GRETA GARBO COLLAGE FILM CLIP BY NESSA
FEAT. MARLENE DIETRICH
MUSIC.SEEMANN BY NINA HAGEN & APOCALYPTICA
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"TALKING ABOUT GARBO...THE WOMAN " By CLASSY NESSAMERCEDES DE ACOSTA TO GRETA GARBO POEM:YOU BELONG TO ME SOME THINGS JUST BELONG TO OTHER THINGS THERE IS NO OTHER WAY... WHY NOT LET US THEN SAY THE SALT TO THE SEA... A BIRD TO THE SKY...& YOU TO ME.GRETA THE MAGNIFICENT "GARBO",a contradiction,A MANIPULATIVE PERSONALITY,MERCEDES DE ACOSTA DESCRIBED AS:"A MOTHER,A SISTER A LOVER FOR ME, SHE IS a GOD and a GODESS".an inspiration for those in love with splendorous beauty: an amazon, a pioneer ,an extraordinary mistery.A remarkable & unique actress. A human being ,dissapointed about stardoom,but willing to enjoy the benefits."A creature of nature ,of elements"so as described by Mercedes de Acosta :THE WOMAN GARBO LOVED BUT MADE SUFFER WITH HER ABSCENCE TILL HER DAYING DAY ON 1968 AGE 75 YEARS OLD. MERCEDES DE ACOSTA S PICS / PORTRAITS BY CECIL BEATON MARLENE DIETRICH & POOLE. LEFT:MERCEDES s SOCIALITE SISTER RITA BUST & FAMOUS PAINTING. PICTURES OF GARBO TAKEN BY MERCEDES DE ACOSTA AT HER OWN HOUSE IN SANTA MONICA CA, AND DURING THE VACATION BOTH WOMEN SPEND ALL ALONE AT SILVER LAKE AS A GARBO S REQUEST TO MERCEDES AFTER THEIR MEETING. (FROM MERCEDES DE ACOSTA S BIO "HERE LIES THE HEART" A MUST HAVE FOR ALL DE ACOSTA GARBO DIETRICH NAZIMOVA & CLASSIC HOLLYWOOD RESEARCHERS) GARBO though was A warrior,that THE HOLLYWOOD INDUSTRY could never stop. Greta "fleka" the humble swedish gal. the sofisticated new female icon,her androginy ,in fact GARBO recieved more women fan mail, attracted I am sure by her modernity her ways her mytical smile,able to make you tramble.Maybe,GRETA & MERCEDES both depressive personalities were born to be together,but a system ,a society only ready to judge made both of them;decide for the so called OMERTA...THE SILENCE. GARBO was a shy,private,terribly dominating person; GRETA perhaphs tried to cover up her real desires in her trips around the world ( thing that she always wanted since her early youth) her socialite life after her reclusion.Only she KNEW what her soul wanted.we only can speculate.Till now HOllywood handle the actor s decisions and love affairs.its a maskarade sadly. THE REAL STARS THE REAL ACTRESSES THAT MAGICK PEOPLE ABLE WITH A GESTURE WITH A SUBTLE MOVEMENT TO REACH THE ZENITH OF EMOTION,THE ICONS ARE NO LONGER WITH US.THERE WILL NEVER BE ANOTHER GRETA GARBO,ANOTHER MARLENE DIETRICH...ANOTHER MERCEDES THE ACOSTA :A REBEL A FEMINIST. A WOMAN WHO LOVED TOO MUCH, THE PLAYWRITER THE SET DECORATOR NOW ALMOST FORGOTTEN: MERCEDES:DIETRICH & GARBO "GOLDEN ONE".ONLY THEM DESERVE RESPECT:FOR THEIR CRAFT,THEIR RESKLESS DECISSIONS FOR A LIFE APART WE ARE ALLOW JUST TO OBSERVE... WITH AN AMAZED LOOK.TO GRETA GARBO & MERCEDES DE ACOSTA THIS TRIBUTE FROM THE BOTTOM OF MY HEART.CLASSY NESSA"Greta Garbo, Marlene Dietrich & Mercedes de Acosta"Queen Christina, debonair in high boots and brass buttons, grasps the face of Countess Ebba between her hands and kisses her squarely on the mouth. Amy Jolly, carefully dressed in tails, white tie and top hat, steps off the stage to stroll among the audience as she sings. She spies a pretty girl at one of the tables and kisses her. She takes a flower from behind the girls ear and asks, May I have this? In 1933, Greta Garbo played the title role of Queen Christina, the real-life monarch of Garbos native Sweden from 1632-1654. Marlene Dietrich played Amy Jolly, a fictional cabaret singer in the 1930 film, Morocco. For gay women in the early 30s, these flickers of lesbian content were decidedly a thrill. Even today to watch Greta Garbo stride across the television screen and say, I have no intention of dying an old maid. I shall die a bachelor! is enough to make us gasp in delight. Even more exciting for us now is the knowledge that two of Hollywoods most beautiful and glamorous actresses did indeed kiss the girls. Garbo and Dietrich are still considered the most alluring stars of the 1930s. There were many similarities between their images and careers, and even their private lives. Both were from northern Europe: Garbo was Swedish and Dietrich German. Each had a sensual, mysterious image; both wore mens clothes (from the same tailor no less); and, although they did not meet until the 50s, from about 1933 to 1938 they shared the same lover, a woman named Mercedes de Acosta. De Acosta was no less glamorous or intriguing than her famous girlfriends. She was something of a star collector and wooed some of the most glamorous women in Hollywood. She claimed to be descended from Spanish nobility, although her family emigrated to the US from Cuba and that is more likely where they were from. She was a screenwriter at MGM, part of a thriving community of creative gay and bisexual women in New York and California which included Edna St. Vincent Millay, Willa Cather, Mary Martin, Janet Gaynor and many other women well-known in their day. In the late 20s, when silent films were still being produced, Garbo was in Hollywood making films and perfecting her image as a beautiful and mysterious woman. She quickly became one of MGMs biggest stars. Marlene Dietrich was in Berlin where she performed sexually ambiguous roles on stage and began to receive film offers. She had seen Garbo in several films already, and when Dietrichs first movie Prinzessin Olala (Princess Ooh la la) was released in September of 1928, the Film Kuriers critic wrote, ...heres another Garbo! Dietrich made several more films while still in Berlin, including The Blue Angel, creating her signature heavy-lidded gaze and languorous sultriness. Critics continued to compare her to Garbo, to accuse Dietrich of purposely mimicking her. Dietrich did indeed, in those days, admit to being much taken with Garbo and her mysterious beauty, and she remained obsessed by the Swedish star for decades. In the summer of 1931, de Acosta was invited to the home of another foreign screenwriter, Salka Viertel, who was from Germany and was also great friends with Garbo, whom she had invited. De Acosta and Garbo were immediately smitten with each other. Garbo was antsy in Hollywood and changed residences numerous times. The next time she moved she was within half a block of de Acostas house. Then de Acosta moved right next door to Garbo. Finally they moved in together. As lovers will, they quarreled. In July of 1932, Garbo went home to Sweden for eight months leaving de Acosta heartbroken. De Acosta did not remain in this state for too long. On an outing to the theater with a friend, she exchanged looks with a woman seated in the row in front of them: Marlene Dietrich. The next day Dietrich called on de Acosta bearing a large bouquet of white flowers. More flowers followed as well as a barrage of other gifts: Lalique vases, clothes, lamps. De Acosta sent them back to the department store they came from, but nonetheless, that autumn, the two women began a love affair that raged until May of 1933. In April of that year, Garbo returned from Sweden, and de Acosta and Garbo resumed their relations. Hollywood was then undoubtedly the seedbed of what is now called polyamory. All three of these women carried on with other lovers while with each other. No one seems to have thought anything of it. It was de Acostas modus operandi; although she preferred her girlfriends to be monogamous with her, she did not practice it herself. She wrote to Dietrich quite candidly of her feelings for Garbo (she was tied around the stars little finger) and Dietrich responded sympathetically. Until the 50s, the actresses bisexuality was only speculation. In 1955 Confidential magazine outed Dietrich to the world, linking her to a young woman called Frede and to Jo Carstairs, a wealthy butch with whom Dietrich was involved in the late 30s. At the time Dietrich was no longer making films but performed in Las Vegas, a change of venue which proved a lucrative venture for her. The exposé didnt hurt her reputation at all, although it probably would have 20 years earlier. In 1960 de Acosta published her memoirs, Here Lies the Heart, which detailed many of her affairs, including her relationships with Garbo and Dietrich. Up to this point de Acosta had remained on more or less good terms with both women. Dietrich remained a generous friend to de Acosta for decades, even reading and commenting on drafts of her memoir. Garbo, as mysterious and fiercely reclusive as her old Hollywood image, was outraged. When de Acosta phoned her on New Years Day, Garbo hung up on her and refused to speak to or see De Acosta again.By Classy Nessa & Francesca SFilmografi1920 - Herr och fru Stockholm 1921 - Konsum Stockholm Promo 1921 - En Lyckoriddare 1922 – Luffar-Petter 1924 - Gösta Berlings saga 1925 - Den glädjelösa gatan 1926 - Virveln 1926 - Fresterskan 1926 - Åtrå 1927 - Love 1928 - En gudomlig kvinna 1928 - Den mystiska kvinnan 1928 - Gröna hatten 1929 - Vilda orkidéer 1929 - En kvinnas moral 1929 - Kyssen 1930 - Anna Christie, engelsk version 1930 - Romantik 1931 - Inspiration 1931 - Anna Christie, tysk version 1920 - Susan Lenox 1931 - Mata Hari 1932 - Grand Hotel 1932 - Som du vill ha mig 1933 - Drottning Christina 1934 - Den brokiga vävnaden 1935 - Anna Karenina 1936 - Kameliadamen 1937 - Maria Walewska 1939 - Ninotchka 1941 - Tvillingarna