Photoplay (Jan-Jun 1930)

Photoplay Magazine for April, 1930 "On the first day of shooting I was so frightened I could not work. I was really ill, this time! Finally they left me alone in the studio — everyone from Stiller to the lowliest stagehand. But I felt that the director was in a corner, watching. "When I recovered my poise, the filming went on. It was slow work. Snow scenes had to wait till winter, and the whole summer passed in filming interiors. Fortunately my fright did not last long, though to this day I am anxious and nervous while playing. I want to sit by myself. If I am spoken to, or interrupted, I am jolted clear out of my character." T\ THEN "Gosta Berling" was finished, Greta VV Gustafsson went back to the dramatic school and signed a contract as "leading pupil." She had asked Stiller about taking a new professional name — shorter and of a more international nature. When he shared her notion that Garbo would suit well, she was no longer Greta Gustafsson, but Greta Garbo. . A few days after signing her contract, as has been told, Stiller wired her that he was ready to give her another film role. She asked the manager of the theater to release her from her contract. Now her bridges were burned. She had dedicated herself, once and for all time, to the photoplay! "Gosta Berling" conquered the film world of Europe. It was daring and brilliantly made, for its day. Stiller had a genius for picking the right people. No one influenced him. He implicitly believed in the inner voice which told him, "There is your actor!" Time and events have proved how right he was about Greta Garbo. This is the way the new find was hailed in a booklet issued for the opening of "Gosta Berling," and written in 1924 by Ragnar HyltenCavallius, the scenario writer — "At the side of Jenny Hasselquist, Mauritz Stiller has placed two young pupils from our Royal Dramatic Theater — Mona Martensson and Greta Garbo. What are these young and charming girls but clay in the hands of the master-modeler? Does then the clay not have the same value as the hands that form it? Infinitely more! In a few years Greta Garbo will be known and admired all over the world. For hers is the gift of beauty — a rare personal and characteristic beauty!" True prophet ! At the opening of "Gosta Berling," Mauritz Stiller spoke. He said, among other things: "I venture the paradox that films, as well as stage productions, ought to be played by amateurs, if they could only do it. When an actor is really 'great' he is always trying to simplify his means of expression. He is always trying to get back to the natural simplicity that was his when he knew nothing about the technique of acting. This is the most difficult thing of all." The great director must surely have been thinking of his two young, unspoiled actresses as he spoke these words, A ND now, no longer Greta Gustafsson, but * "•Greta Garbo! The world lay before her, and the gate to success was ajar! She did not — could not — dream of the next chapter in the book of her life. While waiting for news of a new engagement from Stiller, she rested with relatives in the country. Soon came word that she was to play in a film that was to be made in Constantinople. She was beckoned to the mysterious East. And from this came an engagement in Berlin. And in Berlin she was to meet Louis B. Mayer, producing head of Metro-GoldwynMayer Pictures! [Eastward to Constantinople and Westward to Hollywood, life led Greta Garbo. The second and final installment of this enthralling story of her early life and career will appear in the May issue of Photoplay.] 133 Vivacious, beautiful — Alice White knows, as a charming film star, the wondrous beauty of glowing Princess Pat Rouge. 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