Der Krieg im Dunkeln

A young Austrian officer doesn't realize how profoundly THE MYSTERIOUS LADY he meets at the Opera will change his life.

Greta Garbo's entrancing beauty is the main attraction in this Silent drama from MGM. Her face alone would have assured her a place in film history. But this film, which deals with World War One espionage, has other things to offer, including a good performance from Conrad Nagel as Garbo's co-star. The story is a wee bit ludicrous, but MGM graced the film with excellent production values as befits a movie starring their enormously popular star. (The idyllic afternoon sequence shared between the two lovers is especially commendable.) The plot does have some fair degree of excitement and should not disappoint the typical viewer.

Ably filling smaller roles are Gustav von Seyffertitz as the evil Russian spymaster and Edward Connelly as the head of the Austrian Secret Service, who also happens to be Nagel's uncle. Movie mavens will recognize an unbilled big Russ Powell as a rain-drenched carriage driver.

This silent film has been given a fine orchestral background score by Vivek Maddala.

On this evidence, Garbo's silent work is her most accomplished. She struggles in talking roles; her dour, flat acting voice meant she had to be characterised as emotionless - hence the iceberg persona, and she was probably glum because she knew she was struggling. Here we can see her real eloquence and the confidence behind it that comes of knowing she is shimmering and wonderful. In contrast to many other silent stars who exaggerated every gesture, Garbo shows intelligence and discrimination in her movements, which involves a lot of posturing but is not unnatural. She uses her natural grace for expression, particularly her arms - she really is lithe and expressive - and she must have missed all that later in her career.

Fred Niblo's inventive direction here also impresses; he never lets a scene go dry and the narrative method is almost as sophisticated as a talkie as he brings out a good deal of subtle but telling body language. We watch characters speak and can pretty much divine what they're saying, which reduces the need for irksome intertitles.

The first part of the film, set in Vienna, is a romantic encounter, deceptively straightforward. But there is intrigue in store, and in the latter half of the film, set in Warsaw, tension consistently mounts as every scene is built around suspense - don't think that Hitchcock invented this stuff. Garbo and her leading man, Conrad Nagel, seem connected to each other on rubber bands such is the dramatic bond between them.

At the climax is a superb trick that will make you exclaim out loud. This could be the best film I've seen this year.

Fred Niblo is undoubtedly one of the most under-rated film-makers ever. His visual stylisations, here helped by the incredible photography of William Daniels, can make a fairly routine spy yarn into a beautiful work of art. Of course it helps when Greta Garbo is on your canvas. This is an astonishing film that, had it been given a more believable ending (tragic rather than happy), may well be considered a masterpiece today.

Garbo's beauty and superb acting abilities make the material compulsive. And Conrad Nagel matches her perfectly. Their first love scene is intoxicating in its beauty, and heart-stopping in its passion. It is one of the great love scenes of all time. And in the nail-biting climax there is a moment so grotesquely powerful that you will never forget it. This is a film to savour and love - it represents silent film at its very best. Yes the plot is slight, but what is conveyed beyond that plot is more than profound. And the excellent music score on the MGM video enhances this profundity. This film is beauty itself.

In Vienna, in the beginning of the Twentieth Century, Captain Karl von Raden (Conrad Nagel) and his partner Captain Max Heinrich (Albert Pollet) learn in the box office that the ticket for the opera is sold- out. Out of the blue, a man returns his ticket and Karl buys it and shares a box with a gorgeous woman that is waiting for her cousin. Karl gives a ride home to the lady and they spend the night together. On the next day, they spend a wonderful day in the countryside together. Karl is assigned to travel to Berlin by train to deliver secret plans to the German government. His uncle, Colonel Eric von Raden (Edward Connelly), who is the chief of the Austrian secret service, advises Karl the woman with whom he had spent the previous day is the notorious Russian spy Tania Fedorova (Greta Garbo). While in the train, Tania meets Karl to tell that she is in love with him, but he rejects her telling that he knows who she is. On the next morning, Karl wakes up and finds that the plans have been stolen and he receives a message from Tania telling that she came as a woman in love with him and left as his enemy. Karl is expelled and imprisoned by the army as traitor but his uncle offers him the chance to clean his name, traveling to Warsaw to find who the traitor is. Karl poses as pianist and meets Tania and her lover, the powerful General Boris Alexandroff (Gustav von Seyffertitz). What will Karl and Tania do?

"The Mysterious Lady" is an impressive silent movie with the goddess Greta Garbo. The story begins as a romance with a subtle scene of love between Tania and Karl. Then there is drama, action and thriller with the encounter of the two former lovers. The use of special effects in the early cinema is also fantastic when Karl is playing piano for Tanis and Boris wishing her dead. "The Mysterious Lady" is mandatory not only to fans of Greta Garbo, but also for lovers of cinema as art. Unfortunately the DVD released in Brazil shows very damaged images and deserved to be restored. My vote is nine.

Title (Brazil): "A Dama Misteriosa" ("The Mysterious Lady")

This is, quite possibly, the silent film to present to those who are resistant to silent films. First, the characters earn our affection from the very beginning -- scenes of the beautiful Garbo crying during an opera, Nagel becoming entranced by her. Within the first five minutes, you are drawn into them. Garbo becomes more beautiful as the years go by -- we see a beauty that is modern; Garbo would be considered beautiful in the 21st century, unlike many stars from the earlier days. (I mean, could Theda Bara cut it in 2009? Mary MIles Minter? Pola Negri?) Conrad Nagel plays the male lead quietly but effectively -- almost all of the acting here is restrained.

Beyond the beauty of Garbo, one has to really credit Fred Niblo for directing this film. The film is essentially Hitchcock before Hitchcock. This film has elements of "North By Northwest," "The Man Who Knew Too Much," "The Thirty-nine Steps," and, most surprisingly, "Notorious." You have the "wrong man" theme, the guilty, obsessive love, the elegant, tricky villain, the conflicted heroine, Hicthcockian camera movements, some unexpected plot twists, some scenes of real suspense, and even a darkly humorous bit toward the end regarding a corpse.

Very nicely done.