Director: CLARENCE BROWN. Screenplay: Bess Meredyth. Based on the novel, "The Green Hat" by Michael Arlen. Titles: Marian Ainslee, Ruth Cummings. Photography: William Daniels. Film editor: Hugh Wynn. Art director: Cedric Gibbons. Costumes designed by Adrian. Assistant director: Charles Doran.
Copyright 10 December 1928 by Metro-Goldwyn-Mayer Pictures. U.S. release: 15 December 1928. Originally issued with a music score (including an original song by William Axt and David Mendoza called "Love's First Kiss") and sound effects, the film is now available only in a silent version with a new orchestral score composed by Carl Davis. New York opening at the Capitol: 20 January 1929. Current running time: 98 minutes.
SYNOPSIS: Childhood sweethearts plan to marry, but the hero's father steps in and, fully intending to nip the romance in the bud, sends the lad off to Egypt.
NOTES: Remade in 1934 as "Outcast Lady".
COMMENT: Michael Arlen's steamy, best-selling 1924 novel of high society amours incurred the wrath of censors worldwide. It was eventually banned in many countries, including the U.S.A., England and Australia. Hence the movie's title change to the far more salacious "A Woman of Affairs".
This is a sumptuous, yet beautifully made film, exquisitely photographed, most inventively directed, and superbly acted by an outstanding cast, not the least member of which, the young Douglas Fairbanks, almost steals the production from the divine Garbo herself.
The new Carl Davis score has come in for quite a few brickbats, but I like it. For me, it perfectly captures the romantic mood induced by the story and its principal players.
Yes, it's a familiar tale, but it's given a great workout here, thanks to solid acting which brings all the characters to life, really impressive (if mostly unobtrusive) direction and outstanding production values (including Daniels' attractively atmospheric camera-work).
Garbo literally lights up the screen, even when her face is partly hidden by the green hat of Arlen's title.
Incidentally, screenwriter Bess Meredyth and the caption writers have done a marvelous job condensing Arlen's wordy, over-written prose to the fast-moving story-line, succinct, realistic dialogue and descriptive inter-titles of the movie. As a result, the characters of the film are far more believable than their counterparts in the novel.
Copyright 10 December 1928 by Metro-Goldwyn-Mayer Pictures. U.S. release: 15 December 1928. Originally issued with a music score (including an original song by William Axt and David Mendoza called "Love's First Kiss") and sound effects, the film is now available only in a silent version with a new orchestral score composed by Carl Davis. New York opening at the Capitol: 20 January 1929. Current running time: 98 minutes.
SYNOPSIS: Childhood sweethearts plan to marry, but the hero's father steps in and, fully intending to nip the romance in the bud, sends the lad off to Egypt.
NOTES: Remade in 1934 as "Outcast Lady".
COMMENT: Michael Arlen's steamy, best-selling 1924 novel of high society amours incurred the wrath of censors worldwide. It was eventually banned in many countries, including the U.S.A., England and Australia. Hence the movie's title change to the far more salacious "A Woman of Affairs".
This is a sumptuous, yet beautifully made film, exquisitely photographed, most inventively directed, and superbly acted by an outstanding cast, not the least member of which, the young Douglas Fairbanks, almost steals the production from the divine Garbo herself.
The new Carl Davis score has come in for quite a few brickbats, but I like it. For me, it perfectly captures the romantic mood induced by the story and its principal players.
Yes, it's a familiar tale, but it's given a great workout here, thanks to solid acting which brings all the characters to life, really impressive (if mostly unobtrusive) direction and outstanding production values (including Daniels' attractively atmospheric camera-work).
Garbo literally lights up the screen, even when her face is partly hidden by the green hat of Arlen's title.
Incidentally, screenwriter Bess Meredyth and the caption writers have done a marvelous job condensing Arlen's wordy, over-written prose to the fast-moving story-line, succinct, realistic dialogue and descriptive inter-titles of the movie. As a result, the characters of the film are far more believable than their counterparts in the novel.