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class="PersistentBottomWrapper-eddooY bIieWF persistent-bottom" data-journey-hook="persistent-bottom"><asi class="PaywallBarWrapper-hbEokK kqItQt paywall-bar"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut paywall-barnsumer-marketg-un nsumer-marketg-un nsumer-marketg-un--paywall-bar-ll-to-actn" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-unslot nsumer-marketg-unslot--paywall-bar-ll-to-actn"></div><div class="journey-un"></div></div></asi></div><ma id="ma-ntent" tabx="-1" class="BasePageMaContent-kFvAuh ewPCZH pagema-ntent"><article class="article ma-ntent" lang="en-US"><div class="ArticlePageLeBackground-EufvU tFsh"><hear class="SplScreenContentHearWrapper-bFxPWy kXwKEW ntent-hear articlentent-hear" data-ttid="SplScreenContentHearWrapper"><div class="GridWrapper-cAzTTK dfqcEG grid grid-ems-2 grid-full-bleed grid-no-gap SplScreenContentHearMa-fNigKG daohZh"><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearTleBlock-sCMXE jActCi"><div data-ttid="ContentHearRubric"><div class="RubricWrapper-dKmCNX dZhWBL bric SplScreenContentHearRubric-cLHEJQ ildzkT"><a class="RubricLk-gRWSOU fgWnkQ briclk" href="/magaze/books"><span class="RubricName-fVtemz cLxcNi">Books</span></a></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplScreenContentHearHed-lcUSuI iUEiRd NbxED dfelga">What Was So Special About Greta Garbo?</h1><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplScreenContentHearDek-emptdL iUEiRd wOnsu dJrDEb">An enigma onscreen and off, the actrs only magnified her celebry by sudnly renouncg .</div><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl SplScreenContentHearByle-kvEhqE ejWxsm"><p class="ByleWrapper-jWHrLH bwbwth byle bylbyle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn lOLCm bylename"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG uhfVi bylepreamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL brYZgj bylename-lk button" href="/ntributors/margaret-talbot">Margaret Talbot</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2021-12-06T06:00:00-05:00" class="SplScreenContentHearPublishDate-bMGEVk gvRvVr">December 6, 2021</time><div class="SocialInsWrapper-hKMEXV ffgPVr social-ins social-ins--standard SplScreenContentHearSocialShare-gSVclr kUKgnn"><ul data-ttid="socialInslist" class="SocialInsList-cHVTIA ivmblD social-inslist"><li class="SocialInsListItem-mbhR hHoUCw social-inslist-em social-inslist-em--facebook social-inslist-em--standard thner"><a aria-label="Share on Facebook" class="external-lk SocialInExternalLk-huuzOU cLGRzS social-inslk social-inslk--facebook" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" 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1.539a6.04 6.04 0 0 1-1.8.517A3.268 3.268 0 0 0 14.854.24a6.127 6.127 0 0 1-1.99.797A3.067 3.067 0 0 0 10.575 0c-1.73 0-3.134 1.47-3.134 3.281 0 .257.028.508.081.748C4.918 3.892 2.61 2.585 1.063.6A3.382 3.382 0 0 0 .64 2.25c0 1.14.552 2.144 1.393 2.732a3.001 3.001 0 0 1-1.418-.41v.042c0 1.59 1.08 2.916 2.513 3.218a3.011 3.011 0 0 1-1.415.056c.399 1.304 1.556 2.253 2.926 2.28A6.111 6.111 0 0 1 0 11.525 8.59 8.59 0 0 0 4.805 13c5.764 0 8.916-5 8.916-9.338a8.96 8.96 0 0 0-.01-.425 6.522 6.522 0 0 0 1.564-1.698z"></path></svg></div></a></li><li class="SocialInsListItem-mbhR hHoUCw social-inslist-em social-inslist-em--email social-inslist-em--standard thner"><a aria-label="Share via Email" class="external-lk SocialInExternalLk-huuzOU cLGRzS social-inslk social-inslk--email" data-event-click="{"element":"ExternalLk","outgogURL":"mailto:?subject=What%20Was%20So%20Special%20About%20Greta%20Garbo%3F&" href="mailto:?subject=What%20Was%20So%20Special%20About%20Greta%20Garbo%3F& rel="nofollow 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width="17" height="9" fill="whe"></rect><rect class="background" x="4.5" y="10.5" width="8" height="5" fill="black" stroke="whe"></rect></svg></div></a></li><li class="SocialInsListItem-mbhR kZrSyF social-inslist-em social-inslist-em--bookmark social-inslist-em--standard thner"><a aria-label="Save story" class="external-lk SocialInExternalLk-huuzOU vjrme social-inslk social-inslk--bookmark" data-event-click="{"element":"ExternalLk","outgogURL":"#"}" href="#" rel="nofollow noopener" target="_blank"><div class="SocialInContaer-huXzUC pMzVC social-insin-ntaer"><svg class="SocialInNetworkInComponent-cZaKGz dlOAhZ in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save Story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" 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SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptntext">“If only once I uld see a preview and e home feelg satisfied,” Garbo said.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptncred">Photograph by Edward Steichen © 2021 The Estate of Edward Steichen / ARS, urty the Gee Eastman Mm</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-bodyntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layoutntent"><div class="BodyWrapper-kufPGa bDyAMU body bodyntaer articlebody" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="bodyner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay ; encrypted-media ; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropplead-standard-headg paywall">Fame is so powerful that renouncg n seem like the supreme power move. Celebri who retreat om the public eye (Howard Hugh, J. D. Salger, Prce) will always be legends, no matter what else they may be. Rumored ebacks tantalize. Paparazzi circle. The mystery epens. In 1941, at the age of thirty-six, Greta Garbo, one of the biggt box-office draws the world, stopped actg and, though she lived for half a century more, never ma another film. For a star who, more than any other, “vad the subnsc of the dience,” as Robert Gottlieb wr his new bgraphy, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Garbo</a>” (Farrar, Strs & Giroux), this was an abditn, a privilege of monarchil proportns. But was also a cisn ma by one particular, peculiar person who had never been temperamentally sued to celebry the first place. There was a reason, beyond the exertns of the Hollywood publicy mache, that a sgle le she uttered one movie—“I want to be alone”—beme so fed wh her image. What n look like a strategy for keepg the public terted n also be a scere and mted sire to keep at bay.</p><p class="paywall">Few other performers have ascend as quickly to mononymic stat as Garbo did—she started off the way most of do, wh a first and last name, but the first soon fell away, like a spent rocket booster, the ballyhoo surroundg her. When she appeared her first sound picture, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Anna Christie</a>,” the ads proclaimed, “Garbo talks!”; for her first sound edy, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Notchka</a>,” was “Garbo lghs!” Que why she beme such a phenomenon is a puzzle to which film crics and bgraphers keep returng. Garbo ma only twenty-eight movi her lifetime. (By parison, <a href=">Bette Davis</a> ma close to nety, and Meryl Streep has ma nearly seventy and still untg.) That slenr output uld be part of the mystique, pound by her disappearg act. But Garbo had acquired an enigmatic mythos even before she end her reer—the Hollywood lony treated her like royalty. Nor has seemed to matter that only a handful of her movi are much watched or admired today.</p><p class="paywall">What Garbo had to offer, above all, was her extraordary face, at a time when the closp, wh s supercharged timacy, s unprecented boon to the emotnal and erotic imagatn, was still relatively new. Many of the shots creded as the first closps were unlikely to have set hearts aflame, sce they were often of objects—a shoe, a wrench. But filmmakers soon grasped the centripetal sctns of the human face tight foc. The screenwrer and director Pl Schrar picks as a turng pot the moment a <a href=">D. W. Griffh</a> film om 1912, “Friends,” which the mera tight on Mary Pickford’s face, revealg her ambivalence about which of two suors she should choose. “A real close-up of an actor is about gog for an emotnal reason that you n’t get any other way,” Schrar <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">wr</a>. “When filmmakers realized that they uld e a close-up to achieve this kd of emotnal effect, meras started g closer. And characters beme more plex.”</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-unslot nsumer-marketg-unslot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">A face as betiful as Garbo’s—the enormo ey and ep-set lids, the way love or tenrns or some private, unspoken amement unkn her brows an stant, meltg her stery—was almost overwhelmg when filled the screen. She belonged, as Roland Barth wrote, “to that moment cema when the apprehensn of the human untenance plunged crowds to the greatt perturbatn, where people lerally lost themselv the human image.” This is not to dimish her craft as an actrs. But her actg was perhaps most effective her silent films or nonverbal scen talkg pictur which her face is the nvas for emotn. In the famo last shots of “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Queen Christa</a>” (1933), Garbo’s androgyno Swedish ler stands at the prow of a ship bearg her away om her untry; the body of her lover, killed a duel over her, is laid out on the ck. Garbo star to the distance, her face a kd of mask but no ls eloquent for . The film’s director, Rouben Mamoulian, had told her that she mt “make her md and heart a plete blank,” empty her face of exprsn, so that the dience uld impose whatever emotns they wanted on . The scene would then be one of those “marvelo spots,” he said, where “a film uld turn every spectator to a creator.”</p><p class="paywall">She was skilled at cg such projectn. More than one ntemporary Hollywood noted that her magic tly showed up only on celluloid, like a ghostly lumcence untectable until the film was veloped. Clarence Brown, who directed Garbo seven films, relled shootg a scene wh her, thkg was fe, nothg special, then playg back and seeg “somethg that jt didn’t have on the set.” On her face, he said, “You uld see thought. If she had to look at one person wh jealoy, and another wh love, she didn’t have to change her exprsn. You uld see her ey as she looked om one to the other.” Garbo herself, wh a kd of arch, adolcent difference, never wanted to look at the sh. Acrdg to Brown, she’d watch only when sound pictur were played reverse: “That’s what Garbo enjoyed. She would s there shakg wh lghter, watchg the film nng backward and the sound gog <em>yakablom</em>-<em>yakablom</em>. But as soon as we ran forward, she wouldn’t watch .”</p><p class="paywall">Much has been wrten about Garbo over the years, but Gottlieb, a former edor of this magaze, has produced a particularly charmg, pannable, and clear-eyed gui to her life and work—he has no axe to grd, no urgent need to make a untertuive se for her lser movi, and he’s genero wh his precsors. By the end of the bgraphy, I felt I unrstood Garbo better as a person, whout the ra of mystery around her havg been entirely dispelled—and, at this pot, who would want to be?</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The actrs who me to embody a kd of unattaable elegance, who would someday wear sumptuo perd stum wh a grace so offhand that they might have been mpled p.j.’s, grew up a cramped apartment wh no door plumbg, one of Stockholm’s most impoverished neighborhoods. She was born Greta Lovisa Gtafsson on September 18, 1905, to parents om ral stock. Her mother was, Gottlieb’s scriptn, “practil, sensible, unmonstrative”; her father, an unskilled laborer, was handsome, mil, and fun, and Greta adored him. But he was stricken by kidney disease, and Greta, the youngt of three children, ma the rounds of the chary hospals wh him. “She never fot the huiatns they endured as poor people search of live-or-die attentn,” Gottlieb wr. She was fourteen when he died, and she dropped out of school, leavg her wh a lastg embarrassment about her lack of formal tn. She went to work to help support the fay, first at a barbershop, where she applied shavg soap to men’s fac, then at a partment store, where she sold and molled hats. She said later that she was “always sad as a child for as long as I n thk back. . . . I did some skatg and played wh snowballs, but most of all I wanted to be alone wh myself.”</p><p class="paywall">Alongsi her shyns and her penchant for solu, Greta harbored a passnate sire to be an actrs. As a kid, she’d roam the cy by herself, lookg for theatr where she uld stand at the stage door and watch the performers e and go. The first time Garbo was ont of the mera was at age fifteen, an advertisg film for the partment store that employed her. Swen had a thrivg film dtry, and she soon qu her day job to appear a uple of movi. At Stockholm’s Royal Dramatic Theatre, to which she was accepted at seventeen, the young actors were stcted a system that “scientifilly” analyzed the semtics of movement and gture. Remarkably, some of her lecture not om that time survive—she jotted down that “the head bent forward equals a d ncsn” or a “nscendg attu,” and that “the throwg back of the head” nveys “a vlent feelg such as love.” Barry Paris, an earlier <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">bgrapher</a> whom Gottlieb c approvgly, not that “Garbo silent films would employ that system of gtural meang to a high gree.” She did so her sound pictur as well. When she plays the Rsian ballera “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Grand Hotel</a>” (1932), her body language is jtery, nrotic. Deprsed, she lets her head droop as if were simply too heavy to hold up; surprised by light at the prospect of a romance wh John Barrymore’s gentleman jewel thief, she toss her head back at giddy angl. It might have been lghable, but stead ’s rivetg.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">In the sprg of 1923, the gifted film director Mrz Stiller approached the Stockholm theatre lookg for actrs to st his new movie, an epic based on a Swedish novel, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Story of Gösta Berlg</a>.” Stiller me om a Jewish fay Fland; orphaned young, he had fled to Swen to avoid beg nscripted to the tsar’s Army. Garbo and he were never lovers—Stiller preferred men—but their relatnship was perhaps the most important both of their liv. Wh his mandg height, his taste for luxury (full-length fur ats, a nary-yellow sports r), and his domeerg style wh actors, he had more than a touch of the Svengali. But Stiller believed Garbo at a time when, as one veteran actrs put , Greta was “this ltle nobody . . . an awkward, medcre novice,” and he loved her. (He also seems to have been the one who suggted replacg “Gtafsson” wh “Garbo.”)</p><p class="paywall">When Hollywood me llg— the form of Louis B. Mayer sutg European talent for M-G-M— wasn’t clear whether Stiller was the lure or Garbo; the director was certaly better known. In any se, Stiller ma sure that they were a package al (and, Gottlieb adds, later upped Garbo’s pay to four hundred dollars a week, an “unheard of” salary for an untted starlet). The two sailed for the Uned Stat 1925, arrivg the pungent heat of midsummer New York. (Garbo’s favore part of the vis seems to have been the roller aster at Coney Island.) Then was on to Hollywood by tra.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">The stud moguls gave an unknown such as Garbo a very short nway. M-G-M signed up the Swedish girl for two pictur, “Torrent” and “The Temptrs,” and, as the film historian Robert Dance wr his smart new book, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Savvy Sphx: How Garbo Conquered Hollywood</a>” (Mississippi), “if those first two films were unsuccsful fancially M-G-M would not renew her ntract for a send year.” As happened, both were hs. <em>Motn Picture</em> was among the dtry outlets clarg her début “a plete succs.” (“She is not so much an actrs as she is endowed wh dividualy and magism,” said.) Garbo beme a fan favore, even though she was almost uniquely averse to the kd of goofy stunts and dly salac photo shoots that other stars put up wh. When she got to be as famo as Lillian Gish, she told one terviewer early on, “I will no longer . . . shake hands wh prize-fighters and egg-and-k men so they will have pictur to put the papers.” Instead, she worked wh nsummate portra photographers who l her glorly. Eventually, her films were earng enough that she was able to negotiate an unual ntract, one that gave her the right to veto scripts, -stars, and directors. And she shunned terviews so nsistently that the end her privacy beme s own form of publicy.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embedasset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embedrponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embedrponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoonimage-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoonimage rponsive-image"><noscript><img alt="Parents crawl out of hole their ont lawn." class="RponsiveImageContaer-eybHBd fptoWY rponsive-imageimage" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoonptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptntext">“Looks like the kids have gone off to llege. Let’s grab a few years alone the hoe before they ci to return.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtooncred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptncred">Cartoon by Pl Karasik</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg buttonlabel">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT buttonin-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc cxFROy alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg buttonlabel">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT buttonin-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Dpe such badassery, she never really adjted to her new untry or her new sty, at least beyond the movie set. What looked like refully cultivated htr was partly the product of awkwardns, disorientatn, and grief. She hardly spoke English when she first arrived, and, wh a year, she learned that her beloved sister, an aspirg actrs herself, had died back home. Stiller did not make a smooth adjtment to Hollywood and, a blow to them both, he was not chosen to direct Garbo’s first Amerin picture. Garbo wrote to a iend Swen about how miserable she was: “This ugly, ugly Ameri, all mache, is excciatg.” The only thg that ma her happy, she claimed, was sendg money to her fay. At a young age, Gottlieb wr, she found herself “trapped a spotlight extreme even by Hollywood standards,” and wh no psychologil preparatn for grapplg wh the kd of fame—movie stardom—that was new not jt to her but to the world.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layoutasi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-boxprimary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="adslot adslot--rail" data-no-id="hn4yys"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-unslot nsumer-marketg-unslot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="adslot adslot--mid-ntent" data-no-id="jq3t1n"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layoutntent"><div class="BodyWrapper-kufPGa bDyAMU body bodyntaer articlebody" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="bodyner-ntaer"><p class="paywall">Athletic and physilly rtls, she soon took up the long nighttime walks that beme a refuge; wh her hat pulled low over her head, as ctomarily was, she would have been hard to regnize. Stiller, who probably felt that his young protégée no longer need him, returned to Swen, where he died 1928, at the age of forty-five, reportedly clutchg a photograph of her. “He never seems to have rented her dazzlg ascent to fame,” Gottlieb wr, “only wantg her to be happy and fulfilled.” Back Swen to mourn him, Garbo went wh his lawyer to the storehoe ntag his posssns, where she walked around touchg his belonggs and murmurg about her memori. Gottlieb says that this episo mt surely have been an spiratn for the scene “Queen Christa” which Garbo’s character mov around a room at an n, touchg all the animate remrs of the lover she will never spend another night wh. On sets, she would sometim talk softly to herself about what her mentor might have told her to do—one director she worked wh referred to Stiller as “the green shadow.”</p><p class="paywall">Garbo appears to have been emotnally stunted certa ways, damaged by the loss of her father, her sister, and Stiller, abashed by the limatns of her English and her tn. Though she had a sense of humor, she emerg Gottlieb’s portra as prickly, stubborn, and stgy. The sudn onslght of celebry ma her more so. She never married, had children, or apparently wanted to do eher; she had brief romantic relatnships, mostly wh men (the actor John Gilbert, probably the nductor Leopold Stokowski), and likely wh women, too (the leadg ndidate seems to have been the wrer Merces De Asta, the “ubiquo lbian rake,” Gottlieb’s words, who had affairs wh Marlene Dietrich and many others). Her longt-lastg relatnships were wh iends, pecially, as Gottlieb mak clear, those who helped her logistilly, advised her votedly, and steadfastly refed to spill the tea about her. In the, she had pretty good, if not unerrg, taste. Probably the clost and most endurg iendship was wh Salka Viertel, the tellectually vibrant woman at the center of L.A.’s remarkable muny of refugee wrers, posers, and filmmakers om Germany.</p><p class="paywall">From the start of her Hollywood reer silent pictur, Garbo was often st as a vamp—the kd of man-eater who shimmied and veigled and home-wrecked her way through so many neteen-twenti movi. (See the entire reer of Theda Bara.) As Robert Dance not, “Adultery and divorce were tnip to post World War I dienc.” The parts quickly bored her: “I nnot see any sense drsg up and dog nothg but temptg men.” Off the job, she chewed makp and liked to drs slacks, men’s oxford sho, and gbby sweaters. Her closet was full of men’s tailored shirts and ti. She often referred to herself as a “fellow” and sometim signed her letters “Harry” or “Harry Boy.” The movie role she seems to have liked bt was the learned cross-drsg seventeenth-century monarch Christa; allowed her to stri around tunics, tight-ftg troers, and tall boots, to kiss one of her ladi--wag full on the lips, to clare that she tend to “die a bachelor!” (As plenty of genr-studi scholars will tell you, this is one queer movie.) She exprsed a longg to play St. Francis of Assisi, plete wh a beard, and <a href=">Osr Wil</a>’s va hero Dorian Gray. In today’s terms, Garbo might have occupied a spot along the nonbary spectm. Gottlieb don’t prs the pot, but remarks, “How ironic if ‘the Most Betiful Woman the World’ really would rather have been a man.”</p><p class="paywall">Her third Amerin film, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Flh and the Devil</a>” (1926)—the ultimate neteen-twenti tle—transformed her to an ternatnal star. It’s about a love triangle volvg two bt iends, played by the magic John Gilbert and the handsome Swedish actor Lars Hanson, wh Garbo at s apex. It, too, is a pretty queer movie, though seems ls ntrol of s signifiers than, say, “Queen Christa.” As Gottlieb pots out, the two male leads are forever claspg each other fervently, brgg their fac close together, as if about to kiss. (It heightens the vibe that, silent-movie fashn, Hanson appears to be wearg lipstick some of the time, and Gilbert eyeler.) “Flh and the Devil” also featur some of the most erotic scen I’ve ever enuntered on film. There’s one, a nighttime garn, which Garbo rolls a cigarette between her lips, then puts between Gilbert’s, her ey never leavg his, as he strik a match and illumat their geo, botted fac. There’s one where she li back sensual abandon on a uch, Gilbert’s head lollg agast her lap, and he lifts her hand and drags her fgers across his mouth. And then there’s my favore: she and Gilbert are at a Communn rail church. By now, Gilbert’s character has killed her first hband a duel, and she has married the other iend, but they’re still crazy about each other, natch. Gilbert sips om the chalice jt before she do, and, when the prit hands to her, she turns around to drk greedily om the si her lover’s lips have jt touched. Her exprsn is one of slow-burn ecstasy.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Gilbert and Garbo fell love while they were makg the movie, but their story is a sad one, maly bee Gilbert is a sad figure. He is often offered up as an example of an actor who uldn’t make the transn to sound—his voice was said to have been too reedy or somethg. That turns out to have been an urban legend: his voice was fe. The trouble was that he was bt at playg boyish men undone by love at a time when, as Gottlieb observ, Deprsn-era Hollywood was more to “gangsters, snappy dialogue, mils.” Garbo and Gilbert lived out a “<a href=">Star Is Born</a>” trajectory. When they ma “Flh and the Devil,” he was a big-name actor at the height of his powers, and he helped Garbo by makg sure the mera angl were right for her and each take of her was the bt uld be. One story is that he planted a stand of tre on his property the Hollywood Hills to remd her of the woods Swen, and he apparently proposed to her repeatedly. (She profsed herself puzzled that she kept refg a more permanent bond, but she did.) By the time she ma “Queen Christa,” 1933, she had top billg, and she sisted that Gilbert, who was then married to someone else, and profsnally on the skids, play her romantic tert—rejectg the stud’s choice, a young Lrence Olivier. Gilbert later remembered that she was tactful and nsirate wh him on the set, though he was drkg heavily, throwg up blood, and nervo about his performance. “It is a rare moment Garbo’s history,” Gottlieb wr, “when we n fully admire, even love her, as a human beg, not only as an artist.” Gilbert died three years later, at the age of thirty-eight. Garbo was characteristilly unsentimental. “<em>Gott</em>, I wonr what I ever saw him,” she remarked while he was still alive. “Oh well, I gus he was pretty.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Why did Garbo stop actg? It wasn’t as though her star was tly on the wane. It had been years sce she’d ma her succsful transn to talki, wh a dialogue-heavy adaptatn of Eugene O’Neill’s “Anna Christie.” (From the moment she uttered her first l, “Gimme a whiskey—gger ale on the si—and don’t be stgy, baby,” her accent proved to be a sexy asset.) She’d been nomated for four Bt Actrs Osrs. In 1939, she’d ma “Notchka,” the romantic edy which she played a Soviet apparatchik on a missn to Paris who falls love wh a playboy unt and disvers, as the pch for went, “palism not so bad after all.” It was a huge h—more than four hundred thoand people went to see at Rad Cy Mic Hall durg a three-week n, Gottlieb says. Garbo is very funny, adpanng her way through the first half of boxy jackets, ratnally asssg Melvyn Douglas’s charms. (“Your general appearance is not distasteful.”) As one bgrapher, Robert Payne, <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">wrote</a>, the performance worked so brilliantly bee satirized “Garbo herself, or rather her legend: the ld Northerner immune to marriage, solemn and self-absorbed.”</p><p class="paywall">The next and last movie she ma, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Two-Faced Woman</a>,” a clumsy attempt to re-create edy magic wh Douglas, was a turkey, but she uld surely have survived . Instead, she nsired projects that fell through, turned down others (offered the female lead Hchck’s “The Parade Case,” Gottlieb wr, she is supposed to have sent her agent a telegram sayg “<em class="small">No mamas. No murrers</em>”), and slowly drifted away om the bs of moviemakg. She had never liked the limelight and, Gottlieb says, lacked the relentls drive that animated ntemporari such as Marlene Dietrich or Joan Crawford. She don’t seem to have been particularly va about her bety, but she was practil enough to know s precise value, and to anticipate the st of s fadg. And, though she seems to have enjoyed actg, she was never satisfied wh the rults. “Oh, if once, if only once I uld see a preview and e home feelg satisfied,” she remarked after one film screeng. Garbo was no Norma Dmond, viewg her old films over and over to admire her own image. Screeng some of them years later, at <em class="small">MOMA</em>, Barry Paris reported, she got a kick out of imatg herself: “R-r-rodney, when will this paful love of ours ever die?” She once told the actor David Niven that she’d qu bee she had “ma enough fac.” The analysis was typil of her—unreflective, cryptic, pretory.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layoutasi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-boxprimary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="adslot adslot--mid-ntent" data-no-id="mvps"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layoutntent"><div class="BodyWrapper-kufPGa bDyAMU body bodyntaer articlebody" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="bodyner-ntaer"><p class="paywall">She was, Tennsee Williams thought, “the sadst of creatur—an artist who abandons her art.” Yet Garbo don’t seem to have seen herself that way. Perhaps attuned to the perils of growg old Hollywood, she moved to New York, to an apartment on the East Si, spent long stretch of time Europe wh iends who were wealthy or wty or both, went to the theatre, llected a b of art. She did not revent herself as a memoirist or a philanthropist (though her tate was valued at roughly fifty ln dollars when she died, 1990) or an ambassador of any sort of good will. People loved the mystery of all; photographers were always chasg after her. But she wasn’t hidg; she got out. One wag lled her a “herm about town.”</p><p class="paywall">Did Garbo have a rich ner life to sta her for all those years? There isn’t much evince of . She was not a remarkable or notably nfidg letter wrer, journal keeper, or nversatnalist; she do not seem to have had a surfe of tellectual cursy. In the movi, she had always been able to nvey a sense of hidn pths, of memori and emotns lightg room after terr room, never que surfacg to be articulated. Were those feelgs plex, tertg? We were persuad they mt be. The relatnship to fame that she enacted the last s of her life was somethg siar: looked profound, perhaps even spirual—a renunciatn of celebry’s blsgs as well as s surg. But who knows? Maybe she was jt tired of makg fac. ♦</p><le-embed name="" attrs="[object Object]" childTyp="" hasProducts="false" ntentType="llout:"><hr class="paywall"/><h2 class="paywall">New Yorker Favor</h2><ul class="paywall"><li>How we beme fected by <a href=">cha e-mail</a>.</li><li><a href=">Twelve classic movi</a> to watch wh your kids.</li><li>The <a href=">secret liv of fungi</a>.</li><li>The photographer who claimed to pture the <a href=">ghost of Abraham Lln</a>.</li><li>Why are Amerins still <a href=">unfortable wh atheism</a>?</li><li>The endurg romance of the <a href=">night tra</a>.</li><li>Sign up for our daily <a href=">newsletter</a> to receive the bt stori om <em>The New Yorker</em>.</li></ul></le-embed></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layoutasi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-boxprimary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="adslot adslot--rail" data-no-id="ahn1"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-unslot nsumer-marketg-unslot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layoutntent"><div class="body bodyle-barrier articlebody"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-unslot nsumer-marketg-unslot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layoutntent"><div class="body bodyntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-bodyfooter"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layoutntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2021/12/13" data-reactroot="">December 13, 2021</a>, issue, wh the headle “The Retirg Sort.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layoutntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layoutntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/margaret-talbot"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-imageimage" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/margaret-talbot">Margaret Talbot</a> joed The New Yorker as a staff wrer 2004. 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SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="What to Stream: Lt, Ctn, and Ira Sachs’s “The Delta”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-imageimage" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-emk">The first feature film by the director of “Passag” shows the perils that arise when gay liv mt be lived secrecy.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-embyle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-embyle"><div class="summary-embylentent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle bylbyle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU bylename"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss bylepreamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-emasset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-emimage-lk summary-em-trackgimage-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How “Wter Kills” Nails the Paranoid Style" class="RponsiveImageContaer-eybHBd fptoWY rponsive-imageimage" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-emntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-embric"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackghed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-emhed" data-ttid="SummaryItemHed">How “Wter Kills” Nails the Paranoid Style</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-emasset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-emimage-lk summary-em-trackgimage-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How “Wter Kills” Nails the Paranoid Style" class="RponsiveImageContaer-eybHBd fptoWY rponsive-imageimage" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-emk">William Richert’s 1979 neo-noir ph the nspiracy-theory genre to s lims.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-embyle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-embyle"><div class="summary-embylentent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle bylbyle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU bylename"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss bylepreamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-emasset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-emimage-lk summary-em-trackgimage-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Hollywood’s Slo-Mo Self-Sabotage" class="RponsiveImageContaer-eybHBd fptoWY rponsive-imageimage" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-emntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-embric"><span class="RubricName-fVtemz cLxcNi">Cultural Comment</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackghed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-emhed" data-ttid="SummaryItemHed">Hollywood’s Slo-Mo Self-Sabotage</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-emasset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-emimage-lk summary-em-trackgimage-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Hollywood’s Slo-Mo Self-Sabotage" class="RponsiveImageContaer-eybHBd fptoWY rponsive-imageimage" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-emk">Sce the streamg era, movi and televisn feel ls special, labor ndns have plummeted, and turbulent mergers and layoffs ll to qutn which legendary stutns will still stand another ten or twenty years.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-embyle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-embyle"><div class="summary-embylentent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle bylbyle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU bylename"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss bylepreamble">By </span>Inkoo Kang</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-emasset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-emimage-lk summary-em-trackgimage-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="“The Shark Is Broken” Circl the Guts of “Jaws”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-imageimage" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-emntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-embric"><span class="RubricName-fVtemz cLxcNi">The Theatre</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackghed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-emhed" data-ttid="SummaryItemHed">“The Shark Is Broken” Circl the Guts of “Jaws”</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-emasset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-emimage-lk summary-em-trackgimage-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-emimage rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="“The Shark Is Broken” Circl the Guts of “Jaws”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-imageimage" src="></noscript></picture></div></div></span></a></div><div 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was greta garbo gay

18 Nov 2024

Greta Garbo chose to never marry, but she sure loved to get around. The silver-screen in went out wh men and women, gays and straights, sgletons and married people, and she did all on her own terms.

GRETA GARBO’S GAY JEWISH ‘SVENGALI’

The silver-screen in went out wh men and women, gays and straights, sgletons and married people, and she did all on her own terms.

But was wily known that she bedd the mostly gay fashn photographer Cecil Beaton. Photographer Cecil Beaton was “mostly” gay but said to be one of the few lovers who gave Garbo via Getty Imag.

BEAR-MAGAZINE.COM WAS GRETA GARBO GAY

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fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn lOLCm byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG uhfVi byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL brYZgj byle__name-lk button" href="/ntributors/margaret-talbot">Margaret Talbot</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2021-12-06T06:00:00-05:00" class="SplScreenContentHearPublishDate-bMGEVk gvRvVr">December 6, 2021</time><div class="SocialInsWrapper-hKMEXV ffgPVr social-ins social-ins--standard SplScreenContentHearSocialShare-gSVclr kUKgnn"><ul data-ttid="socialInslist" class="SocialInsList-cHVTIA ivmblD social-ins__list"><li class="SocialInsListItem-mbhR hHoUCw social-ins__list-em social-ins__list-em--facebook social-ins__list-em--standard thner"><a aria-label="Share on Facebook" class="external-lk SocialInExternalLk-huuzOU cLGRzS social-ins__lk 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class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" fill="black"></path></svg></div></a></li></ul></div></div></div><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearLeadWrapper-jYfGAC kBeEbL"><div data-ttid="ContentHearLeadAsset" class="SplScreenContentHearLeBlock-nUOA cwQiEB"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SplScreenContentHearLe-bGywFh gyNssY"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SplScreenContentHearLe-bGywFh gyNssY rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Greta Garbo stg a chair lookg up." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“If only once I uld see a preview and e home feelg satisfied,” Garbo said.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Edward Steichen © 2021 The Estate of Edward Steichen / ARS, urty the Gee Eastman Mm</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ 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class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">Fame is so powerful that renouncg n seem like the supreme power move. Celebri who retreat om the public eye (Howard Hugh, J. D. Salger, Prce) will always be legends, no matter what else they may be. Rumored ebacks tantalize. Paparazzi circle. The mystery epens. In 1941, at the age of thirty-six, Greta Garbo, one of the biggt box-office draws the world, stopped actg and, though she lived for half a century more, never ma another film. For a star who, more than any other, “vad the subnsc of the dience,” as Robert Gottlieb wr his new bgraphy, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Garbo</a>” (Farrar, Strs & Giroux), this was an abditn, a privilege of monarchil proportns. But was also a cisn ma by one particular, peculiar person who had never been temperamentally sued to celebry the first place. There was a reason, beyond the exertns of the Hollywood publicy mache, that a sgle le she uttered one movie—“I want to be alone”—beme so fed wh her image. What n look like a strategy for keepg the public terted n also be a scere and mted sire to keep at bay.</p><p class="paywall">Few other performers have ascend as quickly to mononymic stat as Garbo did—she started off the way most of do, wh a first and last name, but the first soon fell away, like a spent rocket booster, the ballyhoo surroundg her. When she appeared her first sound picture, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Anna Christie</a>,” the ads proclaimed, “Garbo talks!”; for her first sound edy, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Notchka</a>,” was “Garbo lghs!” Que why she beme such a phenomenon is a puzzle to which film crics and bgraphers keep returng. Garbo ma only twenty-eight movi her lifetime. (By parison, <a href=">Bette Davis</a> ma close to nety, and Meryl Streep has ma nearly seventy and still untg.) That slenr output uld be part of the mystique, pound by her disappearg act. But Garbo had acquired an enigmatic mythos even before she end her reer—the Hollywood lony treated her like royalty. Nor has seemed to matter that only a handful of her movi are much watched or admired today.</p><p class="paywall">What Garbo had to offer, above all, was her extraordary face, at a time when the closp, wh s supercharged timacy, s unprecented boon to the emotnal and erotic imagatn, was still relatively new. Many of the shots creded as the first closps were unlikely to have set hearts aflame, sce they were often of objects—a shoe, a wrench. But filmmakers soon grasped the centripetal sctns of the human face tight foc. The screenwrer and director Pl Schrar picks as a turng pot the moment a <a href=">D. W. Griffh</a> film om 1912, “Friends,” which the mera tight on Mary Pickford’s face, revealg her ambivalence about which of two suors she should choose. “A real close-up of an actor is about gog for an emotnal reason that you n’t get any other way,” Schrar <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">wr</a>. “When filmmakers realized that they uld e a close-up to achieve this kd of emotnal effect, meras started g closer. And characters beme more plex.”</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">A face as betiful as Garbo’s—the enormo ey and ep-set lids, the way love or tenrns or some private, unspoken amement unkn her brows an stant, meltg her stery—was almost overwhelmg when filled the screen. She belonged, as Roland Barth wrote, “to that moment cema when the apprehensn of the human untenance plunged crowds to the greatt perturbatn, where people lerally lost themselv the human image.” This is not to dimish her craft as an actrs. But her actg was perhaps most effective her silent films or nonverbal scen talkg pictur which her face is the nvas for emotn. In the famo last shots of “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Queen Christa</a>” (1933), Garbo’s androgyno Swedish ler stands at the prow of a ship bearg her away om her untry; the body of her lover, killed a duel over her, is laid out on the ck. Garbo star to the distance, her face a kd of mask but no ls eloquent for . The film’s director, Rouben Mamoulian, had told her that she mt “make her md and heart a plete blank,” empty her face of exprsn, so that the dience uld impose whatever emotns they wanted on . The scene would then be one of those “marvelo spots,” he said, where “a film uld turn every spectator to a creator.”</p><p class="paywall">She was skilled at cg such projectn. More than one ntemporary Hollywood noted that her magic tly showed up only on celluloid, like a ghostly lumcence untectable until the film was veloped. Clarence Brown, who directed Garbo seven films, relled shootg a scene wh her, thkg was fe, nothg special, then playg back and seeg “somethg that jt didn’t have on the set.” On her face, he said, “You uld see thought. If she had to look at one person wh jealoy, and another wh love, she didn’t have to change her exprsn. You uld see her ey as she looked om one to the other.” Garbo herself, wh a kd of arch, adolcent difference, never wanted to look at the sh. Acrdg to Brown, she’d watch only when sound pictur were played reverse: “That’s what Garbo enjoyed. She would s there shakg wh lghter, watchg the film nng backward and the sound gog <em>yakablom</em>-<em>yakablom</em>. But as soon as we ran forward, she wouldn’t watch .”</p><p class="paywall">Much has been wrten about Garbo over the years, but Gottlieb, a former edor of this magaze, has produced a particularly charmg, pannable, and clear-eyed gui to her life and work—he has no axe to grd, no urgent need to make a untertuive se for her lser movi, and he’s genero wh his precsors. By the end of the bgraphy, I felt I unrstood Garbo better as a person, whout the ra of mystery around her havg been entirely dispelled—and, at this pot, who would want to be?</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The actrs who me to embody a kd of unattaable elegance, who would someday wear sumptuo perd stum wh a grace so offhand that they might have been mpled p.j.’s, grew up a cramped apartment wh no door plumbg, one of Stockholm’s most impoverished neighborhoods. She was born Greta Lovisa Gtafsson on September 18, 1905, to parents om ral stock. Her mother was, Gottlieb’s scriptn, “practil, sensible, unmonstrative”; her father, an unskilled laborer, was handsome, mil, and fun, and Greta adored him. But he was stricken by kidney disease, and Greta, the youngt of three children, ma the rounds of the chary hospals wh him. “She never fot the huiatns they endured as poor people search of live-or-die attentn,” Gottlieb wr. She was fourteen when he died, and she dropped out of school, leavg her wh a lastg embarrassment about her lack of formal tn. She went to work to help support the fay, first at a barbershop, where she applied shavg soap to men’s fac, then at a partment store, where she sold and molled hats. She said later that she was “always sad as a child for as long as I n thk back. . . . I did some skatg and played wh snowballs, but most of all I wanted to be alone wh myself.”</p><p class="paywall">Alongsi her shyns and her penchant for solu, Greta harbored a passnate sire to be an actrs. As a kid, she’d roam the cy by herself, lookg for theatr where she uld stand at the stage door and watch the performers e and go. The first time Garbo was ont of the mera was at age fifteen, an advertisg film for the partment store that employed her. Swen had a thrivg film dtry, and she soon qu her day job to appear a uple of movi. At Stockholm’s Royal Dramatic Theatre, to which she was accepted at seventeen, the young actors were stcted a system that “scientifilly” analyzed the semtics of movement and gture. Remarkably, some of her lecture not om that time survive—she jotted down that “the head bent forward equals a d ncsn” or a “nscendg attu,” and that “the throwg back of the head” nveys “a vlent feelg such as love.” Barry Paris, an earlier <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">bgrapher</a> whom Gottlieb c approvgly, not that “Garbo silent films would employ that system of gtural meang to a high gree.” She did so her sound pictur as well. When she plays the Rsian ballera “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Grand Hotel</a>” (1932), her body language is jtery, nrotic. Deprsed, she lets her head droop as if were simply too heavy to hold up; surprised by light at the prospect of a romance wh John Barrymore’s gentleman jewel thief, she toss her head back at giddy angl. It might have been lghable, but stead ’s rivetg.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">In the sprg of 1923, the gifted film director Mrz Stiller approached the Stockholm theatre lookg for actrs to st his new movie, an epic based on a Swedish novel, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Story of Gösta Berlg</a>.” Stiller me om a Jewish fay Fland; orphaned young, he had fled to Swen to avoid beg nscripted to the tsar’s Army. Garbo and he were never lovers—Stiller preferred men—but their relatnship was perhaps the most important both of their liv. Wh his mandg height, his taste for luxury (full-length fur ats, a nary-yellow sports r), and his domeerg style wh actors, he had more than a touch of the Svengali. But Stiller believed Garbo at a time when, as one veteran actrs put , Greta was “this ltle nobody . . . an awkward, medcre novice,” and he loved her. (He also seems to have been the one who suggted replacg “Gtafsson” wh “Garbo.”)</p><p class="paywall">When Hollywood me llg— the form of Louis B. Mayer sutg European talent for M-G-M— wasn’t clear whether Stiller was the lure or Garbo; the director was certaly better known. In any se, Stiller ma sure that they were a package al (and, Gottlieb adds, later upped Garbo’s pay to four hundred dollars a week, an “unheard of” salary for an untted starlet). The two sailed for the Uned Stat 1925, arrivg the pungent heat of midsummer New York. (Garbo’s favore part of the vis seems to have been the roller aster at Coney Island.) Then was on to Hollywood by tra.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">The stud moguls gave an unknown such as Garbo a very short nway. M-G-M signed up the Swedish girl for two pictur, “Torrent” and “The Temptrs,” and, as the film historian Robert Dance wr his smart new book, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Savvy Sphx: How Garbo Conquered Hollywood</a>” (Mississippi), “if those first two films were unsuccsful fancially M-G-M would not renew her ntract for a send year.” As happened, both were hs. <em>Motn Picture</em> was among the dtry outlets clarg her début “a plete succs.” (“She is not so much an actrs as she is endowed wh dividualy and magism,” said.) Garbo beme a fan favore, even though she was almost uniquely averse to the kd of goofy stunts and dly salac photo shoots that other stars put up wh. When she got to be as famo as Lillian Gish, she told one terviewer early on, “I will no longer . . . shake hands wh prize-fighters and egg-and-k men so they will have pictur to put the papers.” Instead, she worked wh nsummate portra photographers who l her glorly. Eventually, her films were earng enough that she was able to negotiate an unual ntract, one that gave her the right to veto scripts, -stars, and directors. And she shunned terviews so nsistently that the end her privacy beme s own form of publicy.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Parents crawl out of hole their ont lawn." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“Looks like the kids have gone off to llege. Let’s grab a few years alone the hoe before they ci to return.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Pl Karasik</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc cxFROy alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Dpe such badassery, she never really adjted to her new untry or her new sty, at least beyond the movie set. What looked like refully cultivated htr was partly the product of awkwardns, disorientatn, and grief. She hardly spoke English when she first arrived, and, wh a year, she learned that her beloved sister, an aspirg actrs herself, had died back home. Stiller did not make a smooth adjtment to Hollywood and, a blow to them both, he was not chosen to direct Garbo’s first Amerin picture. Garbo wrote to a iend Swen about how miserable she was: “This ugly, ugly Ameri, all mache, is excciatg.” The only thg that ma her happy, she claimed, was sendg money to her fay. At a young age, Gottlieb wr, she found herself “trapped a spotlight extreme even by Hollywood standards,” and wh no psychologil preparatn for grapplg wh the kd of fame—movie stardom—that was new not jt to her but to the world.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="hn4yys"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="jq3t1n"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Athletic and physilly rtls, she soon took up the long nighttime walks that beme a refuge; wh her hat pulled low over her head, as ctomarily was, she would have been hard to regnize. Stiller, who probably felt that his young protégée no longer need him, returned to Swen, where he died 1928, at the age of forty-five, reportedly clutchg a photograph of her. “He never seems to have rented her dazzlg ascent to fame,” Gottlieb wr, “only wantg her to be happy and fulfilled.” Back Swen to mourn him, Garbo went wh his lawyer to the storehoe ntag his posssns, where she walked around touchg his belonggs and murmurg about her memori. Gottlieb says that this episo mt surely have been an spiratn for the scene “Queen Christa” which Garbo’s character mov around a room at an n, touchg all the animate remrs of the lover she will never spend another night wh. On sets, she would sometim talk softly to herself about what her mentor might have told her to do—one director she worked wh referred to Stiller as “the green shadow.”</p><p class="paywall">Garbo appears to have been emotnally stunted certa ways, damaged by the loss of her father, her sister, and Stiller, abashed by the limatns of her English and her tn. Though she had a sense of humor, she emerg Gottlieb’s portra as prickly, stubborn, and stgy. The sudn onslght of celebry ma her more so. She never married, had children, or apparently wanted to do eher; she had brief romantic relatnships, mostly wh men (the actor John Gilbert, probably the nductor Leopold Stokowski), and likely wh women, too (the leadg ndidate seems to have been the wrer Merces De Asta, the “ubiquo lbian rake,” Gottlieb’s words, who had affairs wh Marlene Dietrich and many others). Her longt-lastg relatnships were wh iends, pecially, as Gottlieb mak clear, those who helped her logistilly, advised her votedly, and steadfastly refed to spill the tea about her. In the, she had pretty good, if not unerrg, taste. Probably the clost and most endurg iendship was wh Salka Viertel, the tellectually vibrant woman at the center of L.A.’s remarkable muny of refugee wrers, posers, and filmmakers om Germany.</p><p class="paywall">From the start of her Hollywood reer silent pictur, Garbo was often st as a vamp—the kd of man-eater who shimmied and veigled and home-wrecked her way through so many neteen-twenti movi. (See the entire reer of Theda Bara.) As Robert Dance not, “Adultery and divorce were tnip to post World War I dienc.” The parts quickly bored her: “I nnot see any sense drsg up and dog nothg but temptg men.” Off the job, she chewed makp and liked to drs slacks, men’s oxford sho, and gbby sweaters. Her closet was full of men’s tailored shirts and ti. She often referred to herself as a “fellow” and sometim signed her letters “Harry” or “Harry Boy.” The movie role she seems to have liked bt was the learned cross-drsg seventeenth-century monarch Christa; allowed her to stri around tunics, tight-ftg troers, and tall boots, to kiss one of her ladi--wag full on the lips, to clare that she tend to “die a bachelor!” (As plenty of genr-studi scholars will tell you, this is one queer movie.) She exprsed a longg to play St. Francis of Assisi, plete wh a beard, and <a href=">Osr Wil</a>’s va hero Dorian Gray. In today’s terms, Garbo might have occupied a spot along the nonbary spectm. Gottlieb don’t prs the pot, but remarks, “How ironic if ‘the Most Betiful Woman the World’ really would rather have been a man.”</p><p class="paywall">Her third Amerin film, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Flh and the Devil</a>” (1926)—the ultimate neteen-twenti tle—transformed her to an ternatnal star. It’s about a love triangle volvg two bt iends, played by the magic John Gilbert and the handsome Swedish actor Lars Hanson, wh Garbo at s apex. It, too, is a pretty queer movie, though seems ls ntrol of s signifiers than, say, “Queen Christa.” As Gottlieb pots out, the two male leads are forever claspg each other fervently, brgg their fac close together, as if about to kiss. (It heightens the vibe that, silent-movie fashn, Hanson appears to be wearg lipstick some of the time, and Gilbert eyeler.) “Flh and the Devil” also featur some of the most erotic scen I’ve ever enuntered on film. There’s one, a nighttime garn, which Garbo rolls a cigarette between her lips, then puts between Gilbert’s, her ey never leavg his, as he strik a match and illumat their geo, botted fac. There’s one where she li back sensual abandon on a uch, Gilbert’s head lollg agast her lap, and he lifts her hand and drags her fgers across his mouth. And then there’s my favore: she and Gilbert are at a Communn rail church. By now, Gilbert’s character has killed her first hband a duel, and she has married the other iend, but they’re still crazy about each other, natch. Gilbert sips om the chalice jt before she do, and, when the prit hands to her, she turns around to drk greedily om the si her lover’s lips have jt touched. Her exprsn is one of slow-burn ecstasy.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Gilbert and Garbo fell love while they were makg the movie, but their story is a sad one, maly bee Gilbert is a sad figure. He is often offered up as an example of an actor who uldn’t make the transn to sound—his voice was said to have been too reedy or somethg. That turns out to have been an urban legend: his voice was fe. The trouble was that he was bt at playg boyish men undone by love at a time when, as Gottlieb observ, Deprsn-era Hollywood was more to “gangsters, snappy dialogue, mils.” Garbo and Gilbert lived out a “<a href=">Star Is Born</a>” trajectory. When they ma “Flh and the Devil,” he was a big-name actor at the height of his powers, and he helped Garbo by makg sure the mera angl were right for her and each take of her was the bt uld be. One story is that he planted a stand of tre on his property the Hollywood Hills to remd her of the woods Swen, and he apparently proposed to her repeatedly. (She profsed herself puzzled that she kept refg a more permanent bond, but she did.) By the time she ma “Queen Christa,” 1933, she had top billg, and she sisted that Gilbert, who was then married to someone else, and profsnally on the skids, play her romantic tert—rejectg the stud’s choice, a young Lrence Olivier. Gilbert later remembered that she was tactful and nsirate wh him on the set, though he was drkg heavily, throwg up blood, and nervo about his performance. “It is a rare moment Garbo’s history,” Gottlieb wr, “when we n fully admire, even love her, as a human beg, not only as an artist.” Gilbert died three years later, at the age of thirty-eight. Garbo was characteristilly unsentimental. “<em>Gott</em>, I wonr what I ever saw him,” she remarked while he was still alive. “Oh well, I gus he was pretty.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Why did Garbo stop actg? It wasn’t as though her star was tly on the wane. It had been years sce she’d ma her succsful transn to talki, wh a dialogue-heavy adaptatn of Eugene O’Neill’s “Anna Christie.” (From the moment she uttered her first l, “Gimme a whiskey—gger ale on the si—and don’t be stgy, baby,” her accent proved to be a sexy asset.) She’d been nomated for four Bt Actrs Osrs. In 1939, she’d ma “Notchka,” the romantic edy which she played a Soviet apparatchik on a missn to Paris who falls love wh a playboy unt and disvers, as the pch for went, “palism not so bad after all.” It was a huge h—more than four hundred thoand people went to see at Rad Cy Mic Hall durg a three-week n, Gottlieb says. Garbo is very funny, adpanng her way through the first half of boxy jackets, ratnally asssg Melvyn Douglas’s charms. (“Your general appearance is not distasteful.”) As one bgrapher, Robert Payne, <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">wrote</a>, the performance worked so brilliantly bee satirized “Garbo herself, or rather her legend: the ld Northerner immune to marriage, solemn and self-absorbed.”</p><p class="paywall">The next and last movie she ma, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Two-Faced Woman</a>,” a clumsy attempt to re-create edy magic wh Douglas, was a turkey, but she uld surely have survived . Instead, she nsired projects that fell through, turned down others (offered the female lead Hchck’s “The Parade Case,” Gottlieb wr, she is supposed to have sent her agent a telegram sayg “<em class="small">No mamas. No murrers</em>”), and slowly drifted away om the bs of moviemakg. She had never liked the limelight and, Gottlieb says, lacked the relentls drive that animated ntemporari such as Marlene Dietrich or Joan Crawford. She don’t seem to have been particularly va about her bety, but she was practil enough to know s precise value, and to anticipate the st of s fadg. And, though she seems to have enjoyed actg, she was never satisfied wh the rults. “Oh, if once, if only once I uld see a preview and e home feelg satisfied,” she remarked after one film screeng. Garbo was no Norma Dmond, viewg her old films over and over to admire her own image. Screeng some of them years later, at <em class="small">MOMA</em>, Barry Paris reported, she got a kick out of imatg herself: “R-r-rodney, when will this paful love of ours ever die?” She once told the actor David Niven that she’d qu bee she had “ma enough fac.” The analysis was typil of her—unreflective, cryptic, pretory.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="mvps"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">She was, Tennsee Williams thought, “the sadst of creatur—an artist who abandons her art.” Yet Garbo don’t seem to have seen herself that way. Perhaps attuned to the perils of growg old Hollywood, she moved to New York, to an apartment on the East Si, spent long stretch of time Europe wh iends who were wealthy or wty or both, went to the theatre, llected a b of art. She did not revent herself as a memoirist or a philanthropist (though her tate was valued at roughly fifty ln dollars when she died, 1990) or an ambassador of any sort of good will. People loved the mystery of all; photographers were always chasg after her. But she wasn’t hidg; she got out. One wag lled her a “herm about town.”</p><p class="paywall">Did Garbo have a rich ner life to sta her for all those years? There isn’t much evince of . She was not a remarkable or notably nfidg letter wrer, journal keeper, or nversatnalist; she do not seem to have had a surfe of tellectual cursy. In the movi, she had always been able to nvey a sense of hidn pths, of memori and emotns lightg room after terr room, never que surfacg to be articulated. Were those feelgs plex, tertg? We were persuad they mt be. The relatnship to fame that she enacted the last s of her life was somethg siar: looked profound, perhaps even spirual—a renunciatn of celebry’s blsgs as well as s surg. But who knows? Maybe she was jt tired of makg fac. ♦</p><le-embed name="" attrs="[object Object]" childTyp="" hasProducts="false" ntentType="llout:"><hr class="paywall"/><h2 class="paywall">New Yorker Favor</h2><ul class="paywall"><li>How we beme fected by <a href=">cha e-mail</a>.</li><li><a href=">Twelve classic movi</a> to watch wh your kids.</li><li>The <a href=">secret liv of fungi</a>.</li><li>The photographer who claimed to pture the <a href=">ghost of Abraham Lln</a>.</li><li>Why are Amerins still <a href=">unfortable wh atheism</a>?</li><li>The endurg romance of the <a href=">night tra</a>.</li><li>Sign up for our daily <a href=">newsletter</a> to receive the bt stori om <em>The New Yorker</em>.</li></ul></le-embed></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="ahn1"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2021/12/13" data-reactroot="">December 13, 2021</a>, issue, wh the headle “The Retirg Sort.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/margaret-talbot"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/margaret-talbot">Margaret Talbot</a> joed The New Yorker as a staff wrer 2004. 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bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">What to Stream: Lt, Ctn, and Ira Sachs’s “The Delta”</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div 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dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" 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cLxcNi">The Front Row</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">How “Wter Kills” Nails the Paranoid Style</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How “Wter Kills” Nails the Paranoid Style" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">William Richert’s 1979 neo-noir ph the nspiracy-theory genre to s lims.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Hollywood’s Slo-Mo Self-Sabotage" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Cultural Comment</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Hollywood’s Slo-Mo Self-Sabotage</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Hollywood’s Slo-Mo Self-Sabotage" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Sce the streamg era, movi and televisn feel ls special, labor ndns have plummeted, and turbulent mergers and layoffs ll to qutn which legendary stutns will still stand another ten or twenty years.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd 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target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">“The Shark Is Broken” Circl the Guts of “Jaws”</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="“The Shark Is Broken” Circl the Guts of “Jaws”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The new Broadway play, by Ian Shaw and Joseph Nixon, imag equently irrable chats among the movie’s three ma actors, cludg Shaw’s father, Robert Shaw.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Helen 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GRETA GARBO’S GAY JEWISH ‘SVENGALI’

*BEAR-MAGAZINE.COM* WAS GRETA GARBO GAY

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