It is difficult to find notice that Victor Sjostrom had been originally slated to direct Greta Garbo and yet it is unlikely that Marcus Loew would have been in error. It is only by flash forwarding to Greta Garbo's fourth film and by claiming that her first three were already in the planning stage without her that we can see the phenomenon of Greta Garbo as having arisen from a combined phenomenon of Greta Garbo/John Gilbert, which it inevitably did. Moving Picture World of 1925 published the predictions of the then President of Metro-Goldwyn. " 'The Flesh and the Devil' is a Victor Seastrom-John Gilbert Special. It is by Herman Suderman. It will be directed by Seastrom, the man who made 'He Who Gets Slapped' and I don't know what better recommendation there is than that. There will be one other John Gilbert production, title and details of which we will announce later." The question is did Loew publish this before director Monte Bell had seen the screen test of Greta Garbo spliced into the rushes of "The Temptress", which would entail his holding The Flesh and The Devil for her during the completion of two film in production- it is quite possibly in that Loew at the same time had announced " 'The Torrent' by Ibanez will have Aileen Pringle in the leading role and this also will be a Cosmopolitan Picture made at our studio. It will be big in every way."
For those interested in how the Greta Garbo John Gilbert pairing did come about from 1925 onward, Loew happenned to add, "There will be one Fred Niblo production on our schedule. Details on this picture have not been completed as yet and will be announced later." There literally seemed to be more excitement about the film "The Mysterious Island" containing Technicolor sequences than anyone named Greta Garbo speaking on the screen with John Barrymore.
Picture Play Magazine in the beginning of 1927 playfully alluded to the meteoric notoriety of Greta Garbo by reintroducing her to magazine audiences as the mystery new to stardom, but elusive by virtue of her celebrity with a portrait taken by Ruth Harriet Louise; its caption read, "That sad, sad look on Greta Garbo's face is deceiving. She's really very happy over here in America and they say that she loved working with John Gilbert in 'Flesh and the Devil'."
During the middle of 1927 Photoplay featured the two pictured together in the News and Gossip of the Studios section, "All bets are off on the Garbo-Gilbert wedding. For at least five days Hollywood was in a flurry of excitement. Jack and Greta, fairest of Fjordland, were rumored to have trekked to a neighboring hamlet and murmurred, "I do." A search of marriage license permits revealed nothing. There is bleak silence from the two." Bainbridge adds, "'Gilbert pleaded and begged that they should marry, but Garbo just did not want to,' the director Clarence Brown said recently." Picture Picture magazine during 1927 queries Is the Gilbert-Garbo Match Really Off? Prompted by journalist Dorothy Herzog. The accompanying portrait of Jack Gilbert was photographed by Ruth Harriet Louise with the caption, "There can be no doubt that Jack Gilbert is saddened by the unhappy turn taken by what promised to be his great romance". She began, "She is a thousand years old. She came into the world with all it's knowledge. She knows everything, and instinctively remembers everything.' 'and you love Greta Garbo?', we interrupted. Jack Gilbert's shadowed eyes swept our face swiftly, then looked away. 'She is. Wonderful girl. We were merely good pals,' he evaded, alertly on the defensive. 'is it true you were engaged to her?' 'We were never engaged.' ------ Back to Greta Garbo John Gilbert M.G.M.advertised Greta Garbo in 1927, it often taking full page magazine pages that mentioned several actors and actresses that were currently at the studio at any given time. Garbo had become, "The most sensational find in years, she clicked immediately in The Torrent, then in The Temptress and now Flesh and the Devil" Later it advertised, "Greta Garbo's amazing hold on the public cannot be duplicated anywhere in this industry. Flesh and the Devil is just a foretaste of the money she means for the theaters. " --------- Collen Moore must have read about or in fact contacted the Greta Garbo apparition; during 1928 she compared herself to Greta Garbo by coming to her aid in Motion Picture Classic Magazine, "most of the greatly beloved women of history- they have been possessed of the childish appeal, every one of them. Perhaps not so much childish as wistful, whimsical. Seems a funny thing to say, but Greta Garbo has it too. Really, she romps and plays it less than that worn-out term, vamp, than anyone I know. In its way, it gets across." In an interview during which she outlines her having met John Gilbert, Greta Garboas quoted by Ruth Biery in The Story of Greta Garbo, said, "When I finisihed The Temptress, they gave me the script for The Flesh and the Devil to read. I did not like the story. I did not want to be a silly temptress. I cannot see any sense in getting dressed up and doing nothing but tempting men in pictures." This is oddly echoed by National Board of Review Magazine, in which the conclusion was drawn that, "the leading contributor to the success of Flesh and the Devil is Greta Garbo" It provided a synopsis of the film that also lent a background to its addressing the desire of Greta Garbo to leave her earlier " ladies of vampire repute" characters and to be seen as a more serious dramatic, or perhaps romantic dramatic, actress. it primarily sees her as having been a then more believable character, " Miss Garbo in her later day personal ion shows a frail physique and a fragile ethereal air. She is infinitely more civilized and all the more suitable for not being so deliberate." The portrait of Greta Garbo that year had been photographed by Ruth Harriet Louise, the caption reading, "We are feverishingly waiting her performance opposite John Gilbert in Flesh and the Devil." By then, it was increasingly unnecessary to introduce her as a rising star. The photograph of Greta Garbo Ruth Harriet Louise published in Photoplay carried a caption referring to her as "the object of John Gilbert's fervant wooing". In regard to the direction of Clarence Brown, Motion Picture new reviwed the film during 1927 with, "And Clarence Brown, who has advanced so rapidly the past year, has brought out every point to build a story which fascinates in its paly of caprice and feeling. It is touched with sex- but sex never becomes rampant. It always remains a film of visual excellence...Early scenes project the development of the affair. What follows are the dramatic complications which culminate in a happy ending- the only flaw in the picture." Under the magazine's section on Explotation Angles, it advised: "Play up Gilbert and Garbo. Use stills. Cash in on title. Play up director. Go the limit." When the film was reviewed by Motion Picture Magazine the film was praised with, "Here is one of the best pictures reflected upon the screen in many a moon, the perfection of which is only marred by the ending, which appears tacked on, as an afterthought...Greta is a beautiful nymphomaniac...You never feel the chaos she causes exaggerated. she's attractive enough to wreak has ok in a man's world." Paul Rotha reviewed a what he deemed to be "a film of more than passing cleverness" directed by Clarence Brown, "Flesh and the Devil had some pretensions to be called a good film. The theme was sheer, undiluted sex,and Brown used a series of close ups to get this across with considerable effect. Notable also was his use of Ngles, different indeed from customary German and American method and the happiness with which he settled his characters in their environment." Back to Greta Garbo John Gilbert Greta Garbo and Jack Gilbert in Love Film Daily during 1926 sported two interesting entries. During September it wrote, "Marcel de Sarno, director, and Raymond Doyle, scenarist, returned to M.G.M. studios after a trip for research data for Ordeal, which de Sarno will direct with Greta Garbo and Lon Chaney. In November, Film Daily reported, "Clarence Brown, who has just completed the direction of John Gilbert and Greta Garbo in Flesh and the Devil is preparing to direct Lillian Gish's next production, The Wind, screen adaptation by FrancesO Marion of Dorothy Scarborough's story. It seems either misprint or misquote that Exhibitor's Trade Review had earlier, during 1925, published, "Miss Alice Scully, a young scenario writer wrote the script for Stella Maris...since the first of the year has also written scripts for Parisian Love and The Undying Past for Victor Seastrom." Greta Garbo Greta Garbo