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Anna Christie (1930)

A young woman reunites with her estranged father and falls in love with a sailor, but struggles to tell them about her dark past.

Director:

Clarence Brown

Writers:

Frances Marion (adapted by), Eugene O'Neill (from play "Anna Christie")
Reviews

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Nominated for 3 Oscars. Another 1 win. See more awards »

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Cast

Complete credited cast:
Greta Garbo ... Anna Christie
Charles Bickford ... Matt Burke
George F. Marion ... Chris Christopherson
Marie Dressler ... Marthy
James T. Mack James T. Mack ... Johnny the Harp
Lee Phelps Lee Phelps ... Larry the Bartender
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Storyline

In New York, the alcoholic skipper of a coal barge Chris Christofferson receives a letter from his estranged twenty year old daughter Anna "Christie" Christofferson telling that she will leave Minnesota to stay with him. Chris left Anna fifteen years ago to the countryside to be raised by relatives in a farm in St. Paul and he has never visited his daughter. Anna Christie arrives and she is a wounded woman with a hidden dishonorable past since she had worked for two years in a brothel to survive. She moves to the barge to live with her father and one night, Chris rescues the sailor Matt and two other fainted sailors from the sea. Soon Anna and Matt fall in love with each other and Anna has the best days of her life. But when Matt proposes to marry her, she is reluctant and also haunted by her past. Matt insists and Anna opens her heart to Matt and to her father disclosing the darks secrets of her past. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Taglines:

All Talking Picture See more »

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

21 February 1930 (USA) See more »

Also Known As:

Anna Kurisuti See more »

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Box Office

Budget:

$376,000 (estimated)

Gross USA:

$1,013,000

Cumulative Worldwide Gross:

$486,000
See more on IMDbPro »

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric System)

Aspect Ratio:

1.20 : 1
See full technical specs »
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Did You Know?

Trivia

Greta Garbo's first sound film. See more »

Quotes

Anna Christie: Gimme a whisky, ginger ale on the side, and don't be stingy, baby!
See more »

Connections

Featured in MGM Parade: Episode #1.6 (1955) See more »

Soundtracks

Appassionato No.4
(uncredited)
Music by William Axt
See more »

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User Reviews

 
Garbo Rocks
12 June 2001 | by telegonusSee all my reviews

This is an amazingly well-filmed early talkie adaptation of the Eugene O'Neill play. Its major drawback is a static camera, and as a result it comes off much of the time as the filmed play it is, which is a pity, for it's a good piece of primitive moviemaking, made at a time when sound was posing all kinds of technical problems, and as a result most films were experimental whether or not this was their maker's intention. Garbo is as mysterious and charismatic as she was in her silent films, and her entrance is still classic. Her voice is strangely deep, almost boyish, which only enhances her already seductively eccentric persona. As her boyfriend, Charles Bickford is appropriately virile,--he was apparently born craggy--and a perfect counterpart to the divine Garbo. His Irish brogue is not bad at all, and he seems always a natural man of the sea, very O'Neill-like in his independent, brooding nature. As Garbo's (very) confused father, George Marion seems truly from another time. He has the sort of face and voice,--open, unmannered, totally without guile--that has vanished from the earth. Marie Dressler is also in the O'Neill swing of things. Her blank expression and intensity around the eyes speaks volumes, as she plays her boozy character as a woman at times bordering on psychosis. Poetic license, perhaps, as this is not in the script, but we can forgive Miss Dressler's excesses; she is too good at it not to. The story ends with a movement to the next thing, as distinct from resolution, which isn't the author's cup of tea; and those who like their films neatly worked out in the end will be disappointed by the absence of any real surprise. In Anna Christie we are in O'Neill country, a place of sea, storms and fog, a feeling of all-pervading and damnable uncertainty, which we would now call ambivilance, or anxiety neurosis. Rather than analyze this mood the author simply and wisely presents it, as weather, land, ocean and people intertwine and address one another in a unique language we feel priveleged to have heard.


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