#greta garbo

silverscreendames:

GRETA GARBO as Nina Ivanovna “Ninotchka” Yakushova in
NINOTCHKA(1939) dir. Ernst Lubitsch

Greta Garbo

Greta Garbo tocando el Ukalele.

screenshottery:

Grand Hotel (1932, Edmund Goulding, dir.)

tvln:

mata hari (us, fitzmaurice 31)

allgarbo:

Greta Garbo in Queen Christina(1933)

Greta Garbo.

thewisecrackingtwenties:

Greta Garbo’s iconic eyes in magazine covers throughout the 1920s.

She certainly was not from the 1910s, but it’s worth a reblog!

“In preadolescence, Garbo reportedly had physical encounters with certain girlfriends and possibly also with her sister, Alva. In any case, for her, the sexual theme was set at least by age fourteen, as indicated in her letters to Eva Blomgren that hint at lesbianism. It was more clearly manifested three years later in her relationship with fellow apprentice Mona Mårtenson. Their mutual infatuation was well known on and off the set of Gosta Berling. Later, in America, when a friend asked about Mona, Garbo replied, “None of your business!” But on another occasion, she confided that she had told Mona “I love you” in so many words, adding that she had wanted to return to Sweden and act on the stage with Mona but that she could never do so.”

Greta Garbo &Jenny Hasselquist
The Saga of Gosta Berling(1924)

“Garbo is a revolutionary in many ways. She swims against the tide, she is a nonconformist (or rather she does not conform to the ideas others have of her and of what she “should” do). She has always resented the cheap sentiment of most of her roles on the screen, and she dislikes sentimentality in any form; yet she is capable of moaning “Alles ist verwahrlost” at the least provocation. 

Garbo’s physical mystery —and mastery — still apparent today, was not the creation of the wizards of Hollywood. Although they cast her in stereotyped roles, they could not diminish her ability to entrance both men and women. Garbo’s inescapable magnetism could not be defined, but it could be exploited. And whatever private grief it may have cost her when she built her wall around herself and let the world regard her as an enigma if not an outright curiosity, she has never let herself be exploited again.” The Divine Garbo by Frederick Sands & Sven Broman.

vampsandflappers:

A wonderful early, haunting photo of Greta Garbo in Berlin in 1925. Photograph by Alexander Binder.

“[I am] always so alone, so alone. Oh God, it is so awful. This ugly, ugly America, all just machinery, it is soul destroying. I never go out, only home to my boring little hotel… The only thing that gives me pleasure is to go to the bank and send some money to my family… I don’t want to meet people from the films and drink and talk about things I don’t wish to talk about… People are very curious about me in the studio. Everyone stares at me and asks questions… I am sure they think I am a bit strange… the glamour with which we surround the American film world hardly exists here. There is nothing elegant or beautiful here.”

–Greta Garbo, letter in 1925 to Mimi Pollak

garbeau:

Greta Garbo and Cecilia Parker
‘The Painted Veil’, dir. Richard Boleslawski, 1934. [x]

cinemarthek:

Flesh and the Devil (Clarence Brown | 1926)

camillejaval:

19-years-old Greta Garbo photographed by Arnold Genthe, NYC, July 1925.

Greta Garbo by Don Gillum, 1926

ladybeeisfabulousnaked:

Is there anything better than to be longing for something, when you know it is within reach?
Greta Garbo

Garbo and Gilbert in Flesh and the Devil(1926).

steamboatbilljr:

Greta Garbo in The Mysterious Lady, 1928

Greta Garbo

Greta Garbo

Marlene Dietrich & Greta Garbo

Greta Garbo, 1926

Greta Garbo, 1930s

I thought I’d share this for fun. A rundown of all the Oscar nominations and wins racked up by the 16 people name-checked in Madonna’s “Vogue”.

desireearmfeldt:

Greta Garbo in a publicity photo for As You Desire Me, 1932

gatabella:

Greta Garbo, Queen Christina