Flesh and the Devil (1926)

Best movie of this year hands down!

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

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.

Famed silent is for the time period a well made melodrama. The story is of no real consequence and now seems very familiar as it probably was at the time of it's release. The communion scene is provocative, very erotic even today and must have been a sensation in '26. The real interest is of course the cast, Garbo especially. Of all the players she is the acting standout, with the exception of a few scenes her performance feels very naturalistic. The same goes for her appearance, whereas everybody else looks like they belong in the 1920's her unadorned hairdos and streamlined clothes convey a contemporary feeling, a flesh impact. Gilbert, who was then wildly popular, is a relic from a bygone era. He looks like he could be attractive but his ridiculous mustache and the heavy makeup required at the time sabotage his handsomeness. His acting is quite mannered and uneven, he was much better in The Big Parade, but he and Garbo share an undeniable chemistry. The real offender in overacting is Lars Hanson his eye-popping and herky jerky movements are a textbook example of the worst kind of silent screen performance, the impression that keeps a lot of people from giving silents a try. The other major person in this passion play is Barbara Kent as the angelic young thing in contrast to Garbo's rapacious strumpet. Kent passed away at 103 in 2011 one of the last remaining silent screen stars although she turned her back on public life and had been a recluse since the 50's.

"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.

This early Garbo vehicle is a superb, over-the-top melodrama. Garbo is a simply glorious vamp, a radiant beauty who enjoys and manipulates the passionate love of two best friends (in every sense), to their near destruction and ultimate redemption.The relationship between the two guys -- John Gilbert and Lars Hanson -- is as homoerotically suggestive as any on film before the 1970s -- and you can see from the emotions flooding Garbo's face that she feels the competition!Very good acting -- silent screen mode -- across the board in this nicely mounted MGM production.A good, rich, era-appropriate musical score with Wagner/Mahler overtones adds depth to the TCM broadcast of this silent classic!And tonight, TCM also broadcast their 90-minute "Garbo" documentary -- excellent, and a great complement to this film..What a GREAT MOVIE STAR she was! Maybe the greatest of all?