Photoplay (Jan - Jun 1932)

liollywoocTs v^ruelty The ruthless persecution of Greta Garho — an incredible, but sadlv true, story FOR sheer cruelty, the Middle Ages had nothing on modern Hollywood when it came to practicing the art of persecution. And there is no one in Hollywood today who knows better what it is to be put on the rack and tortured than Greta Garbo. Instead of trying to understand her, Hollywood has spent every effort to dig an early professional grave for her. I know how true this is, because, unintentionally, I have been one of her most active grave-diggers. And now I am going to make a confession that hurts — hurts, because it isn't easy to admit one's weaknesses. But there is such a thing as justice, and the attacks upon Greta Garbo have become so numerous recently that the good side of my nature cries out: It is time to be fair to her! Four years ago I wrote the first and only bona fide life story of Greta Garbo for Photoplay. She spent many hours giving Tony Moreno resented the favoritism he thought was shown Garbo. They insisted that he wear boots so that Greta's feet would look smaller. But in this "still" he's getting all the breaks, Garbo just looking on .'S Mauritz Stiller Lon Chaney Four Who Were me the material. I was fascinated by her sincerity, her warm, earthy qualities; her utter lack of affectation. After my story was printed, she said to me. "I do not like your story. I do not like to see my soul laid bare upon paper." After that she decided not to see writers. She was perfectly frank, but I was hurt. I did not stop to analyze that there might be a justifiable reason for her decision. We all know the general story of Garbo. Hollywood had to take her if it was to get the great European director. Mauritz Stiller. Metro-Goldwyn-Mayer paid her S250 a week to secure him for the movies. This curious peasant girl with her big feet, her timidity, her combination of humility, ambition and indifference, became the laughing stock of the Metro-GoldwynMayer lot. I remember how studio employees pointed her out to me saying, ''Look at her! Isn't she funny? Imagine that Swede trying to get into picture? I " They cast her in "The Temptress" because Mauritz Stiller insisted upon it. He was to direct it. Naturally, he directed the production in a way that would work to the advantage of his protege. Garbo was tall. Antonio Moreno, the star, was not so tall. The director insisted that he wear his hair pompadour fashion to make him look taller. He put him into boots — undoubtedly to make Garbo's feet look smaller. Moreno resented this favoritism. There was a battle, and Stiller lost. He was removed from the picture. rp 'HIS was Garbo's first experience with studio politics. Bei cause of her, Stiller lost his job. Yet it was her friend Stiller who had insisted on her being in the picture! She was bewildered, crushed. Everywhere she turned she was confronted with intrigue, unkindnesses. The publicity department got hold of her and made her do all kinds of absurd things— things she didn't understand, but which she was good enough sport to go through with. They took her to the beach and photographed her in a J track suit. When a prominent prize-fighter visited the studio one day she was photographed shaking hands with him. By this time she could talk a little English. She said, " When I am i beeg like Gish (then the queen of the Metro-Goldwyn-Mayer lot) no more publicity like this; no more handshakes with prize-fighters! " I have seldom met anyone more timid than Garbo. \\ hen I first went to interview her she kept me waiting in the lobby of her hotel for fifteen minutes. When she arrived she was all apologies — hesitating, nervous ones. She was sincerely fright | ened. At another time, a New York critic, recently arrived in Hollvwood. went to the studio to talk with her. She was