Greta Garbo plays the title role, a beautiful woman who destroys all who come in contact with her. The film boasts a brand new score, written by Michael Picton of New York, winner of TCM's fifth annual Young Film Composers competition.The film begins with Elena (Garbo) meeting and falling in love with Robledo (Antonio Moreno) at a masquerade ball in Paris. They spend the night together in a park, declaring their love for one another, he giving her a ring, before departing. The next day, Robledo calls on a friend, the Marquis de Torre Bianca (Armand Caliz). Evidently, Robledo has been working in Argentina and had just returned to town. The Marquis introduces Robledo to his wife which, to his surprise, is Elena. He is disillusioned and upset. Wanting nothing more to do with her, he leaves.Elena and the Marquis have been invited to a party, thrown in her honor, by a banker named Fontenoy (Marc McDermott). Seated around a large dinner table, Fontenoy (at the head of the table with Elena on his right) stands and proposes a toast. It will be his last, as he launches into a diatribe against Elena, labeling her a "temptress", blaming her for his financial ruin, he drains his glass (which he had previously filled with poison) and collapses on the table.Back at their home, the Marquis, who had encouraged his wife's affair with Fontenoy, informs Elena that he too is overwhelmed with debt. Distraught over the incident and the departure of Robledo, she empties her jewel box, giving all that she received from Fontenoy to the Marquis. Robledo arrives to comfort his friend and tell him that he is returning to Argentina. As he is leaving, Elena tries to convince him that she really does loves him, but he doesn't and departs.When Robledo returns to Argentina, he receives a hardy reception from the whole town, especially associates Canterac (Lionel Barrymore) & Pirovani (Robert Anderson). We learn that these men have escaped their financial troubles, and women, back home by traveling to this remote country to spearhead the construction of a dam. Their efforts are being stalled by a local bandit Manos Duras (Roy D'Arcy) and his men.Low and behold, the Marquis shows up to visit Robledo, and he has brought Elena. He tells Robledo he had no choice since she financed the trip. Elena dresses formally for dinner and every other occasion, showing up the local shoeless women and entrancing all the men. Manos, who observed her arrival, comes to Robledo's one evening to serenade Elena. Though, up to this point, Robledo had shown nothing but disdain for her, he fights Manos to protect her honor. Even though they use whips, with which Manos is a master, Robledo wins. After which, alone with Elena as she tends to his wounds, Robledo denies that his actions were a sign that he loves her. And Manos, still seething from his loss in the fight, returns to shoot Robledo but kills the Marquis instead.Free from marriage, Elena has distracted the men. Robledo's associates Canterac and Pirovani have even forgotten about their women back home. One night, the town throws a party in her honor, during which Canterac kills Pirovani with his sword over Elena. Manos, who had not lost sight of the larger fight of stopping the foreigners from completing their project, chooses that night to dynamite the dam.There are some pretty good special effects, given the year of the film, and some exciting action sequences as Robledo and the men try to repair the damage before it floods. However, they are not successful and a tired, nearly drowned Robledo returns to find Elena. Though at first he tries to kill her, he finds that he cannot and, with his resistance low, he succumbs, declaring that he is beaten and that he does love her. As he sleeps, and though she had insisted to Robledo that she had never used the word "love" with anyone else, she leaves him, with a note telling him that she will not be his ruin.Six years later, the dam is completed and the engineer Robledo is back in Paris being lauded for his success by a crowd of people, his fiancée on his arm. As they are climbing into a cab, however, Robledo sees a women in the crowd that he thinks is Elena. He follows her, finding her in a cafe, where he buys her a drink. He is surprised that she doesn't seem to remember him, and soon leaves. Elena then has a vision, that a man across the cafe is actually Jesus Christ, halo and all. It is then revealed that she has kept Robledo's ring, the one he had given her that first night they met. She gives to the man and the film ends with her walking away, alone down the street.

The movie has flaws, but one of them is not an old fashioned attitude toward women. The opening quote says "God and man created woman." That is to say, our perception of women is from men's point of view. But this film presents a beautiful woman from her own point of view (and the film's). We see a woman not only bearing moral blame for the actions and choices of men, but also being prevented from a fulfilling life by her beloved's obsession with his own desire. The most telling line Garbo has in the film begins something like, "They don't want me; they want my body. And they don't care about my happiness. It is for their own." And indeed not one man in the film sees her as anything but a fulfillment of his own desire, even the Moreno character, capable as he is of great heroism and dedication. He remains a run of the mill guy when it comes to women. She has no existence as a personality for any of these men. In the end our "hero" is left to deal with his conscience, as Garbo's character emerges as the only one in the drama with real substance. Look at Ibanez's biography and at his progressive sensibilies, which both of the film's directors apparently shared.

"The Temptress has now been shown here—terrible. The story, Garbo, everything is extremely bad. It is no exaggeration to say that I was dreadful. I was tired, I couldn't sleep and everything went wrong..." (Greta Garbo)The roaring twenties...not a very enthusiastic quotation, particularly when we consider the fact its author is Garbo herself, the Garbo people flock to see as a vamp, as a femme fatale who wins and ruins men, as a beauty on the screen, an object of dreams and desires. And so has the driving force been for all these years - I doubt whether THE TEMPTRESS would be watched by anyone nowadays ... if it were not for GARBO. However, she detested it and no wonder why...For most people who know Garbo's psyche a bit, her melancholy her moments of peace, moments of being 'let alone' and, moreover, what a period it was (the mid 1920s) in her career are close to understand how she must have felt: director Mauritz Stiller, her tutor and a person who taught her skills, who directed her in Swedish GOSTA BERLING SAGA (1923) and brought her to America, is fired just a few days after the production begins; she still does not understand/speak English so well and intuitively learns whom to consider 'familiar soul' among many 'foreigners' in the glossy and tremendous studio that MGM was at the time. What is more, her sister Alva dies in the faraway Sweden. And no wonder she writes the aforementioned bitter words to her friend in Stockholm Lars Saxon. But, the test of time shows something more optimistic and within the variety of opinions and MGM targets of the 1920s, THE TEMPTRESS is overall not that bad as a movie... The CONTENT...Marked by spiritual/religious references at the beginning and at the end (from Rabindranath Tagore, the first non-European Nobel laureate to Jesus Christ, the Saviour of the world who died for love and manifests his presence in the people in need), the content is visibly the product of MGM studio system and its methods: goodness vs evil clash that uprights the hearts: love that conquers hatred and reconciliation that overcomes vengeance. As it is quite a common theme for films of the time, I would highlight more the technical aspects of the movie some of which appear to be more convincing and more appropriate in this relation. The TECHNICAL MERITS appear, of course, thanks to the people Garbo liked and worked with.The direction by Fred Niblo, famous for his silent BEN HUR but also for a later Garbo film, THE MYSTERIOUS LADY, is a subtle work filled with stylish moments and delicate as well as thrilling handling of scenes. Although he replaced Stiller, her "sole tutor and companion," (whose style was quite remarkable but different from what they did and understood in Hollywood), she must have felt pretty comfortable under Niblo's direction as she left him a touching note after the work had finished. The lighting by William Daniels, a crucial name of all Hollywood Garbo films, boasts of truly remarkable moments. The effect is no lesser than in greater films, in particular when filming Garbo's face. Consider the scene at the mirror, for instance...indeed, most of what we see of Garbo and her acclaimed "performance for the camera" we owe to Daniels. He captured that essence of her sensitivity to light and shadow as portrait photographer Sinclair said: "Garbo 'feels' the light." And...production by Irving Thalberg, perhaps he did not play that role as in later cooperation with Garbo, but, undeniably, prompted the energy and unbelievable possibilities from the inside of the Swedish Sphynx. As a result, Garbo's portrayal of intriguing Elena is worth appreciation.And here arises a tricky but a logical question: So why isn't THE TEMPTRESS considered to be a significant GARBO SILENT FILM? First, Garbo is the best vamp in FLESH AND THE DEVIL; second, her best leading man is John Gilbert (one of the most famous pairing the screen has ever seen); third, the most 'exotic' and arousing locations are in WILD ORCHIDS; fourth, Garbo's most magical moments are in A WOMAN OF AFFAIRS; fifth, the lighting pearls are in THE MYSTERIOUS LADY (particularly its 'candle sequence'; sixth, THE TEMPTRESS was not viewers' first fascination with Garbo because her Hollywood debut is not THE TEMPTRESS but THE TORRENT. So... this film has been bound for years to negligence (nothing special for many). However, it occurs to be undeserved and unfair...Antonio Moreno is not bad as her leading man...has his moments at least; some of the supporting cast do fine jobs, including Lionel Barrymore as Canterac who appears, years later, in a specific talkie with Garbo, GRAND HOTEL; some scenes can boast of brilliant camera-work (just to mention the witty and visual banquet at Fontenoy's or the presentation of the Argentine); many moments can boast of thrill, including the Argentine fight between Robledo (Antonio Moreno) and the wicked Manos Duras. Except for many clichés noticeable in the film, which, certainly, lower its value, it is important to consider such atmospheric scenes like the masquerade.Although detested by the main STAR of the film, by the leading lady who was unique and brilliant at multiple levels, THE TEMPTRESS is not so bad. Garbo alone helps us get rid of some sophisticated expectations from the content. As a matter of fact, more of her films do not boast of particularly clever content...yet, EVERY Garbo film is worth seeing because of her tremendous presence on the screen, the unforgettable magic and something really special which she offered the cinema of her time and the cinema of all periods. See this silent film AFTER you have seen hyper-sensual FLESH AND THE DEVIL, subtle A WOMAN OF AFFAIRS, refreshing THE SINGLE STANDARD, innovative THE KISS, stunning THE MYSTERIOUS LADY but allow yourself at least a single viewing of its beautifully restored DVD version. You will not be disappointed.

Greta Garbo's second Hollywood feature is an irresistible meller, done to a turn by director Fred Niblo at his finest. (Dig those parallel tracking shots; first over a formal dining table laden w/ service & delicacies, and then under the same table, now heavy w/ service & delicacies of a rather different nature.) At this point in her career, Garbo was still playing femme fatale types (watch how she cups her lover's face in her hands) and in this adaptation of a rum Blasco-Ibanez novel, she drives four men to their ruin without lifting a finger. The plot takes us from Parisian highlife (a superb masked ball, a suicide at a banquet, overnight love in a park) down to the Argentine for dam building, a duel of honor played out with whips, sabotage & floods (with remarkable effects), and then back to Paris for our moral. When he's at his best, co-star Antonio Moreno is a bit like Brian Donleavy, alas he usually just looks vaguely surprised. But Roy D'Arcy & Lionel Barrymore get to whoop things up splendidly. Note that Garbo's regular lenser Wm Daniels shares credit with Tony Gaudio. But everyone deserves a prize, including one for the fine newly commissioned score.