The creme de la creme of MGM's pantheon gathers at the luxurious GRAND HOTEL, where "nothing ever happens." Greta Garbo is at her most radiant and poetic as the melancholy ballerina who finds a reason to dance again after she falls for the down-and-out Baron (John Barrymore) who planned to rob her. In another room a ravishing .. Read more
| Starring | Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery |
|---|---|
| Director | Edmund Goulding |
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Based on the German play by Vicki Baum and its American version, the star-filled melodrama that is Grand Hotel became a blueprint for almost every glossy Hollywood soap opera that followed it. Greta Garbo, John and Lionel Barrymore, Joan Crawford and Wallace Beery vie for screen time as the various residents of the Berlin hotel, but it is art director Cedric Gibbons who deserves the plaudits for the luscious look of the film. One of the biggest projects in Hollywood at the time, the all-star cast caused MGM numerous problems as far as billing was concerned — in the end, the word Garbo appeared at the top of the bill to honour a clause stating she would have top billing, while the other actors were billed in alphabetical order below.
It's a little faded now, but much of the magic still works in this first of the portmanteau movies; the production is opulent yet somehow stiff, and the performances have survived with varying success.
Like many old movies the plot does not stand modern examination. The veteran thief baron cannot be that easily caught by a foolish millionaire, let alone ridiculously killed by his few strokes on the head. The pretty and good-hearted stenographer, in her mourning for her lover baron, cannot abruptly throw herself into the arms of a dying man, who also happens to be greatly indebted to the baron and in deep sorrow for his death. The twist from a tragedy to a comic ending of the hastily bonded pair eloping to Paris looked both improbable and anticlimactic.
Even if one watches without a modern inquisitive mind and with nostalgia for the past Hollywood glory, it still is not without disappointment. There are powerful moments, of course, like one cannot help but notice Greta Garbo's characteristic manly walk, trotting forth with large and firm steps and forward-bending shoulders. But these moments occur only occasionally; most of the time Garbo's Russian ballerina is either in a depressive trance or pursuing her love dramatically frantically. The farcical nature of the movie undercuts her performance, as nosy Hollywood did to her life. Her famous line "I want to be alone" is sure empathetic; the story of a once-famous dancer now fallen, pale and unrecognised, is not unlike her own life from popularity to obscurity.
John Barrymore's baron is doomed to death because of his kindness and sympathy for the poor and the miserable. Another parable of the decadent and amoral Grand Hotel/Hollywood/our world?
I don't really agree with whying from London, who talks about the plot not standing up. I don't think you should watch old films comparing the plot to contemporary films, it's what makes them different to today's films and should be viewed in context. Also you have to remember back then there were certain rules etc and things that couldn't be said/shown on screen that are prevalent in today's movies. In respect of the murder scene, back then there couldn't be violence like that of the type of violence in The Soprano's and feel that this scene was fine, given the restraints on films back then. Also in respect to the other reviewer, i found this highly entertaining and humorous at times and didnt at all feel it to be boring or stilted.
Saying about it being unbelievable, for me this was one of those films that isn't meant to be realistic, it's just meant to be fun. I also very much liked the performance of a Joan Crawford as the stenographer.
Old films need to be watched and viewed in the context of the era, instead of saying its showing its age of course, grand hotel is 75 years old its bound to be very different than films of today, therefore seeming to show its age but all in all a very good film, which I enjoyed a lot!
This film is, in my opinion, one of the best films ever made. It interweaves a complex cast of characters in a plot which is both engaging and funny. It is remarkably prescient in terms of what is to come in Berlin during the Nazi era. Finally, the filming is beautiful. Highly recommended.
People come, people go but things definitely do happen in this early example of the all-star extravaganza, set in a classy Berlin hotel. Most famous segment is cat burglar John Barrymore falling for intended victim, worn-out ballerina Garbo who just wants to be alone. Brother Lionel Barrymore plays a dying man whooping it up in style before his big exit, affording him the chance to tackle his cruel boss Beery. But it's Crawford who scores best as a slinky, very knowing stenographer. A little faded with time, but enjoyable nonetheless.
Despite its starry cast and high production values this still manages to be boring and stilted; and it has dated very badly too.
This is the one where Greta wants to be alone and that's the most interesting thing about it.
Like many old movies the plot does not stand modern examination. The veteran thief baron cannot be that easily caught by a foolish millionaire, let alone ridiculously killed by his few strokes on the head. The pretty and good-hearted stenographer, in her mourning for her lover baron, cannot abruptly throw herself into the arms of a dying man, who also happens to be greatly indebted to the baron and in deep sorrow for his death. The twist from a tragedy to a comic ending of the hastily bonded pair eloping to Paris looked both improbable and anticlimactic.
Even if one watches without a modern inquisitive mind and with nostalgia for the past Hollywood glory, it still is not without disappointment. There are powerful moments, of course, like one cannot help but notice Greta Garbo's characteristic manly walk, trotting forth with large and firm steps and forward-bending shoulders. But these moments occur only occasionally; most of the time Garbo's Russian ballerina is either in a depressive trance or pursuing her love dramatically frantically. The farcical nature of the movie undercuts her performance, as nosy Hollywood did to her life. Her famous line "I want to be alone" is sure empathetic; the story of a once-famous dancer now fallen, pale and unrecognised, is not unlike her own life from popularity to obscurity.
John Barrymore's baron is doomed to death because of his kindness and sympathy for the poor and the miserable. Another parable of the decadent and amoral Grand Hotel/Hollywood/our world?
I don't really agree with whying from London, who talks about the plot not standing up. I don't think you should watch old films comparing the plot to contemporary films, it's what makes them different to today's films and should be viewed in context. Also you have to remember back then there were certain rules etc and things that couldn't be said/shown on screen that are prevalent in today's movies. In respect of the murder scene, back then there couldn't be violence like that of the type of violence in The Soprano's and feel that this scene was fine, given the restraints on films back then. Also in respect to the other reviewer, i found this highly entertaining and humorous at times and didnt at all feel it to be boring or stilted.
Saying about it being unbelievable, for me this was one of those films that isn't meant to be realistic, it's just meant to be fun. I also very much liked the performance of a Joan Crawford as the stenographer.
Old films need to be watched and viewed in the context of the era, instead of saying its showing its age of course, grand hotel is 75 years old its bound to be very different than films of today, therefore seeming to show its age but all in all a very good film, which I enjoyed a lot!
This film is, in my opinion, one of the best films ever made. It interweaves a complex cast of characters in a plot which is both engaging and funny. It is remarkably prescient in terms of what is to come in Berlin during the Nazi era. Finally, the filming is beautiful. Highly recommended.
People come, people go but things definitely do happen in this early example of the all-star extravaganza, set in a classy Berlin hotel. Most famous segment is cat burglar John Barrymore falling for intended victim, worn-out ballerina Garbo who just wants to be alone. Brother Lionel Barrymore plays a dying man whooping it up in style before his big exit, affording him the chance to tackle his cruel boss Beery. But it's Crawford who scores best as a slinky, very knowing stenographer. A little faded with time, but enjoyable nonetheless.
In 1932 the public might have found it fascinating to see how 'the other people lived'. Not anymore. Even the beautiful Greta Garbo couldn't keep me awake.
Quite unexpectedly downbeat ending for Hollywood classic.
Some quite risque dialogue also (was this before the Hayes Code?).
Everyone is suffering & struggling. Very 1930s agenda about poverty & survival.
Does betray some silent movie influence in places & John Barrymore maybe slightly too old for his role. Garbo looks amazing on camera as always.
Was expecting something more light-hearted so it had quite an impact.
Yes, I really enjoyed this film.
Its multiple plots and stories that interconnect must have been pretty fulfilling for the audience at the time of its release.
I thought it started well and never went downhill afterwards. The film's repeated phrase, ahem, '...where nothing ever happens' is the key to the meaning of the film (money) and completes an altogether very tidy production, for what could otherwise be a fairly untidy plot, if put in the wrong directorial hands.
Despite its starry cast and high production values this still manages to be boring and stilted; and it has dated very badly too.
This is the one where Greta wants to be alone and that's the most interesting thing about it.
Based on the German play by Vicki Baum and its American version, the star-filled melodrama that is Grand Hotel became a blueprint for almost every glossy Hollywood soap opera that followed it. Greta Garbo, John and Lionel Barrymore, Joan Crawford and Wallace Beery vie for screen time as the various residents of the Berlin hotel, but it is art director Cedric Gibbons who deserves the plaudits for the luscious look of the film. One of the biggest projects in Hollywood at the time, the all-star cast caused MGM numerous problems as far as billing was concerned — in the end, the word Garbo appeared at the top of the bill to honour a clause stating she would have top billing, while the other actors were billed in alphabetical order below.
It's a little faded now, but much of the magic still works in this first of the portmanteau movies; the production is opulent yet somehow stiff, and the performances have survived with varying success.