lugonian
THE TORRENT (Metro-Goldwyn-Mayer, 1926), titled "Ibenez' Torrent," a Cosmopolitan Production directed by Monta Bell, taken from novel by Vicente Blasco-Ibanez, stars Ricardo Cortez in a melodramatic story about lost love. As his co-star is Greta Garbo making her American screen debut. A native from Sweden with "Peter the Tramp" (1922), "The Story of Gosta Berling" (1924) and "The Street of Sorrow" (1925) and a few others to her screen credit, Garbo's introduction to the American screen casts her as a Spanish peasant girl with operatic talent. It is she who makes her screen presence prior to Cortez's introduction, wearing beret, riding his horse like a dashing hero, but by the film's end, it would be Garbo whom audiences and critics remembered best of all. With first impressions being vital for newcomers to the screen, TORRENT became the turning point for an actress whose name would become legendary. Opening title: "Spain - Springtime under the blue skies of Valencia - cobbled streets and hanging balconies - hot sunlight and orange blossoms - the soft air drenches with sweetness." Leonora Moreno (Greta Garbo), a young girl instructed how to sing by Cupido (Lucien Littlefield), the town barber and singing master, loves Don Rafael Brull (Ricardo Cortez), and he in love with her. His mother, Dona Bernarda (Martha Mattox) has other plans for her son, none having to do with his proposed marriage to Leonora. Because she holds a mortgage on the Moreno farm, Bernarda arranges for Don Andres (Tully Marshall) to have Leonora and her parents, Pedro (Edward Connelly) and Dona Pepa (Lucy Beaumont). Homeless ("Thank God for tragedy. It forces us to go forward," replies Pedro), Leonora relocates to Paris with her father while her mother remains behind, earning a living scrubbing floors. Before leaving, Leonora sends a note for Rafael to meet with her, but his mother, who doesn't want her to disgrace the family name, forbids him to ever see her again, an argument that forces Rafael to tear up Leonora's note and throwing it into a pig sty. As for Leonora, she learns the truth and leaves without saying goodbye. Years later, Leonora, whose father has since died, has become the renowned opera singer La Brunna, the idol of Paris, with Salvatti (Arthur Edmund Carewe) as her mentor, while Rafael rises from deputy to a political career with Remedios Matias (Gertrude Olmstead), a new romantic interest whom mother approves. Longing to return to her old village and see her mother, Leonora meets with Rafael once again, leading to further developments including a disastrous rain storm, a dam burst leading to a severe flood causing destruction to the town, and worse, the interference of Rafael's mother in keeping the two lovers apart by demeaning her good name.Ricardo Cortez, reportedly born Jacob Kranz in Vienna, Austria, is quite convincing as a Spaniard, though one wonders what current heart-throb Rudolph Valentono might have done with his role in this MGM production? There are times Cortez resembles Valentino, which was probably intentional. Interestingly, as Cortez's character is allowed to age through the passage of time, the one of Garbo's does not, at least not much. Their characters, very much in love, equally balanced with ambition to succeed, only to realize success means nothing in their separate lives. The flood sequences midway through the story is well constructed for its time, but unlike other disaster movies, this one doesn't up enough time to turn this 88 minute production into a two hour spectacular.For Garbo's initial Hollywood role, her physical presence appears more like the current style of either Norma Shearer or a Carol Dempster. Regardless of hairstyle and trend, the Garbo technique is evident, especially during its latter part of the story. Others members of the cast include Mack Swain (most notable for his work opposite Charlie Chaplin in 1925s THE GOLD RUSH) as Olmstead's father, "the pork king" who loves his hogs; Lillian Leighton as Isabella; and Mario Carrillo as The King of Spain.Seldom shown since its initial premiere, THE TORRENT was finally brought back in circulation when cable television's Turner Classic Movies premiered this rare find on June 8, 1997, with new score composed by Arthur Barron. The orchestration is fine, depicting the culture and background of Spain, but not something one's accustomed to by way of organ or piano accompaniment, which really isn't a bad thing in this case, though. THE TORRENT may not live much to its title, but Garbo certainly lives up to her promise as MGM's latest addition to its cavalcade of stars. (***)
bkoganbing
The film Torrent was a first and a last for Greta Garbo. It was her first American made film at MGM, the only studio in the USA that she would ever work at. It was also the last time that someone else was billed above her in the credits, that being her leading man her Ricardo Cortez.Torrent is based on the popular Spanish writer's Vicente Blasco Ibanez's work Entre Naranjos. It concerns a pair of mismatched lovers, Garbo and Cortez, who can't quite get together, mostly due to the machinations of Cortez's mother Marta Mattox. Mattox is a wicked woman who has some set ideas about who her son should be marrying. Remember this is Spain and such arranged marriages were still even in those times quite proper. Mattox has Gertrude Olmstead in mind as a daughter-in-law, she's the offspring of Mack Swain a man grown rich in hog raising. Swain provides a few moments of comic relief with his tender concern for the piglets before they grow into big old hogs to be butchered.Blasco Ibanez had previous novels The Four Horseman Of The Apocalypse and Blood And Sand previously filmed with Rudolph Valentino in the lead. It might have been interesting if Valentino had done this one with Garbo, but he might have been beyond film making when this was done. In any event, one of the Valentino wannabes Ricardo Cortez fills in with the male lead.One reason Valentino might not have wanted this film is because clearly the lead character is Garbo's unlike the other two works previously mentioned. When she gets done dirt by Cortez who is doing what Mattox and her 'adviser' banker Tully Marshall tell her, she leaves Spain and goes to France where she becomes a great opera star. And leads quite the scandalous life there.When she returns to Spain and tries to rekindle things, Mattox is even more outraged. She has a political career in mind for her son. Cortez is now running for the Spanish Parliament which curiously enough is called the Cortes. The title refers to a flood and a dam breaking causing all kinds of havoc in the countryside. Cortez in fact braves the Torrent in a row boat trying to rescue Garbo from harm's way. When they do get together they have a brutally frank discussion, the brutality coming from Garbo.The special effects here, primitive though they seem now are quite remarkable for their time. They look very similar to the shots used in 20th Century Fox's The Rains Came that came out in 1939 and that won an Oscar for Special Effects. Unfortunately for Torrent it came out one year before Oscar made his debut.I'm not going to give any endings away so you'll have to see the film to find out if Cortez and Garbo get together in the end. Garbo rightly won rave reviews for her performance and in an age when exaggerated gestures was the norm in silent screen acting, she was remarkably subtle in her role. So she would be the rest of her career, she had a remarkable face for closeups.Although Greta Garbo would go on to do far better work than Torrent, this film is still a fitting debut for her on the American big screen and holds up very well for today's audience.
kidboots
MGM were unsure of how to market Garbo when she first arrived in Hollywood. Mayer had a lot of faith in her and her appearance in "Torrent" justified that. She did not speak a word of English so she must have found it difficult to work, also Ricardo Cortez did not make it very easy for her.The torrent of the title is the river Juscar that winds through a sleepy little village in Spain. Leonora (Greta Garbo) hopes someday that her voice will bring great wealth and happiness to her struggling parents. Leonora and Don Rafael (Ricardo Cortez) are in love but he is under his mother's thumb and cannot get her to consent to his marriage. Meanwhile Dona Brull (Martha Mattox) has evicted Leonora's parents from their home and they send Leonora to Paris hoping to give her a chance to further her singing career. Leonora sends a note to Rafael, urging him to remember his promise and come with her. His mother is enraged and forbids him to go - so of course he caves in to her request.Years pass. Leonora has a new identity - she has become La Brunna, the toast of the Paris Opera. Rafael has turned out just as his mother wished - he is running for office and is courting a "safe" young girl, Remedios (Gertrude Olmstead) who is a "hog" heiress. Mack Swain plays her father. Leonora decides to visit her old home, and I agree - why hasn't she helped her mother out. Her mother is still living at the family home, working as a skivvy and taking in washing. Leonora and Rafael meet but Leonora is full of ridicule. Garbo is so enchantingly beautiful, it is hard to believe that he could be happy with Remedios.The dam is bursting and the torrent is flooding the town. Leonora's house is in the path of the raging river but when Rafael attempts to rescue her he finds she is quite safe. They then re-kindle their romance. There is a "horizontal" love scene in this film, very similar to the one in "Flesh and the Devil".Dona Brull goes spreading gossip about how Leonora really got her wealth and Leonora's mother believes her and tells Leonora to go. Rafael meets Leonora just before she is about to tour America. Again he intends to go with her but again he lets her down. He spends so much time listening to other people destroy her reputation - "what will she do for you but drag you down". The irony is she has just secured a top government job for him if he comes with her. They meet again, years later - she is as fresh and vibrant as ever - he looks older than his years, bowed down by mediocrity.It is certainly a good film with a positive message to follow your heart.Lucien Littlefield does a good job as Cupido, the barber and Leonora's old and faithful friend.Highly Recommended.
Doug Phillips
I was given the opportunity to see this 1926 film in a magnificently restored theater that was once part of the extensive Paramount chain of vaudeville houses. This Paramount has a ‘Mighty Wurlitzer' organ – also magnificently restored -- that was used to accompany the silent films of the day.We were fortunate enough to have Dennis James, a key figure in the international revival of silent films at the Mighty Wurlitzer playing appropriate music and thematic compositions fitting to the action on the film. The print was a nearly perfect digital copy of the rapidly decaying nitrate negative and the entire experience was a once-in-a-lifetime chance to see a silent film as it was meant to be seen.This was Greta Garbo's first American film. She was only 20 years old but already had 6 Swedish films in her repertoire.It is somewhat ironic that this is a silent film about an opera star; even though the Mighty Wurlitzer added immensely to the mise-en-scene, it was necessary to leave much to the imagination.Modern audiences, for the most part, do not understand silent films… Acting was different then, with expansive gestures and broad facial expressions. Therefore audiences laugh at inappropriate times – the acting is seen as ‘hammy' and over-done – but it was simply the style of the period.Garbo, with all her subtlety, did much to usher in the new age of acting: she could say more with a half-closed eye and volumes could be read into a downward glance or a simple shrug. She exemplifies the truism that `a picture is worth a thousand words.'Even though this is Garbo's first American film it is pretty obvious the studio knew what they had on their hands: This was MGM filmmaking at its best. The sets and costumes were magnificent. The special effects – which by today's standards are pretty feeble – were still electrifying and amazing.The script by Vicente Blasco Ibanez (from the novel by Entre Naranjos) would seem to be tailor made for Garbo; it showcases her strengths, magnifies her assets and there is no pesky language problem to deal with: a Swedish actress can play a Spanish temptress with no suspension of disbelief on our part.Her co-star was MGM's answer to Rudolph Valentino: Ricardo Cortez. He does an admirable job and did something that few romantic stars of the day ever would have done in a film: allow himself to look unnactractive, appear foolish and to grow old ungracefully.There are some fairly good character parts that are more than adequately acted – especially when you consider the powerhouse that was Garbo. Notable among them are Lucien Littlefield as ‘Cupido' and Martha Mattox as ‘Doña Bernarda Brull.'This is when the extraordinary cinematographer, William H. Daniels, met Garbo – they went on to make 20 films together. (He was the cinematographer on 157 films and his career spanned five decades!) He was able to capture her ethereal beauty and it was his photography that was primarily responsible for the moniker by which she became known: The Divine Garbo. Without his magnificent abilities she would not have been the success that she was.Seeing this film is an all-too-rare opportunity: if you ever have the chance, do not miss it.
