.

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.