Garbomania at the Swedish Film Institute

The Swedish Film Institute is joining in the Greta Garbo centenary celebrations over the next month, with a complete programme of her films.

The festivities kicked off on the 100th anniversary of her birth on Sunday with a screening of the silent classic Gösta Berling’s Saga in Fimhuset’s Victor cinema.

Film Institute director Åse Cleveland introduced the film and told the packed house that even in Norway, Garbo is still front page news.

Gösta Berling´s Saga, directed by Mauritz Stiller with the screenplay by Ragnar Hyltén Cavallius, is based on the novel by Selma Lagerlöf about a defrocked priest, Gösta Bergling and the cavaliers that serve the Ekeby manor, run by the strong-willed Majorskan.

The setting is Värmland and Greta Garbo plays a young Italian woman betrothed to a Swedish Count.

The film was accompanied by Matti Bye’s newly-written score backed by a string quartet.

Bye’s score was exquisitely crafted, with themes that became familiar as the 10-act film went on. The pristine quality of the new print revealed in splendid fashion a scene in which Garbo and Hanson are pursued across the ice by a pack of wolves.

A preview of the exhibition Images of Greta included displays entitled Garbo Talks, Garbo Laughs and Queer Christina about the cross-dressing role Garbo played in Queen Christina.

“I never said I wanted to be alone. I said I wanted to be left alone,” was one of Garbo’s famous statements about keeping her private life distinct from her public one.

She also remarked that “no one ever seemed to think I was young”. But young she was in Gösta Berling’s Saga – a mere 18 – and short films screened in the exhibition hall screened reveal an even younger Garbo at the PUB department store modelling clothes, eating cake with friends or camping near a lake.

The Film Institute collection on display for the birthday centenary include a black velvet and white lace dress Garbo wore in Gösta Berling’s Saga for a seemingly petite woman, private letters and her notebook from the Royal Dramatic Theatre drama school.

The Cinemateket film club will 13 of her films during September and October including Garbo’s first Hollywood film, Virveln (The Torrent), accompanied on the piano by Matti Bye.

The complete program of Garbo films

Greta Garbo, Cinemateket in Stockholm, Sep-Oct 2005

18/9 + 19/9 Gösta Berling’s Saga by Mauritz Stiller, Sweden 1924

Swedish title cards.

The young Garbo is chased by a pack of wolves in a free adaptation of Selma Lagerlöf’s novel, much to the author’s displeasure. New copy plus newly-written score by Matti Bye.

23/9 Den glädjelösa gatan (The Joyless Street / Die freudlose Gasse) by G.W. Pabst, Germany 1925

Garbo obtains a fur coat on credit from the madam of a brothel in this restored melodrama in which starving housewives prostitute themselves to the local butcher.

21/9 Virveln (The Torrent) by Monta Bell, USA 1926

In Garbo’s first American feature, a provincial Spanish girl becomes a prima donna having been ditched by a landowner under the thumb of his mother.

Advertising film PUB department store, Sweden 1921

Luffar-Petter by Erik A. Petschler, Sweden 1922

En gudomlig kvinna (The Divine Woman) by Victor Seastrom, USA 1928,

Unidentified documentary, Sweden 1929

28/9 Åtrå (Flesh and the Devil) by Clarence Brown, USA 1927

Duels and passionate love scenes in this romantic classic in which childhood friends become rivals for Garbo’s affections.

1/10 Gröna hatten (A Woman of Affairs) by Clarence Brown, USA 1928

Society lady sacrifices herself for the man she loves yet may not marry.

7/10 Kyssen (The Kiss) by Jacques Feyder, USA 1929

Garbo’s final silent film, in which a French woman accused of the murder of her husband is defended by her former lover.

2+4/10 Susan Lenox (Susan Lenox: Her Fall and Rise) by Robert Z. Leonard, USA 1931

Melodrama in which a young woman runs away to escape from an unwanted marriage and ends up in the circus.

8+12/10 Mata Hari by George Fitzmaurice, USA 1931

Legendary German spy uses her seductive and exotic dancing charms, inducing men to reveal their secrets.

9+13/10 Grand Hotel by Edmund Goulding, USA 1932

A lonely ballerina meets a seductive jewel thief at a luxury hotel in Berlin.

16+20/10 Christina (Queen Christina) by Rouben Mamoulian, USA 1933

Garbo is magnificent as Sweden’s Queen Christina Kristina who would “rather die a bachelor” than marry.

Anna Karenina by Clarence Brown, USA 1935 with Fredric March, Basil Rathbone.

Greta is perfect as Tolstoy’s tragic heroine in this superior sound version of the 1927 silent film.

24+30/10 Ninotchka by Ernst Lubitsch, USA 1939

Female Soviet agent acquires a taste for the high life of Paris in this comedy that was launched with the tagline “Garbo laughs!”.

29+31/10 Tvillingarna (Two-Faced Woman) by George Cukor, USA 1941

Garbo’s final film – a comedy of errors in which a man believes he is cheating on his wife with her twin sister.

Moira Sullivan

Moira Sullivan is a freelance journalist and member of the Swedish Film Critics Association


How a Swedish film festival is offering a nurse downtime during pandemic

A front-line Swedish nurse is getting some Covid downtime with a week of private screenings of the Gothenburg film festival, in a former lighthouse off the country's west coast.

How a Swedish film festival is offering a nurse downtime during pandemic
Competition winner Lisa Enroth.

More than 12,000 candidates from 45 countries applied to watch the festival's films in almost near isolation on an island 400 kilometres (250 miles) from Stockholm.

The prize is a week viewing as many of the festival's 70 premieres as they like in a hotel in the former Pater Noster Lighthouse. But they will be in isolation and will have no access to their own computer or laptop.

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The bright-red lighthouse, built on a tiny island off Sweden's west coast in 1868, is surrounded by a scattering of squat, red buildings originally built to house the lighthouse keeper's family. It can only be reached by boat or helicopter, depending on the weather.

After a series of interviews and tests, festival organisers chose emergency nurse and film buff Lisa Enroth for the prize, in keeping with the 2021 festival's theme, Social Distances.

Before boarding a small speedboat out to the island on the clear, chill winter's morning, Enroth said she had applied not only out of her love for the cinema, but also to seek respite from her hectic work as an emergency nurse during the pandemic.

“It has been hectic, so it's a nice opportunity just to be able to land and to reflect over the year,” she said.

Months working amid Covid crisis

Sweden, which has taken a light-touch approach to the pandemic compared to its neighbours, has been facing a stronger than expected second wave of the virus. So far, more than 11,500 people have died from Covid-19 across the country.

Enroth works in the emergency ward of a hospital in Skovde in central Sweden. Since the start of the pandemic, her hospital's work caring for virus patients on top of their regular workload has been intense.

Lisa Enroth on her way to the remote festival location. Photo: AFP

“We had a lot of Covid cases during this year and every patient that has been admitted to the hospital has been passing through the emergency ward,” she told journalists.

The organisers said they were surprised by the numbers of applicants for the prize but were confident they had chosen the right candidate — not only for her love of cinema.

“She has also dedicated this past year in the frontline against the Covid-19 pandemic,” the festival's creative director Jonas Holmberg said to AFP.

“That's also one of the reasons we chose her”. 

Isolated screenings

Boarding the boat dressed in a thick survival suit, Enroth sped over the calm, icy waters, jumping off in the island's tiny harbour and disappearing into her lodgings.

A screen has been set up in the lantern room at the top of the windswept island's lighthouse, offering a 360-degree view of the sea and coastline around.

Another wide screen has been set up in one of the island's buildings.

Enroth will also have a tablet and headphones if she wants to watch films elsewhere on the island, which measures just 250 metres by 150 metres.

With only one other person staying permanently on the island — a safety precaution — Enroth's only contact with the outside world will be through her video diary about the films she has viewed.

The festival's films will be shown online and two venues in Gothenburg itself will allow screenings for just one person at a time.

Holmberg, the festival's creative director, said he hoped events like these would maintain interest in the industry at a time when many screens are closed because of pandemic restrictions.

“We are longing so much to come back to the cinemas and in the meantime we have to be creative and do the things that we can to create discussion,” he told journalists.