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![]() Of course, the story wouldn't end like fairy tale because the vampy temptress cannot be dignified due to the dichotomy of feminity, and she must be incarnated into a sardonic mockery of conventional womanhood. under the pouring rain, the symbol for the torrent of passion, the lovers re-unite together and whisper their tender language of love. later the prima donna decides to return her hometown village then she rekindles her torch of passion with her first love during one incident of local hurricane. melodramaticity is something which circumvents the silent cinema as nowaday audience could easily predict the following plots. somehow stimulated by the man's cowardice, garbo re-embodies herself into the parisian prima donna surrounded by numerous patrons. ![]() ![]() garbo plays a ghetto girl abandoned by some spanish peasant due to his mother's disapproval. There're some vividly binary conceptualization abound in the early cinema, and the dichotomy of madonna/whore thrives in this primtivee stage of cinema to resonate the stark vision without vocal expressions. 1926 "torrent" is divine greta garbo's american debute starring the soon to be unknown ricardo cortez (the first sam spade in 1930 maltese falcon), despite louis b mayber's dimissive criticism of garbo as "tall, chulky peasant," garbo still shimmers without adrian's endorsements of glamour until her later cooperation with john gilbert in "flesh and the devil" which catapults garbo into the niche of aboslute seductress in silent cinema.
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