A Woman of Affairs

There really was an art to silent film acting. It wasn't just all exaggerated facial expressions. That becomes clear when you see really good silent actors who know exactly how to put across the material.

Greta Garbo and John Gilbert are really, really good, and they sell the melodrama of "A Woman of Affairs" in a way that others couldn't. In the best of circumstances, films this old feel antiquated by today's standards, but "A Woman of Affairs" feels more sophisticated than other films of its type because of the subtle downplaying of Garbo and Gilbert. Garbo creates an actual woman responding to events that feel like they could actually happen to a real person rather than a stock character histrionically reacting to tear-jerking plot devices. She's fascinating to watch, conveying much with the lift of an eyebrow or a small hand gesture. Her performance here makes it clear why she had the stuff to make the transition to sound.

I have to give director Clarence Brown his due as well. There's a fluid, cinematic quality to this film that makes it feel far more mature than pretty much any of the early sound films coming out around the same time. For example, the film that won the Best Picture Oscar in the year of this film's release was "The Broadway Melody," a dreadful early sound film without a brain in its head. Compare that to the mature subject matter of "A Woman of Affairs" -- the homoerotic obsession one man has for another, for starters -- and you can see how much more daring late silents were than early talkies.

Bess Meredyth, credited in the opening titles with "continuity," received an Oscar nomination for Best Writing for her work on both this and another Clarence Brown film, 1929's "Wonder of Women," at the 1928-29 Oscars. This was during the time when the eligibility period for the Oscars was a wonky August 1 of one year through July 31 of the following year, and it wouldn't be until 1934 when the Academy changed the eligibility period to match the calendar year. This was also during that brief window of time when Oscar nominations could site work on multiple films, as Meredyth's writing nomination did.

Grade: A-

Greta garbo's career spanned the 1920s (silents) and 1930s (talkies). This one came about halfway through, just before the switch to talkies. And because it's a silent, you are forced to really pay attention. Featuring garbo and gilbert, the huge stars of the day. Co-stars a couple more big names.. doug fairbanks and lewis stone. Diana and neville want to be married, but his father wants to prevent it from happening. High drama, in spite of the fact that it's been toned way down from the original story. This started life as a novel, then a play, and later this film! According to the trivia section, because the original story had so many taboo elements, it was all changed around to get past the censors. Interesting, since so many of the production code rules didn't really get enforced until the early 1930s. It's a good film, in spite of all the changes. It was even nominated for best writing. And that's an accomplishment, since the story had been so altered. Directed by clarence brown. And pretty amazing picture quality, since this is coming up on 100 years old. Must have been a good restoration. Never miss a greta garbo film!

Greta Garbo was the antithesis of the old fashioned, expressive silent movie actors of yesteryear. Instead of wildly moving her arms and gesturing her emotions with her total body, the Swedish actress expressed her characters' emotions by way of little hints of facial movements. A perfect example of her subtle acting expressions is seen in her third movie with actor and lover John Gilbert in December 1928's "A Woman of Affairs."

Movie critic David Denby described her acting style in the way she lowered her "head to look calculating or flutters her lips. Her face darkens with a slight tightening around the eyes and mouth; she registers a passing idea with a contraction of her brows or a drooping of her lids. Worlds turned on her movement."

"A Woman of Affairs" was another huge money-maker for MGM. The movie proved that Garbo was becoming a printing press of dollar bills for the studio. This was her fifth Hollywood film, and the adoring public continued to flock to movie houses nationwide to witness those slight yet profound expressions. As a contemporary reviewer penned in 1929, "She has glamour and fascination for both sexes which have never been equaled on the screen." Based on a 1925 play adapted from the 1924 best-selling but controversial novel The Green Hat, by Michael Arlen, "A Woman of Affairs" forced MGM to rework some the important details mentioned in both the novel and the play that included descriptions of syphilis, miscarriages and heroin use. The Will Hays Production Code frowned on those topics. The story, set in England, focuses on three childhood friends, Neville (John Gilbert), who falls for friend Diana (Garbo). An assignment to Egypt causes Neville to miss his opportunity to marry Diana, who ends up crossing the threshold with her other childhood friend, David (Johnny Mack Brown). During their honeymoon, David commits suicide for embezzlement. Setting off a soap opera-like drama is Diana's eye-popping discovery that Neville has returned to England several years later with a new-found love in Constance (Dorothy Jeffry).

Critics point out the movie's highlight occurs when Garbo is in the hospital nine months after she spent an evening over Neville's house. It's hinted she's had a miscarriage, which explains her passion to cradle a bundle of flowers. The sequence displays every emotion an actress can possibly show: from crying, to loving, to questioning, to a sense of loss and hope. Garbo informs the viewers all this simply by her facial expressions. Because of such a highly emotional sequence in the hospital, Garbo's clout with the studio was so valuable that MGM granted her the unusual request that visitors, including studio executives, be restricted from the set. The actress even asked black screens be built surrounding the area she was filming so extras and even technicians couldn't view her acting. Garbo defended her closed sets by explaining "If I am by myself, my face will do things I cannot do with it otherwise."

No one could argue about the results Garbo gave on the big screen. And the beancounters in the studio's accounting room stood by the actress's on-set demands after their offices were flooded with the receipts from the tremendous amount of tickets she sold under the MGM logo.

This film is a great Garbo vehicle, and has such a perfect example of her mystique. She somehow manages to be a woman who enjoys sexual pleasure and the company of men, but at the same time, is saintly, with a love that is pure for only one man, and sacrifices herself in more than one way ... and she is transcendent on both sides of this coin. The film is packed with moments where a range of her wonderful expressions are on display, some vivid, some subtle. If you're a Garbo fan or want to become one, this would certainly not be a bad place to start.

Unfortunately, the film suffers a bit from a heavy dose of melodrama, most of which seems pretty contrived. The plot often doesn't make a lot of sense, in part because the original story was watered down pretty significantly for the censors. An example of this is the questioning of Garbo after her husband has committed suicide. It's obvious why this happened; he was about to be arrested for embezzlement and the police saw him jump, so the viewer (ok me anyway) is watching the aftermath thinking huh? In the original, however, it was because he has syphilis, something that was obviously a personal secret, and hence the questioning (and also later shunning) of Garbo. There are other examples that took too much of the edge off the story and made it less sensical.

Garbo dominates the film, but it's a fine cast behind her. John Gilbert is given less to do here which is too bad, but the chemistry the pair had is quite evident in a couple of open lip kisses. Dorothy Sebastian is radiant as a virtuous woman, and Douglas Fairbanks, Jr. is suitably desperate as an alcoholic.

The film touches on marrying someone who is decent and loving them for that quality, but being passionate and truly in love with someone else, which is a timeless theme. The scene where Garbo is waiting in her honeymoon bed and gets a tepid kiss on the forehead, then in frustration resorts to turning on and off the overhead light after being left alone says it all. At one point her real love, played, by Gilbert, asks "Why did I ever let you go?" to which she responds "Yes, why?", and I don't think the film gives a good answer to this question, especially as it plays out. The pace as it does so is a little on the slow side too, and the dramatic ending is over-the-top. It's a near miss for getting a higher rating, but it's certainly watchable for Garbo.

"Garbo had something behind the eyes that you couldn't see until you photographed her in close-up. You could see thought. If she had to look at one person with jealousy, and another with love, she didn't have to change the expression. You could see it in her eyes as she looked from one to the other. And nobody else could do that on the screen." (director Clarence Brown in a 1968 interview).

Perhaps, you may consider it strange of me to quote Brown's memorable words about Garbo under the title of the film which is, most definitely, not the top - famous film with Greta Garbo. Yes, it is true that not many people have seen A WOMAN OF AFFAIRS (1928), comparing its popularity to her other films, like FLESH AND THE DEVIL, NINOTCHKA or GRAND HOTEL. Furthermore, it was not released on DVD in September 2005, on the occasion of her birth's 100th anniversary . Yet, it is one of the most unforgettable films where Garbo's silent performance has a soul throughout. But, at the same time, the movie can also boast marvelous cinematography, great performances from all cast, an interesting content, and the original soundtrack which opens it to a new era of the 1920s cinema, something in between silent and sound films with dialogs.

Let's start from the first aspect, CINEMATOGRAPHY. There are shots in this film that leave such a deep trace in the viewer that it is hard to forget them. I was absolutely astonished when I saw the moment where Diana (Greta Garbo) walks down the hill in the garden. The lighting and camera movement make such an effect that you simply admire the whole moment. The light is directed towards Diana's figure walking quickly but desperately after a bitter conversation with Morton Holderness (Howard Bosworth), an honorable father of her beloved Nevs (John Gilbert). Another brilliant scene is the one with flowers. Diana, recovering in hospital from the shock that she went through, keeps flowers by her side which remind her of Nevs. Soon before he comes to visit her, there is a brilliant shot of Diana lying in bed, in the state of delirium, and looking at flowers. She really has a blink in her eyes and the camera is directed towards her as well the flowers that she is staring at... Terrific, brilliant shot!

The CONTENT of the movie is based on controversial novel by Michael Arlen, THE GREEN HAT. However, I am not going to compare these two since the film can be watched without the knowledge of the book whatsoever. Since the novel entailed a lot of controversial things, the code made the producers change much, even names. What is more, the credits of the film had no information except "from the novel by Michael Arlen," skipping the fact which novel it was. Therefore, the content was so much changed that the film becomes quite a different story. But, a very interesting one. Except for many things worth attention, I particularly like three aspects about the content. Firstly, it shows the psychological struggle between honor and love, reason and emotions. This clash is most accurately presented in Diana - Morton's conversation at the tree when the elderly gentleman wants to stop the "silly boy and girl attachment" between Diana and his son, Nevs. Morton's character is expressed in another moment when he says to his son trying to convince him to give up the relationship "Ten generations are watching you!" Secondly, the content perfectly shows what a passionate love really means. It is not the matter of choice where I say "yes" or "no" but has a deep insight into the psyche of a particular person. Although Nevs is happy with his wife Constance (Dorothy Sebastian), he cannot stop thinking about Diana whom he has known since the light hearted days of childhood. Thirdly, humorous moments make the rather sad content brighter. Some of them may seem dated, but they are funny in a different way. For instance, the wit about lip rouge is not found in films nowadays. Nevertheless, such script may still be amusing.

The PERFORMANCES are absolutely outstanding. It is the third film in which Garbo appears with her real-life love interest John Gilbert and they both give marvelous jobs here. Their relationship is not that intimate and sensual as in FLESH AND THE DEVIL (1926), but it is more "hearty". Garbo gives her best performance when she is hugging the flowers in hospital. She completely opens herself to a viewer and you can read her mind, similarly like in the final shot of her 1933 masterpiece "Queen Christina". Gilbert is an elegant young person who portrays a man divided into two realities - the one of honor and duties and the one of love and dreams. Lewis Stone, a mainstay of most Garbo films (from this one to many others, including GRAND HOTEL and MATA HARI), does a great job as Dr Hugh Trevelyan, who approved of the relationship. Howard Bosworth is magnificent as cruel but honorable Morton Holderness, who disapproved of their relationship. Yet, Dorothy Sebastian gives a delicate performance of a beautiful young wife of Nevs, attempting to be happy and to make other people happy. So with these great performers, you see all of them in the final 10 minute-long scene at Holderness' house, where Diana comes to talk things over with Morton. I don't know how you will react to this, but I consider the scene a masterpiece of silent performances.

All things considered, A WOMAN OF AFFAIRS is a highly recommended film which stands out in our modern era of cinema, as an example of cinematography, performances and well selected content. But it is also Garbo, one of the greatest stars of cinema, about whom one cannot forget when planning to see the movie. Indeed, you can see thought when you look at her face. Garbo ... eternal in cinema!