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The transformation of Ninotchka: Before Melvyn Douglas shows her the delights of Western materialism
and after. Garbo laughs, completing the parody of what she had been.
Of all the attempts to explain the curious hold which Garbo has over the imagination of men, Tynan's is the best. He accepts her for exactly what she is — the ultimate movie star, a beautiful object to be admired and to be invested, like any work of art, with whatever private meanings we care to give her. The nature of our relationship to the stars having changed over the years since the screen began to talk,, our admiration for her is, in a sense, atavistic. It is based on the fact that after speaking from the screen, she imposed upon herself, after the last movie {Two-Faced Woman, 1941), silence — a silence she has never broken. She was a goddess who became technologically unemployed and, rather than face life and a career as a merely mortal star of the new sort, she chose to preserve her mythic quality, which, of course, in our notably noisy society, means a form of isolation.
This is not to imply that Garbo's decision was an unnatural one, a perverse yet effective way of maintaining her place in the public eye. It is widely believed that Garbo is a trifle strange in her desire for privacy, but it is strange only in i the context of the public life to which her fellow stars have acquiesced. "I never said T want to be alone,' " she said one time, "I only said T want to be let alone.' There is all the difference." How many stars have insisted on this point in interviews. How few of them could stand it if, suddenly, they were indeed let alone. It is in fundamental contradiction to the needs of the average performer's ego. But Miss Garbo's personality as a performer having been constructed for her, mainly by Stiller, there is a certain logic in her falling back upon a cultural value — privacy — highly prized in her native land, especially in her class.
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