Tag Archives: Garbo

Looking For Garbo: My Debut Novel Finally Has Its Release Day!

7 May

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I’m happy to share that my debut novel, LOOKING FOR GARBO is being released today by Amphorae Publishing Group. It’s been a long time in coming and I have to thank my agent, Jill Marr at Sandra Dijkstra Literary for sticking by me the last 8+ years.

The idea for a story based on Garbo’s famous quote first came to me back in 1995. I saw something in her earnest desire to save the world by sacrificing her own life – something that could have been a typical Garbo vehicle that MGM Studios might have put out at the height of her power and fame, circa 1939:

“If the war didn’t start when it did,” Garbo said, “I would have gone and I would have taken a gun out of my purse and shot him, because I would not have been searched.”

Garbo was talking about her biggest fan at the time – Adolf Hitler. Hitler was obsessed with Garbo, and watched his own private print of her CAMILLE every night. Hitler sent Garbo numerous fan letters, inviting her to come to Nazi Germany. The novel takes Garbo’s quote at face value, and follows her on her journey via ocean liner to assassinate Hitler, and preempt WWII. Of course, war erupts while she is en route – and like any thriller the real action begins with her stuck on the open seas surrounded by Nazis.

My agent Jill found several buyers over the years for the novel. One went out of business, another was a bad fit to say the least: I actually bought the rights back to my work in 2014 and had to wait another 5 years for my novel to see bookshelves. But all said and done it was totally worth the wait. I just hope everyone enjoys the final product as much as I did writing it.

Looking For Garbo is available May 7th at all major bookstores, and online at Barnes & Noble, Amazon, Bokus and IndieBound,

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Garbo’s Salary: Her Mega-Star Millions

20 Apr

In one of the few verifiable documents from the time of her peak fame and power, a 26-year old Greta Garbo was already a millionairess many times over. One record dated April 1931, Miss Garbo had $1,074,552.70 in just one Beverly Hills First National checking and savings account. Adjusted for inflation, that amount is $27,591,257.20 in 2019 US dollars. She was the undisputed Queen of the silver screen – and she was miserable.

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Amid the bank closings, bread and unemployment lines and an ever worsening Great Depression, Garbo was as rich and famous as you can get. Her legendary beauty radiated youthful energy from a lithe, athletic physique, topped with a face that was rumored to have stopped traffic more than once on Wilshire Boulevard (or was that Sunset Boulevard?) in the young Hollywood colony thick with stars and starlets who would give anything to be her. The naturally reclusive Garbo found Hollywood cold (isolated) from the rest of the world. Especially her native Sweden, where she was anxious to get home.

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Her MGM contract was about to expire, and she really didn’t care if she ever made another movie. Of course, this utterly-terrified L.B. Mayer and his minions at Metro-Goldwyn-Mayer. They weren’t about to let the golden goose fly the coup until they had her under a new contract. Come hell or high water, she was going to re-sign no matter what her demands might be.

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Garbo had come to America under contract to MGM during the silent movie era. She quickly became a mega-silent movie star, with such hits as Woman of Affairs, The Single Standard, The Temptress, The Torrent, Flesh and The Devil and a slew of other vehicles that elevated her star into the stratosphere. L.B. Mayer wasn’t about to let his investment in her just walk onto an ocean liner, never to be seen again. The movie mogul began negotiations personally with his young actress, full well knowing he wasn’t going to be able to bluff or strong-arm her like he did all his other stars, whether male or female. Garbo had one thing none of the other stars at MGM or at any other studio had: the power of indifference.

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Garbo’s MGM contract was due to expire on June 1932. Director Eric von Stroheim was ripping his non-existent hair out to complete production of As You Desire Me before his young star boarded The Gripsholm to set sail for her homeland. von Stroheim knew his star had more power than him, or the studio they both worked for. When it came to her iron will and determination when she wanted something, Garbo was an excellent negotiator with a mind for money and a strategy. She’d get more out of old Mayer than any other star, before or since. Garbo simply let the clock run out, and then demand a two-picture deal controlled under a special production company set up within the studio especially for her. An island unto itself where Garbo was free to pick her projects, as well as her director and co-stars. What star today wouldn’t want a deal like that!

Garbo had many faces…and many millions more in her Hollywood bank account!

Garbo’s 1932, two-picture deal would bind her to MGM at the tidy sum of $250,000 per picture, or $500,000 plus profit participation = $9.3 million + change today. Per her contract, L.B. Mayer cut Garbo a studio check on the spot. Standing before his desk, Garbo took the check for over $125,000 ($2.3 million) and didn’t have anywhere to put it. According to the star herself, her outfit had no pockets so she “took the biggest check I had ever seen…and stuffed it in my open shirt.”  

It turns out Garbo could make an entrance better than any movie star in history. But it was the threat of her exiting on her own terms that made her one of the most powerful women in Hollywood history.

Garbo Sighting: A NYC Rite of Passage

15 Apr

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In my upcoming novel, LOOKING FOR GARBO (Amphorae Publishing, May 7) I write about the uniquely New York City phenomenon known as a “Garbo sighting.” Virtually since the time she retired from Hollywood in 1941 and moved to NYC, people have been talking about sighting the infamously reclusive movie star in her ritual walks throughout the city. But how many of these stories were real, I wonder? How many were actually Garbo?

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Garbo had numerous tricks to avoid the average passerby: Never make eye contact. Walk in a brisk manner. Keep a perpetual scowl, if not your hand over your mouth at all times.

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The fact that an aging movie star from Hollywood’s golden age could keep the average New Yorker, equally famous for not giving a sh*t about anyone, on the lookout for her lanky, tall-drink-of-water stature, Jackie-O sunglasses and ubiquitous pout – is still something of a mystery to me.

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Maybe it was the very fact that Garbo didn’t want to be recognized that made this particular cat and mouse game so amusing for so many, over so many decades. Garbo acted very much like a caged animal when she was spotted in the wilds of downtown New York, often fleeing as fast as she could when identified with a rude finger-point or, God forbid, a request for an autograph.

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Garbo, all said and done, left her legacy to the films she made in her youth. She didn’t want to be photographed as she got older. She didn’t care what people thought of her, personally. And she never, ever sought out attention from the paparazzi who stalked her relentlessly until her death on Easter Sunday, April 15, 1990.

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Garbo lived on her own terms the latter half of her long life, simply because she couldn’t in the first half. She only attained control over her career after she became wildly famous. Then, she called the shots from how much she made a week to how many hours she worked during the workday. Garbo would have none of it and L.B. Mayer knew that if he pushed her too much – she would simply turn around and walk away forever.

Garbo Inspiration

So, this is how Miss Garbo wanted to be remembered. The young, confident, gorgeous goddess of the silver screen inspiring art and love in the silent but deadly Inspiration (1931). And I’m totally okay with that because that’s when I fell in love with her, as well. Not that I wouldn’t have wanted the chance to have seen Garbo on a street corner in New York City back in the day. And if I had, I would have had the good sense and manners to turn and look away before I caught her eye.

Garbo: Her Run-In with Leo the Lion

23 Oct

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In 1925, Greta Garbo signed a contract with Louis B. Mayer’s MGM studios and came to the United States from Sweden with her director/mentor Maurice Stiller. She arrived in New York City where she languished for over 8 months before Mayer sent for her to come to Hollywood. The would-be movie star was already nervous and felt like she was being kept in a cage waiting for word on when and what she would be starting work on. It didn’t help that she could barely speak a word of English.

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In Spring 1926, Mayer finally got around to his newest star and ordered a publicity shoot to create some buzz for the Swedish Sphinx. Garbo was only 19 and must have been terrified when they drove her out to the Lion Farm where they kept Jackie the Lion (aka Leo the Lion) the MGM mascot and a quite large male. The photoshoot was conducted by Don Gillum, a renowned sport photographer at the time. You can tell in the above shot that Garbo isn’t too happy to be sitting beside the lion. And Jackie doesn’t look especially happy, either. He’s staring down the starlet as if she were trying to steal the scene.

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Garbo survived and like a true pro, agreed to mug it up with some lion cubs as well as act the lioness behind a chain-link fence. Fast forward 10 years and Garbo would be the queen of the silver screen. She would have her revenge on Louis B. Mayer and Leo the Lion by imposing a $5,000 a week salary on the notoriously stingy movie Mogul. Mayer would learn that Garbo would never again have to do anything she didn’t want to do and he would have to go along with it – or lose his biggest star for good.

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Garbo would learn that breaking into sound from silent pictures meant she could afford to keep quite. But that’s a story for another day…

Garbo’s Last Stand: New Novel Cover Reveal

13 Oct

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Excited to share cover of my very first novel out this December 8th by Fiery Seas Publishing!

Garbo’s Last Stand – a novel

James Main is stuck making cable documentaries in LA when he places an ad looking for anyone still above ground who knew glamorous movie goddess Greta Garbo. He’s delighted when salty old tabloid reporter Seth Moseley replies with the promise of an untold story of why the reclusive star left Hollywood at the height of her power and fame.

A big thanks to Tom Sylvan for the gorgeous cover design and Misty Williams at Fiery Seas for all her support!

Hope you enjoy the cover and look forward to telling you more about the book as we get closer to the release date!

Robert De Niro and Greta Garbo: A Match Made in Heaven

20 Jan

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Greta Garbo in Anna Christie by Robert De Niro, Sr.

Robert De Niro premiered a new documentary at Sundance film festival this weekend. The half-hour doc was produced by HBO and is about the Oscar-winning actor’s father, the late artist Robert De Niro, at Sun. What’s interesting about “Remembering the Artist Robert De Niro, Sr.,” is how it sheds light on the mutual fascination father and son had for another star: Greta Garbo. De Niro, Sr.’s fascination for the movie star was such that he would bring his young son to all her movies – and De Niro, Jr. became fascinated in his own right with her. While his father would paint portraits of Garbo, his son would study Garbo’s acting technique which inspired him to become an actor himself. Who knew?

Greta Garbo was the undisputed Queen of Golden Age Hollywood, or more accurately, Tinseltown from her 1927 silent film debut up to her abrupt departure from the screen in 1941. So much has been written about Garbo that there is very little new light to be shed on the luminous screen creation that was Garbo. The one thing I can add to all the biographies and hagiographies of the iconic actress, however, is why she remains more relevant today than when she was the highest paid woman in the U.S. ($5,000 a week in 1932) and the most recognizable face on the planet. Garbo remains relevant to today’s celebrity-obsessed culture simply because she started it all. She was the first star whose private life became fodder for the tabloids, literally her every move became a matter of record in every newspaper throughout the world.

The list of firsts involving the screen queen goes on and on:

The first time in history a newspaper hired a plane to fly over a celebrity’s house to capture a “candid” photo of the star sun-bathing nude.

The first time a King visited a movie set to pay homage to a movie queen (King Gustav of Sweden to MGM in Hollywood). Of course, Garbo refused to meet him.

The first time a celebrity (since Cleopatra) went by one name.

Garbo. Historians of film still talk about “the Rapture” seeing her face in close-up on screen had on theater audiences, both male and female, throughout the world. Never before had a human visage been captured in light so perfectly and so large – big enough to see every perfect pore of skin (covered in silver make-up made for her by Max Factor himself – so she would literally shine), every eyelash (all natural); ever internal thought conveyed through voluminous eyes.

Garbo, aka “The Face” was said to be the most beautiful woman who ever lived. But more than that, Garbo brought about modern screen acting, making her counterparts Norma Shearer and Marion Davies by comparison, appear to be pantomiming. Screen legend Bette Davis was so obsessed with Garbo’s acting that she stole onto a movie set to see Garbo in action. She came away nonplussed. Later, she saw the footage of that days shooting and was blown away by what the camera saw. Davis said Garbo’s affect on the artificial eye was nothing less than “witchcraft.”

All Garbo’s directors and fellow actors agreed. Seeing Garbo act with the naked eye seemed like nothing special. But then, when the film emulsion was processed and negative became positive – Garbo the screen goddess in all her glory appeared as if by alchemy. Nothing less than magic. Her ability to convey emotion without uttering a word, even moving, seemed supernatural. So much so that the occultists of the day considered Garbo to be more than mortal. She became known in the press as, “The Immortal One.”
Of course, Greta Garbo was not immortal. After her final film, “Two Faced Woman” flopped in 1941, she bid the world goodbye and moved into an apartment in Manhattan, New York and aged quietly, reclusively, until her death in 1990. Yet up until virtually her dying day, Garbo was stalked relentlessly by paparazzi while other glamorous movie stars of her era like Hedy Lamarr, Rita Hayworth and poor Norma Shearer were forgotten once their beauty and fame faded from view.

Why? The easy answer is that Garbo’s steadfast rejection of the modern day cult-of-personality she helped to foment fueled our desire to capture her image evermore in the spotlight. As if, simply by virtue of the fact a famous person wanted to be left alone – we couldn’t allow it in our new age of media obsessed, fame monsters and attention whores. But I have a sneaking feeling there was more to it than that. My sense is that Garbo was more than met the eye, even when she became a shriveled, wrinkled, white-haired old lady. I think Bette Davis was onto something when she gazed at Garbo with those big, Betty Davis blue eyes of hers. I think Garbo was a witch. The most beautiful witch who ever lived, and whose cinematic spell will continue to be cast on generation upon generation of movie lovers – for as long as there is light.

Garbo: Viking Goddess and Independent Woman by Jacob M. Appel

20 Oct

Swedish actress Greta Garbo accomplished in less than two decades what advocates for women’s rights had sought for centuries: she showed the American public that feminine sexuality was compatible with intelligence. During the 1920s, when liberated flappers still attracted scorn from mainstream society, Garbo’s depiction of independent yet feminine beauties helped convince millions of American women that sexual initiative was not a man’s prerogative. Garbo “was allowed the right to have amorous needs and desires,” according to biographer Karen Swenson, and her popularity with both sexes enabled her to challenge “traditional roles with few negative consequences.” At the same time, Hollywood’s highest paid female star eschewed media attention and created a mystical image around her indifference to public opinion. At the age of thirty-six, Garbo retired to a life of almost hermetic seclusion. Film critic David Thomson saliently observed that “in making the journey away from fame into privacy she established herself forever as a magical figure, a true goddess, remote and austere, but intimate and touching.”

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Hollywood’s Viking beauty began life as Greta Lovisa Gustafsson on September 18, 1905. She grew up in an impoverished Stockholm household and went to work as a lather girl in a barber shop at age fourteen. By sixteen, the aspiring actress had garnered admission to Sweden’s exclusive Royal Dramatic Theater Academy. She soon impressed Scandinavia’s foremost director, Mauritz Stiller, with her perfect instincts and dignified beauty. He gave her the stage name Garbo and cast her as Countess Elizabeth Dohna in the silent screen masterpiece The Story of Gosta Berling.

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A leading role in G. W. Pabst’s Joyless Street (1925) soon followed. The part, that of a struggling Viennese women on the verge of prostitution, permitted Garbo to explore sexuality on screen for the first time. The film itself shattered box office records and became an enduring masterpiece of realistic cinema. Garbo’s great break occurred when Louis Mayer of Metro-Goldwyn-Mayer recruited Stiller for his Hollywood studios. The established director insisted that his relatively obscure nineteen-year-old starlet accompany him to the United States. Stiller was soon exported back to Stockholm while Garbo became a box office sensation.

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The eleven silent movies that Garbo filmed between 1925 and 1929 earned her critical claim as Hollywood’s most talented female actress. Starring across from leading man John Gilbert in Flesh and the Devil (1927) and Love (1927) she awed audiences and shocked censors with her forthright sexuality. Garbo displayed her wide range playing a Spanish opera singer in The Torrent (1926), a Russian spy in The Mysterious Lady (1928), an English aristocrat in A Women of Affairs (1928) and a southern belle in Wild Orchids (1929). The star’s appearance influenced an entire generation as millions of female fans copied her tastes in clothing and hair styles. Crazes for artificial eye lashes and cloche hats swept the nation. Meanwhile Garbo, whom Claire Booth Luce described as “a deer in the body of a woman living resentfully in the Hollywood zoo,” distanced herself from both the public and the Los Angeles social scene.

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Garbo may have been one of the leading box office draws of the silent era but few critics expected her to make the transition to talkies. The advent of sound ended the careers of most silent stars and the Swede’s deep voice and heavy accent were expected to turn off audiences. Instead, the twenty-five-year-old actress gave her most compelling performance in an adaptation of Eugene O’Neill’s play Anna Christie (1930). She played a waterfront streetwalker searching for her barge-captain father. Her opening words, at that time the longest sound sequence ever heard in a film, are cinematic legend: “Gimme a whiskey, ginger ale on the side … and don’t be stingy, baby!” Other hits followed. Mata Hari (1932), Queen Christina (1935), Anna Karenina (1935) and Camille (1936) confirmed her reputation as the leading lady of the early sound era. Garbo’s greatest role, that of the suicidal Russian dancer Grusinskaya in Grand Hotel (1932), ranks among the best female leads ever seen on the large screen. It is here that she declares her haunting wish: “But I want to be alone.” After surprising success as the comic lead in Ninotchka (1939), Garbo filmed the lackluster Two-Face Woman (1941) and then retired from the public eye. She was thirty-six years old.

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During the last five decades of Garbo’s life, “The Scandinavian Sphinx” established herself as cinema’s leading enigma. She travelled extensively but turned down all requests for public appearances. Instead, she entertained such close friends as Winston Churchill and Martha Graham in her posh New York City apartment. As one of the grande dames of American cinema, her intimates included William Paley, Anthony Eden, Jean Cocteau, Irwin Shaw, Dag Hammarsjokld, Cole Porter, and Jacqueline Kennedy. She also devoted herself to amassing an internationally renowned art collection which boasted masterpieces by Renoir and Bonnard. Garbo received an Honorary Academy Award in 1954 for “unforgettable screen performances.” She died in New York City on April 15, 1990.

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Greta Garbo entered the American consciousness during the mid-1920s at an historical moment when gender roles were in flux. The young actress came to represent a palatable form of female liberation and brought the icon of the independent woman home to Middle America. As biographer Karen Swenson described the star, “Her intimate posture and kisses suggested a woman—not a vamp—who was secure in her sexuality.” Garbo’s influence endured long after she became film’s most celebrated recluse. Throughout her life, she remained private, elusive, and conspicuously unmarried. “There is no one who would have me. I can’t cook,” she once joked—displaying the combination of independence and feminine intelligence which made her famous.

Source: St. James Encyclopedia of Popular Culture, St. James Press (2002) Gale Group

Noomi Rapace: The New Swedish Sphinx

24 Mar

Noomi is beautiful. Noomi is strong. She inherits the legacy of Garbo on her own terms. Her animal magnetism brought her to international stardom the same way Garbo’s did. The big difference is Garbo never kicked anybody’s ass. She shot people, sure. But lighting them on fire? No so much. Still, The Girl With The Dragon Tattoo had a vulnerability to her. Lisbeth Salander was a complex character. Her pathos was purely and utterly perfect to the times in which she exists. And nobody (sorry, Miss Mara) could touch Noomi’s performance – especially in the first movie.

Now Noomi is in America and fluent in English ( a lot faster than Garbo did, maybe because Garbo made silent movies when she first hit our shores). Noomi has been in the Sherlock Holmes piece of crap, yet came up smelling like a rose. But her true American star turn will be in Ridley Scott’s Prometheus. And I think she’s going to be HUGE. Like, Ripley in Aliens huge. That’s a lot of pressure for any actress, but not Noomi. She’s got such a work ethic and professionalism – I really think she could pull off any role she set her mind to. Maybe someday she’ll tackle the most demanding role imaginable and play the original Swedish Sphinx – Garbo. Now that I have to see!!

Norma Shearer – The Anti-Garbo

17 Feb

I can’t help but love Norma Shearer. She was so beautiful, ballsy and, in her day, the reigning queen of Hollywood. That is, if Garbo hadn’t been. Fascinating how someone who would otherwise be number one in the world, exists opposite another who is their match and then some. Just like John McEnroe had Bjorn Borg and Tom Brady has Eli Manning to contend with – Norma had the almighty Garbo raining on her Hollywood parade.

Not that we should feel too bad for Norma. After all, she was married to Irving Thalberg, the wunderkind at MGM who made silver screen art and tinseltown magic while Louis B. Mayer made money. But even though he was married to Norma and gave her all the choice parts, even Irving knew Garbo transcended her time. As accessible Norma was to the masses, Garbo was inaccessible like a true star in the sky. As likeable and glamorous in an earthly way as Norma was portrayed, Garbo was the goddess who touched down on terra firma long enough to steal our hearts – then quickly ascend back into the heavens. But this wasn’t the biggest reason Garbo has endured and been remembered while Norma Shearer has largely been forgotten. No, the biggest reason is how the two stars fates were constructed on-screen.

Norma always got her man. And, like in hugely successful THE WOMEN, she wasn’t above groveling to get him the lecherous ass back. In stark black & white contrast – Garbo was the vamp who found redemption through love, then died for it. She found truelove just before they shot her, like in MATA HARI, or, before she kicked the bucket in CAMILLE. These roles, inherently dramatic and romantic visions, couple with Garbo’s unbelievably gorgeous face – made her the queen of the silver screen without equal. Norma, beautiful and comedic – could never pull off such high drama even if she wanted to.

But this blog is about Norma Shearer. Taken by herself, she was an often wonderful actress opposite stars like Clark Gable in FREE SOUL. She was exuberant and shimmered an inner-glow that I believe she possessed in real life. Most attractive, however, was how she stuck by her man Irving in real life. Thalberg was a very sick man and died young. Norma truly loved him and protected his image long after he passed. Tragically, in her own life after Hollywood, Norma sought out seclusion (not unlike her arch-screen nemesis Garbo) and appeared frightened by the aging process we are all subjected to. It saddens me that we glorify our leading ladies at the height of their beauty, then toss them aside so easily once they hit 30, or younger. Are they not the same women we fell in love with at first sight in their 20’s?

Norma will always be remembered. Maybe not like Garbo. But even Garbo, while most know the name, has been relegated to a bygone era. Lost in the sea of technology, special effects and irrelevant, male-oriented storylines that disgrace our cinema screens today. I’m hoping for a resurgence of interest in golden age Hollywood stars as a result of this year’s silent screen Oscar-contender “The Artist”. The storyline of which was lifted from the very-real life love story between Garbo and John Gilbert. But that’s for another blog. Today I want to celebrate Norma. May she be remembered as a classy dame who knew how to have fun and hold her man.

CINEMUSES: Garbo, The Goddess of Witchcraft

12 Jan

Greta Garbo was the undisputed Queen of Golden Age Hollywood, or more accurately, Tinseltown from her 1927 silent film debut up to her abrupt departure from the screen in 1941. So much has been written about Garbo that there is very little new light to be shed on the luminous screen creation that was Garbo. The one thing I can add to all the biographies and hagiographies of the iconic actress, however, is why she remains more relevant today than when she was the highest paid woman in the U.S. ($5,000 a week in 1932) and the most recognizable face on the planet. Garbo remains relevant to today’s celebrity-obsessed culture simply because she started it all. She was the first star whose private life became fodder for the tabloids, literally her every move became a matter of record in every newspaper throughout the world.

The list of firsts involving the screen queen goes on and on:

The first time in history a newspaper hired a plane to fly over a celebrity’s house to capture a “candid” photo of the star sun-bathing nude.

The first time a King visited a movie set to pay homage to a movie queen (King Gustav of Sweden to MGM in Hollywood). Of course, Garbo refused to meet him.

The first time a celebrity (since Cleopatra) went by one name.

Garbo. Historians of film still talk about “the Rapture” seeing her face in close-up on screen had on theater audiences, both male and female, throughout the world. Never before had a human visage been captured in light so perfectly and so large – big enough to see every perfect pore of skin (covered in silver make-up made for her by Max Factor himself – so she would literally shine), every eyelash (all natural); ever internal thought conveyed through voluminous eyes.

Garbo, aka “The Face” was said to be the most beautiful woman who ever lived. But more than that, Garbo brought about modern screen acting, making her counterparts Norma Shearer and Marion Davies by comparison, appear to be pantomiming. Screen legend Bette Davis was so obsessed with Garbo’s acting that she stole onto a movie set to see Garbo in action. She came away nonplussed. Later, she saw the footage of that days shooting and was blown away by what the camera saw. Davis said Garbo’s affect on the artificial eye was nothing less than “witchcraft.”

All Garbo’s directors and fellow actors agreed. Seeing Garbo act with the naked eye seemed like nothing special. But then, when the film emulsion was processed and negative became positive – Garbo the screen goddess in all her glory appeared as if by alchemy. Nothing less than magic. Her ability to convey emotion without uttering a word, even moving, seemed supernatural. So much so that the occultists of the day considered Garbo to be more than mortal. She became known in the press as, “The Immortal One.”
Of course, Greta Garbo was not immortal. After her final film, “Two Faced Woman” flopped in 1941, she bid the world goodbye and moved into an apartment in Manhattan, New York and aged quietly, reclusively, until her death in 1990. Yet up until virtually her dying day, Garbo was stalked relentlessly by paparazzi while other glamorous movie stars of her era like Hedy Lamarr, Rita Hayworth and poor Norma Shearer were forgotten once their beauty and fame faded from view.

Why? The easy answer is that Garbo’s steadfast rejection of the modern day cult-of-personality she helped to foment fueled our desire to capture her image evermore in the spotlight. As if, simply by virtue of the fact a famous person wanted to be left alone – we couldn’t allow it in our new age of media obsessed, fame monsters and attention whores. But I have a sneaking feeling there was more to it than that. My sense is that Garbo was more than met the eye, even when she became a shriveled, wrinkled, white-haired old lady. I think Bette Davis was onto something when she gazed at Garbo with those big, Betty Davis blue eyes of hers. I think Garbo was a witch. The most beautiful witch who ever lived, and whose cinematic spell will continue to be cast on generation upon generation of movie lovers – for as long as there is light.