Purely Joyful Movie!

One of the best films i have seen

A Disappointing Continuation

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

NOTES: Despite his rave review in The New York Times, in which he commented upon Brown's "admirable artistry" and the film's "distinguished cast" ("Miss Garbo is undeniably alluring"), Mordaunt Hall did not find a place for the movie in either his "Top Ten" or his supplementary list. His fellow critics, however, were not so neglectful. In the annual Film Daily poll of 280 movie reviewers, Flesh and the Devil came in at 10th position. The movie also scored big at the boxoffice. COMMENT: A fascinating and completely engrossing film noir, one of the top pictures in the genre, Flesh and the Devil rivets the viewer's attention from the very opening shot and never lets it go until the end title. Encouraged by Brown's inventive direction, ace cameraman William Daniels has a field day with noirish lighting and atmospheric effects. Great emphasis is placed upon darkness with some scenes so brilliantly lit, it's just possible to make out the players. Not that they have anything to complain about. Garbo not only looks great (Daniels, in fact, was her favorite cameraman) but gives a vibrant, smouldering performance that almost literally sets the screen on fire. More than one critic has even gone so far as to say that Garbo and Daniels walk away with the movie. That's not strictly true because Brown's sensitive direction also deserves a bouquet, and Gilbert's portrayal of the tortured hero is nothing short of compelling. He is more than adequately supported by Lars Hanson (a little inclined to over-act) and given solid competition by the ever-reliable Eugenie Besserer and particularly by Barbara Kent (her second of thirty-five movies) who most convincingly matures from sixteen to nineteen in the course of the story. George Fawcett also deserves a nod for his rounded portrait of the pastor who is not averse to brandy and cigars. As might be expected from Metro-Goldwyn-Mayer, production values are nothing short of lavish. But not escapist lavish. Most realistically lavish. Sets and costumes are breathtaking, but always appropriately in character. A final compliment to Marian Ainslee whose dialogue titles are not only literate and pithy, but seem so completely natural they neither interrupt the flow of the story nor divert the viewer's attention from the tragedy that so engrossingly unfolds on the screen.

Spoilers. Observations. Opinions. Sizzle. Hot. Gilbert and Garbo are one well matched duo. The title looked enticing, and certainly not forecasting a boring film. Is this pre-World War I? The germanic soldiers and aristocratic names suggest that it is. Does a noble young man have to give military service?Enter that fox Garbo. She appears dressed in 1920s era cloche hat and shortened length fashions when she enters, depicting the period after that war. I will overlook this fashion design inconsistency. Flesh and the ... ... She falls into lust with Gilbert, he of the unknowing and naive personality. He even ignores a teenage female admirer, and proceeds to fall into lust with that siren. Along comes the siren's elderly husband, who looks like he is incapable of having any physical relationship with his wife. He figures that Gilbert can, but all Gilbert thinks about is that he is hopelessly in love. He's lucky that the husband doesn't shoot him right then and there on the spot. A duel ensues. Hubby gets whacked. Gilbert goes to Africa for penance. Meanwhile, Gilbert's best bud is back home looking after the unfortunate widow, but marries her. Unknowing, naive Gilbert comes back and discovers this piece of bad news. Did the siren cheat on her original husband before Gilbert came along? Maybe. I am a degreed historian, actress, singer, dancer, fashion designer, stage makeup artist, film critic and movie reviewer.

Terrific silent melodrama starring Greta Garbo as a seductive woman who comes between two lifelong friends (John Gilbert and Lars Hanson). It's a beautiful-looking film with great direction and cinematography. Also some sizzling chemistry between Garbo and Gilbert. It can be very corny in spots with an unintentionally funny ending that you have to see to believe, but I think the good outweighs the bad. Modern audiences will probably also find a great deal of subtext between the Gilbert and Hanson characters. The two men are frequently affectionately embracing one another and at least half a dozen times in the film I thought they were about to kiss. Add to that the movie's basic message of "bros before hoes" and you come away with a different interpretation of the film than was perhaps intended. Then again, maybe it was the point of the story all along. At any rate it's a good film whether one wants to think about the different layers or not.

"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.