Close Up (Jul-Nov 1927)

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CLOSE UP Greta Garbo in Montreux, Switzerland, trailing with frail, very young feet through perhaps the most a.stonishingly consistently lovely film I have ever seen (''Joyless Street") could not be, but by some fluke of evil magic, the same creature I saw, with sewed-in, black lashes, with waist-lined, svelte, obvious contours, with gowns and gowns, all of them almost (by some anachronism) trailing on the floor, with black-dj'ed wig, obscuring her own nordic nimbus, in the later a" Torrent". The Censor, this magnificent ogre, had seen fit to devitalize this Nordic flower, to graft upon the stem of a living, wild camellia (if we may be fanciful for a moment) the most blatant of obvious, crepe, tissue-paper orchids. A beauty, itis evident, from the Totem's stand-point, must be a vamp, an evil woman, and an evil woman, in spite of all or any observation to the contrary, must be black-eyed, must be dark even if it is a nordic ice-flower and Lya de Puttiesque. Beauty is v^hat the Lump and the Leaven alike demand. So "beauty, here it is," says the Ogre. The Ogre knows that the world will not be sustained, will not exist without that classic, ancient Beauty. Beauty and Goodness, I must again reiterate, to the Greek, meant one thing. To Kalon, the beautiful, the good. Kalon, the mob must, in spite of its highbrow detractors, have. The Ogre knows enough to know that. But he paints the lily, offers a Nice-carnival, frilled, tissue-paper rose in place of a wild-briar. Beauty was made to endure, in men, in flowers, in hearts, in spirits, in minds. That flame, in spite of the highbrow detractors, exists at the very centre, the very heart of the 27