Although my main reason for seeing 'Conquest' (the film's title in my country in case anybody is wondering) was Greta Garbo, the subject was also intriguing. Charles Boyer was hardly exempt from good and more performances and Clarence Brown, while not a consistent director (regarding his work with Garbo, some films were a lot better than others), was sympathetic and engaging when on form. Was a little worried though when hearing opinions of it being an uneven film.
Unfortunately do share this opinion, though 'Conquest' has a huge amount that works in its favour. So it still manages to be decent. Do however agree with anybody that it is a film of two halves, one half is great but the other is a let down. Whatever faults 'Conquest' has do not lie with the production values and the cast. The problematic and inconsistent story execution is what brings it down, it is frustrating because this could have been very good and even great if the second half was as good as the first.
'Conquest' looks great. The production design is suitably sumptuous, the costumes are a feast on the eyes and the photography even more so, the camera clearly loves Garbo for good reasons. She always did have uniquely striking features and they were nearly always photogenically presented on film. It's sensitively and not overpoweringly scored, nice use of Tchaikovsky too (the "Pathetique" symphony is a favourite). Brown gives some of the most sympathetic and engaging direction of all his collaborations with Garbo, while not a fan of everything he did his good and more films did show that he was worthy of more credit when he had good material to work with. Can see why Garbo considered him her favourite sound director, because he did understand her strengths.
The first half is actually better than great, it is at its best brilliant. The opening scene is a big standout in a jaw-dropping way and one of Brown's biggest triumphs as a director. Garbo and Boyer have a lovely chemistry together that never stops igniting even when the film loses its way. There are enough moments of energy, poignancy and even amusement. The supporting cast are all solid, such as the endearingly dotty Maria Ouspensaya, and Garbo is warm and tender with her visual and dramatic presence magnetic. Acting-wise, this is Boyer's film, as said by a few others there were not many leading men that outshone Garbo in her films but Boyer does so with his surprisingly complex portrayal of Napoleon.
It is such a shame that the second half disappoints as badly as it does and becomes messy. Not only does it not offer anything insightful, it fails too in being interesting. It gets really pedestrian and the excessive melodrama gets far too heavy that it becomes dreary and the sentimental slush becomes hard to stomach.
Similarly, too much of the script is too thinly sketched too, nice in the first half but there is a severe running out of steam feel in the second.
Overall, so many great things and the first half is so good but the pretty weak second half lets things down. 7/10
Unfortunately do share this opinion, though 'Conquest' has a huge amount that works in its favour. So it still manages to be decent. Do however agree with anybody that it is a film of two halves, one half is great but the other is a let down. Whatever faults 'Conquest' has do not lie with the production values and the cast. The problematic and inconsistent story execution is what brings it down, it is frustrating because this could have been very good and even great if the second half was as good as the first.
'Conquest' looks great. The production design is suitably sumptuous, the costumes are a feast on the eyes and the photography even more so, the camera clearly loves Garbo for good reasons. She always did have uniquely striking features and they were nearly always photogenically presented on film. It's sensitively and not overpoweringly scored, nice use of Tchaikovsky too (the "Pathetique" symphony is a favourite). Brown gives some of the most sympathetic and engaging direction of all his collaborations with Garbo, while not a fan of everything he did his good and more films did show that he was worthy of more credit when he had good material to work with. Can see why Garbo considered him her favourite sound director, because he did understand her strengths.
The first half is actually better than great, it is at its best brilliant. The opening scene is a big standout in a jaw-dropping way and one of Brown's biggest triumphs as a director. Garbo and Boyer have a lovely chemistry together that never stops igniting even when the film loses its way. There are enough moments of energy, poignancy and even amusement. The supporting cast are all solid, such as the endearingly dotty Maria Ouspensaya, and Garbo is warm and tender with her visual and dramatic presence magnetic. Acting-wise, this is Boyer's film, as said by a few others there were not many leading men that outshone Garbo in her films but Boyer does so with his surprisingly complex portrayal of Napoleon.
It is such a shame that the second half disappoints as badly as it does and becomes messy. Not only does it not offer anything insightful, it fails too in being interesting. It gets really pedestrian and the excessive melodrama gets far too heavy that it becomes dreary and the sentimental slush becomes hard to stomach.
Similarly, too much of the script is too thinly sketched too, nice in the first half but there is a severe running out of steam feel in the second.
Overall, so many great things and the first half is so good but the pretty weak second half lets things down. 7/10