I like the sea: we understand one another. It is always yearning, sighing for something it cannot have; and so am I.
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Greta Garbo, 1927
photo: Ruth Harriet Louise
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“I have been smoking since I was a small boy,” -Garbo
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The immortal “touching scene” in Queen Christina was performed to the beat of a metronome - a tempo device that Mamoulian had used to good effect in Porgy (on stage) and Love Me Tonight (on film). “Garbo works intuitively”, he said. “She caught on right away. The scene was choreographed. She had to move around the room in what was a kind of sonnet in action. I explained to her: “This has to be sheer poetry and feeling. The movement must be like a dance. Treat it the way you would do it to music.” She did so brilliantly.
- Garbo by Barry Paris
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It has always been something of an intellectual game to attempt to read the enigma of the screen’s most beautiful face, and it still is. If there is a secret in it, perhaps it is that almost anything one wants can be read into the expression of that face. The essential difference of cinema from theater is that it provides a kind of waking dream for the audience; the imagination is free to roam, and, in Garbo’s case, the audience has habitually supplied in its own imaginings what her enigmatic expressions have left unspoken. In that sense, Garbo was the perfect cinema star.Hollis Alpert (for the New York Times), 1965
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