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Unrealized Projects 1925-1929 |
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ODALISKE FRAN SMOLNA – SWEDISH PRODUCTION (1925)
After the success of Gösta Berling Saga in march 1924, Stiller had another project in mind with Greta and his “Gösta” team.
He wrote the screenplay, based on a story by Vladimir Semitjov and wanted to produce the picture for Svensk Filmindustri.
Some time later Stiller got an offering from the German film company Trianon A.G.
More Info HERE!
ALTERNATIVE TITLE: The Odalisque from Smolensk (USA)
SOURCE: Garbo Book
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UNKNOWN TRIANON A.G. FILM (1925)
In spring 1925, the German film company, Trianon AG, offered Stiller a big amount of money. They wanted him to make his next film for them.
Trianon wanted him to make a movie based on a current best-selling novel whose plot centered around a luxury hotel in Germany (could be the novel Hotel Stadt Lemberg).
Stiller refused, arguing that he already bought the screen rights to the story of Odaliske fran Smolna.
The director wished to film this story and said that if they did not want it he would find backing elsewhere.
SOURCE: GARBO book |
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DIE ODALISKE VON SMOLNY - GERMAN PRODUCTION (1925)
Stiller signed a deal with the German Trianon Film AG. He told him that he already had the right story for a film.
Later, after new contracts it was going to be a co-production with Trianon films and Svensk Filmindustri.
Conrad Veidt and Einar Hanson were also cast for the film. Stiller wanted to film the movie in Constantinople/Turkey.
Due of money problems the production was stopped and the film was never made.
More Infos HERE!
ALTERNATIVE TITLE: The Odalisque from Smolensk (USA)
SOURCE: Barry Paris: GARBO |
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THE DYBBUK (1925)
The Dybbuk, is a 1914 play by S. Ansk. The play is also known as Between Two Worlds.
Its the story of a young bride who, on the eve of her wedding, gets possessed by a dybbuk. A dybbuk is a malicious possessing spirit, believed to be the dislocated soul of a dead person.
I read that George W. Pabst planned to make The Dybbuk before he decided to do A Joyless Street but producers felt the story wasn't commercial enough.
In a French magazine I read that, after A Joyless Street was finished, Pabst still wanted to make a film version about this play and suggested Greta for the female lead role.
A russian film was made in 1937.
SOURCE: French Magazine 1925, German Magazine 1924 |
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THE ODALISQUE FROM SMOLENSK - USA PRODUCTION (1926)
California, late summer 1925, Stiller was searching for the perfect script for Greta's first American film.
He had Odalisken från Smolna translated into english and wanted to direct this film in America as Garbo's debut.
But MGM didn't like it, so the proposal had to be dropped.
More Infos HERE!
ALTERNATIVE TITLE: Odaliske fran Smolna (Sweden)
SOURCE: Karen Swenson A LIFE APART |
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CHARLIE CHAPLIN CAMEO IN STILLER'S THE TEMPTRESS (1926)
Antonio Gronowicz was the author of the famous and most discussed Garbo book "Garbo".
Gronowicz says Chaplin was working ‘from the beginning of 1925 on The Circus and had agreed to appear in The Temptress if Stiller would insert a circus scene in it (to help Chaplin defray the costs of his own circus film).
But production on The Circus did not begin until November 1925, and Chaplin in his whole career after 1915 never agreed to appear in anyone else's film.
SOURCE: GARBO book |
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JERSUSALEM (1926)
A German magazine from 1938 wrote that, after coming to USA, Stiller wanted to make a film version out of this Salma Lagerlöf novel with Greta and an all Swedish cast.
It didn't turn out. Gustaf Molander made a swedish production in 1926.
ALTERNATIVE TITLE: The Holy City
SOURCE: German Magazine 1938 |
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THE JENNY LIND STORY (1926)
A german magazine wrote that, after coming to USA, the first project Stiller wanted to do with Greta and MGM, was a film based on the life of the great Swedish opera singer Jenny Lind.
Lind was mostly known as the Swedish Nightingale.
ALTERNATIVE TITLE: The Swedish Nightingale
SOURCE: German Magazine 1928 |
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FLESH AND THE DEVIL “TALKING SEQUENCE” (1926)
When MGM was making Flesh and the Devil, the producers (?) suggested of experiencing with a talking sequence in one of the love scenes.
Some time later they believed, that it would have been too risky.
SOURCES: Garbo Documentary |
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THE ORDEAL (1926)
MGM wanted to team up Lon Chaney and Garbo in this film.
Based on a novel by Dale Collins. Marcel de Sano was set to direct but the project passed.
SOURCE: M. Vierra – A CINEMATIC LEGACY, other GARBO book
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THE SON OF THE SHEIK (1926)
One author of a Valentino biography wrote that Garbo was also suggested as Valentinos leading lady in Rudi's last Film.
SOURCE:
Valentino book
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LIFE OF BENVENUTO CELLINI (1926)
Shortly before legendary Rudolph Valentino died his next project was announced. A biography film based on the life and art of Benvenuto Cellini.
Cellini (1500 – 1571) was an Italian goldsmith, painter, sculptor, soldier and musician of the Renaissance, who also wrote a famous autobiography.
The film was going to be shot after Valentino finished work on The Son of the Sheik. His leading lady was once again going to be Vilma Bankey but when Vilma was not going to be available, Garbo and Dolores del Rio were suggested as Valentinos leading lady.
SOURCE: Valentino DARK LOVER |
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SUN OF ST. MORITZ (1926)
Based on Paul Oskar Hoecker's Die Sonne von St. Moritz. Garbo would have starred again next to John Gilbert.
The plot: Garbo would have played Gertie Selle, the wife of a seriously ill older man. Tending to the husband's needs is Dr. Robert Frank who falls in love with Gertie. When the wife administers a fatal overdose of medicine to her husband, Dr. Frank – correctly suspecting that she has committed murder – elects not to report the particulars of the death. This turns out to be a big mistake later on, when Gertie attempts to blackmail the doctor. The crisis seems to end with the death of one of the principals, but in fact it's only the beginning.
Why she never made the film is unknown.
SOURCE: GARBO book |
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DIAMOND HANDCUFFS (1926/1927)
November 4, 1926, Greta let the MGM set. Undoubtedly as a tactic to coerce her into signing a new deal, Irving Thalberg offered her a number of inferior properties.
Diamond Handcuffs , according to Variety Magazine, was a Mae Murray cast-off.
Greta later said that she was offered a similarly titled picture, Women Love Diamonds. She rejected both film and said that she does not want to play another “bad” woman.
Diamond Handcuffs, ended up with Eleanor Boardman in 1928.
SOURCE: GARBO book |
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HOTEL STADT LEMBERG (1927)
M. Stiller wanted to film this story by Lajos Biró with Greta and for MGM.
But due of trouble he had with Mayer and Garbo was signed to do Flesh and the Devil, he made the film for Paramount and starring Pola Negri.
Hotel Imperial, was a big hit.
ALTERNATIVE TITLE: Hotel Imperial
SOURCE: GARBO book
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WOMAN LOVE DIAMONDS (1927)
MGM send Garbo the script for the female lead role but Garbo didn't want to play another "bad " woman again.
The film was made with Pauline Stark, Lionel Barrymore and Douglas Fairbanks Jr.
SOURCE: Barry Paris – GARBO
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FILMS WITH CHARLIE CHAPLIN (1927-1929)
Charlie always wanted to make a film with Greta.
Garbo and Chaplin had a great mutual respect, and he often proposed joint film ventures – impossible fantasies at heart – in which she humored him.
They met for the first time in December 1927. Its rumoured that he had several ideas.
It is not known if he ever tried to suggest Garbo a story for a film or if he ever tried to make Greta or MGM an offer to get the GG, for one of his film.
SOURCE: GARBO books
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HER BROTHER FROM BRAZIL (1927)
A rumor was that Greta was cast by Mayer in a supporting role as one of the chorus girls. The film was a romantic comedy with Lew Cody and Aileen Pringle.
But when a cooperative Garbo showed up for a costume fitting, Miss Pringle rebelled.
She knew perfectly well that she would have no chance onscreen with the most talked-about actress in Hollywood playing a supporting role.
The truth is that Garbo's salary was reinstated at this time and a press release was prepared. The Variety magazine was foolish enough to believe it and reported on March 18: “Greta Garbo will play the part of a chorus girl in 'His Brother from Brazil', the first costarring vehicle of Lew Cody and Aileen Pringle.”
Even more incredibly, Garbo later told an interviewer that she had gone to the studio. “I did not say a word,” she recounted, “but tried on the dresses and was all ready to play the little part in the picture when Miss Pringle said she would not do it. Then they called me and said I was impossible and could not be handled. For the first time I answered Mr. Mayer back. I said I had allmy clothes fitted and was ready to play the little part. What more did they want?”
The fans who were watching this bizarre charade wanted to know what it meant. Garbo supporting Pringle as a chorus girl? It made no sense. No one would be watching Pringle!
Most of MGM's costume test photographs survive in archives. None has ever been found to substantiate the chorus girl story.
The film was made in 1927 under the title Adam and Evil.
ALTERNATIVE TITLE: Adam and Evil
SOURCE: GARBO book
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ANNA CHRISTIE (1927)
John Gilbert suggested Mayer the idea of a film version based on the successful stage play Anna Christie with Greta.
Mayer didn't want Garbo to play prostitutes. True or not, a film, based on the Eugene O'Neill play, was made in late 1929.
It was Greta's first "Talkie".
SOURCE: Gilbert & Garbo
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LADY OF THE CAMELIAS (1927)
John Gilbert suggested Mayer the idea of a film version based on the famous novel Lady of the Camelias, with Greta.
True or not, a film, based on the Alexandre Dumas novel, was released in 1936.
It was Greta's greatest performance.
SOURCE: Gilbert & Garbo
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THE ORDEAL (1927)
This MGM production was already planned to be filmed in 1926 with Garbo and Lon Chaney in the lead. In spring 1927, it was again announced.
This time with John Griffith Wray as the director. Garbo was offered the part, three times.
Finally, the film was made as The Ship from Shanghai in 1930.
SOURCE: M. Vieira – A CINEMATIC LEGACY, other GARBO book
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PALMOLIVE ADVERTISING (late 1920s)
In the late 1920, Garbo had an offer from Palmolive (soap) to advertise their soap for a king's ransom.
She declined. "After all, I had never used Palmolive. I have always used lavender soap", she told a friend in mid 1970.
SOURCE: GARBO book
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DREAM OF LOVE (1928)
Directed by Fred Niblo. Garbo had to choose between this film and The Mysterious Lady.
Joan Crawford got the part after GG declined.
SOURCE: GARBO book
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TIGER SKIN (1928)
After The Mysterious Lady, MGM announced that Tiger Skin will be Greta's next film.
It was written by Elinor Glyn, famous for Clara Bow's IT.
Garbo couldn't identify herself as a woman who hypnotizes men and the film was never made. Greta did A woman of Affairs instead.
SOURCE: GARBO book
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SARAH BERNHARDT (1928)
This was also a story MGM or Tahlberg considered for Garbo before they decided to do a film based on the successful stage play Starlight which was released in 1928 as The Divine Woman.
The female lead in Starlight was patterned on the life of Sarah Bernhardt.
SOURCE: GARBO book |
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STREET OF SIN (1928)
This production was rumoured to be a project, Stiller wanted to do with Greta and MGM.
No details are known. He made the film for Paramount, starring Fay Wray.
SOURCE: GARBO Book or Internet (I can't remember anymore)
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TOLSTOJ'S RESURRECTION – STAGE (1928/29)
While back in Sweden for a holiday, Greta was asked to play the part of Katjuschka in this Stockholmer stage play.
Surprisingly, she really considered the theatrical outing while at home. According to Lars Saxon, Garbo rehearsed Tolstoy's Resurrection with a former employer, John W. Brunius, but panicked and backed out from the much heralded performance the night before the dress rehearsal.
She apologized to Brunius and co-star Gösta Ekman, explaining that she was too nervous and agitated to appear on stage again.
SOURCE: GARBO Books
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KARL GERHARD'S MUSICAL REVUE (1928/29)
Another guest appearance she briefly considered, while back in Sweden, was a cameo role as a prima donna, in Karl-Gerhard's musical revue.
It is said that Greta had a sweet little singing voice and a wealth of humour that only those who knew her more closely had any idea of. But Garbo's days of live performances were firmly in the past and she declined.
SOURCE: GARBO Books
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FILM WITH F. W. MURNAU (1929)
F. W. Murnau (1888 – 1931), was one of the most influential German film directors of the silent era. He died in 1931 and it is written that Garbo went to his funeral were she said that she always wanted to do a film with Murnau.
Murnau
SOURCE: GARBO book |
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THE SHIP FROM SHANGHAI (1929)
This project based on Dale Collins novel was already offered to Garbo in late 1926 and early 1927.The film was finally directed by Charles Brabin.
It starred Conrad Nagel, Kay Johnson (in the role planned for Greta) and Carmel Myers. Charles Brabin was married to the legendary Film Vamp – Theda Bara.
I always wondered if the producers thought to give Theda the part that was later played by Carmel Myers in the final film production. It's a wonderful film.
ALTERNATIVE TITLE: The Ordeal
SOURCE: GARBO book
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EX-WIFE (1929)
The leading role was offered to Garbo in 1929. Garbo had to decide between Ex-Wife and The Kiss.
Greta passed the role and her MGM rival Norma Shearer made the film and won herself an Oskar.
ALTERNATIVE TITLE: The Divorcee
SOURCE: GARBO book
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SAINT JOAN (1929)
After her trip to Sweden in 1928, Mardunt Hall interviewed Greta for the New York Times. GG told her that she would loved to play Saint Joan in a film.
Thalberg saw George Bernard's play as the perfect sound debut for Garbo in films. MGM had asked Jacques Feyder to direct the film. Sadly Shaw didn't want to sell the rights for a film version.
ALTERNATIVE TITLE: St. Joan
SOURCE: GARBO book
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THE PASSION OF JOAN OF ARC (1929)
A Joan of Arc film, was Thalbergs first choice for Garbo's sound debut. Knowing that she had seen and liked the 1927 silent French film La Passion de Jeanne d'Arc.
Tahlberg toyed with the idea of engaging Danish director Carl Theodor Dreyer to remake it as a USA sound film, with Greta.
It is unknown if Dreyer declined or if Thalberg even told him his idea about an USA sound remake with Greta. The Original silent film is an untouchable masterpiece.
SOURCE: M. Vieira – A CINEMATIC LEGACY
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THE PICTURE OF DORIAN GRAY (1929)
Asked by a reporter what part she would most like to play next, Garbo mentioned The Picture of Dorian Gray.
Greta asked the reporter: “Have you read Oskar Wilde's Dorian Gray? It is impossible, of course but I would like to make a picture of such a book. I would like to play the boys part – that is, if I could be accepted convincingly as a boy – not merely a woman's performance in boys clothes”.
The film was never made but Garbo never gave up the hope to make a film out of this novel.
SOURCE: GARBO book
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SWEDISH MOVIE WITH MAURITZ STILLER (Sweden 1929)
“There were whispers that if Greta Garbo went to Sweden for Christmas 1928, she would remain and make a picture for Mauritz Stiller,” Louella Parsons wrote on November 25, two days after Greta finished work on 'Wild Orchids' .
Louella Parsons
It is not known if this is true but the death of the Swedish director had changed any possibility to do such a film.
SOURCE: Garbo book |
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MATA HARI (1929)
A film about the famous spy Mata Hari, was already considered for Garbo in 1929. Garbo made the film in 1931.
The real Mata Hari
Mata Hari's - real name was Margaretha Geertruida Zelle - she was originally a spy for the French during the war and acted as a courtesan to many high-ranking allied military officers. In 1917, she was accused of providing information to the Germans and was subsequently executed in France.
SOURCES: News magazine |
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NAPOLEON (late 1920s)
As independent producer, Charlie Chaplin frequently considered a variety of unconventional projects. One of his unfulfilled ambitions which he seriously considered from the mid to late 1920s was a film about the twenty-six year old Napoleon Bonaparte: Chaplin himself in the starring role.
Chaplin dressed up as Napoleon on a 1925
Marion Davies fancy-dress party
It was also written that at one state in the late 1920s, he also considered Garbo for a role in this unrealized film. Nothing turned out. Ten years later he again tried to make a film about Bonaparte.
SOURCE: Internet, Movie magazine
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