Every so often, I treat myself to a silent film, and what impressed me so much about this one is how well it stands up over time. I also rediscovered a younger Garbo, in the prime of her life and sexual powers. AND THOSE EYES!! They were absolutely mesmerizing, just the thing to lure to young men into more, shall we say, heightened responses. Without the aid of sound, they were like two simmering volcanoes, just the thing for this combination love story and moral exploration on the enduring bonds of friendship. It certainly helped that both she and John Gilbert were having a similarly torrid love affair the at time. This was a fantastic production, and as one reviewer noted, it would make a fabulous remake in the right hands. On a strictly technical note, I just learned from a film historian friend, Dr. Richard Brown of NYU, that the reason old silent films all that that "herky-jerky" look to them is because "back in the day" these movies were operated at much slower, hand-cranked camera speeds, but when saved on modern celluloid, they have a "speeded up" effect due to the numbers of frames per second. The older the film, the worse the effect. Interesting factoid.

Honest, I'm trying hard to appreciate Garbo's celebrated beauty, and to picture her as an object of desire - not mine, but someone else's. I think there are too many years between us and too many other prettier Hollywood stars. I did think she was an excellent actress and was right for the part of Felicitas, although I felt she slightly overdid it towards the end of the story. Speaking of overacting, I thought Lars Hansen (Ham-sen?) was guilty at first, but his style and character soon grows on you.I liked it and, intimidated by the rave reviews and comments by other contributors, I shall see it again. I have to admit that silent soaps are not my cup of tea. John Gilbert is not my cup of tea, either, but passed muster in his role. The animal magnetism between the two stars? Yes, I suppose. Let me watch it again and I'll get back to you. I just feel the films' reputation is a bit overblown. Hedging my bets, I rated it a 7.

GRETA GARBO was never a favorite of mine, so I'm not going to give the silent FLESH AND THE DEVIL a gushing review--the sort you expect to have from a Garbo fanatic. In looking at it objectively, I find it a beautifully photographed romantic melodrama, titillating because of the subtext of homo-erotic friendship between JOHN GILBERT and LARS HANSON that threatens to become more than a subtext before the end. And Garbo's demise leaves them free to pursue their lifelong friendship.The story is simplicity itself. Two men love the same woman--where have you heard that one before? The difference is in the telling. Garbo is photographed to great advantage--and so is Gilbert for that matter--especially during their intense love scenes. When he so nobly asks his friend to look after her while he's forced to go to South Africa for several years, what happens? They fall in love--so that when he returns two years earlier than expected, he finds out they have married.That's the nub of the story. Under Clarence Brown's direction it moves at a leisurely pace, alternately moody and romantic, but not without some flourishes of humor to brighten things once in awhile.Summing up: Worthwhile if you're a Garbo fan--otherwise, you might find it too melodramatic and cornball for your taste. The TCM print is in mint condition most of the way and the background score by Carl Davis is appropriate without being jarring.

"Flesh and the Devil", the 1926 silent film, brilliantly directed by Clarence Brown, was shown recently on cable and the most amazing thing happened: the film looks superb! "Flesh and the Devil" has one of the most amazing team behind the camera, one that made its stars look so magnificently that one can't take ones eyes from the screen for fear of losing something. In addition to the superb director, the work of William Daniels with his camera is amazing. Mr. Daniels created images that are hard to forget.The opening sequence of the film involving the arrival of Leo and Ulrich in their hometown, has to be one of the best things ever filmed. When Leo discovers the beautiful Felicitas as she descends from the train and walks to the awaiting car, where he runs to rescue the flower arrangement she inadvertently had dropped, is charged with desire and raw sex. Hollywood was more daring during those precode days when anything seemed to go.Greta Garbo and John Gilbert make this film something to watch again and again. Both stars exuded such charisma that it's not hard to realize they were lovers. Ms. Garbo looked lovely in all her scenes and Mr. Gilbert was one of the handsomest leading men of the era.One of the best things whoever restored the film was to add a great musical score that makes watching the pleasure it is. Also, in spite of being a silent movie, "Flesh and the Devil" has such a fluidity that, at times, we forget it's not a "talkie", because of the magic that Mr. Brown, and his cinematographer, William Daniels, were able to do together. Of course, the film is what it is because of its stars' magnetism and the way they make us care about the story.