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The Temptress and More


emwriterdude
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I watched 4 of the 5 silent films on last night, and I loved The Temptress. Camille was a little dull, and I had already seen Ace of Hearts and Laugh, Clown, Laugh, and their two of my favorites, so I watched them again. How was The Rag Man, I couldn't stay up any longer. . .

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I just caught the end of Camille. I was surprised at how modern her bedroom looked for a film made in 1921. She had a round bed, and a big round picture window, and these big rounded glass doors. I guess it was Deco, but at first glance it seemed almost kind of 1960's looking to me!

 

SPOILER ALERT:

 

Robert Osborne had an interesting tidbit to share after the film: Nazimova's version was the only version where Armand does not come back to see Camille at the end. Even the original novel by Dumas has Armand returning to Camille. But Nazimova didn't want to share her big death scene with co-star Valentino--she wanted to be the one to get all the glory! Talk about a diva!

 

Sandy K

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I thought the music scores were terrific, especially The Temptress. Almost too good. Is it possible that a crack soundtrack can actually distract one from what's happening on screen? And if so, does it defeat it's purpose? The music was dazzling during the opening scene of Temptress and I found my attention divided between the soundtrack and Greta moving her way through the audience at the Ball. The music should probably be secondary to the action. The Kiss (1927), another Garbo silent, uses well-known classical music pieces throughout, which does bother me a little because of the familiarity.

 

Great idea of TCM to have music score competition for silent films.

 

It surprises me to read that folks talk about staying up to watch movies. I'm so into Tivo and VCR I hardly watch anything in real time anymore.

 

Other great soundtracks for silents that come to mind at the moment are The Chessplayers, The Last Laugh, and Foolish Wives.

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I know Greta Garbo-(1905-90) is an acquired taste.

Personally, I rank this actress as the single greatest of all-time-(in front of the camera)

Even *Katharine Hepburn-(1907-2003) thought the same.

& TCM is doing a superlative job/concept in it's annual "Young Film Composers"

There would be such an erray of music that could fit that "FACE" of Garbo's though. It was probably a lot more easy than the previous years-(Chaney, Sr. Valentino)

GOOD GOING TO TCM!

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Wow(!), what a powerful film this turned out to be, particularly its ending. I never cease to be amazed at the raw emotions Garbo's face conveys to the camera. Obviously this film was to cement the theme that would repeat itself quite frequently in Garbo's filmography. And personally, I found the new score appealingly energetic and sophisticated. What a great feature to look forward to every year on TCM.

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