Close Up (Jul-Nov 1927)

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CLOSE UP seems to have taken shape, but this time it is Troy by some fantastic readjustment who is about to ruin Helen. Little Miss Garbo (I think of her as little ; I believe from the columns of "gossip" I read dished up in various Hollywood camera news productions that "Greta Garbo is taller than John Gilbert", a thing they seem in some subtle way to have, among many other things, against her) brought into her performance of the professor's elder, little daughterin" Jojdess Street", something of the quality that I can't for the life of me label otherwise than classic. As long as beauty is classic, so long beauty on the screen, presented with candour and true acumen, must take itiĀ» place with the greatest master-pieces of the renaissance and of antiquity. For there is no getting over this astonishing and indubitable fact. Beaut}^ as it has existed in pre-Periclean Athens, in the islands of the Cyclades, in the temple of Karnak, in the frescoes of Simone Martini and the etchings of Albrecht Diirer still does find expression, still does wander veiled as with dawn, still does wait for a renaissance to hail her. Miss Garbo is a symbol, was, I should say, a s^mibol as I saw her in " Joyless Street". She ma}/ again become some such glorified embodiment as flung itself in its youth and its strange, statuesque abandonment across the wretched divan of Madame whatever-was-her-name's evil house. Beauty, the youth and charm, by just a fluke, wasn't tarnished in that atmosphere. The odd thing was that this story of poverty and fervid business speculation and the lady of the world and her lovers and her pearls and the young financier and their meeting in this ill 29