Customer Reviews

Ninotchka

5 star:		(11)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

What can be said of Garbo? Saying it again is not enough. In Ninotchka, Garbo portrays the steely-faced Ninotchka, stern functionary of Stalinist Russia. See comes to Paris to correct trade commissioners who have over-stepped their bounds. Over the course of her stay, she discovers the "City of Light", a life of laughter and love, and a desire to wear the silliest hat imaginable. Garbo begins by playing straight man to Melvyn Douglas' playboy. Their scenes together are loaded with rapid fire dialogue and brilliant jousting. And when Garbo, drunk on champagne, gets silly, Douglas and her play it up with some classic sight gags. An excellent classic movie in every respect.

Yet another yummy Ernst Lubitsch comedy, this time starring the often-dour Greta Garbo as a humorless Soviet agent who is seduced by Western materialism (and a dashing, jovial Melvyn Douglas) while on a mission in Paris. Some may find the film's political aspects to be dated -- but hey, that's totally the point! Lubitsch manages to lampoon both Stalin-era communism and the American stereotypes of the French (as libertine sensualists) all at one time... And while the Soviet state is roundly mocked, the plight of its people is not, so that Garbo's character is given her dignity and honor... as well as some swell close-ups and nice clothes! The best part of this film is her transformation from a robotic, literal-minded Party functionary into a fully-rounded human being... The scene in which Douglas tries to crack Ninotchka's icy facade, telling jokes and acting up in order to provoke a laugh or a smile, while she rebuffs his every overture in a clipped, chilly monotone, is one of Garbo's best performances, and a brilliant comedic stroke for Lubitsch. In effect, the manic, wisecracking Douglas is turned into a straight man for Garbo, whose minimalistic delivery controls the scene, in an almost Steven Wright-like manner. And, of course, the rest of the film is a delight as well. A fascinating, frivolous look at prewar European politics, and a real humdinger of a screwball comedy, with a clever, snappy script co-written by Billy Wilder. What's not to enjoy, comrade?

So says the Parisian waiter to the stern Ninotchka (Greta Garbo) as she orders a plate of---well I guess it could pass for nouvelle cuisine in California today.

Meanwhile Count Leon (Melvyn Douglas) smitten hopelessly with 'my beautiful, barbaric Ninotchka' attempts to convince her that he dines at this 'worker's proleteriat' restaurant every day, and worse, tries to make her lsugh by telling her a lame joke about two Scotsmen. Am I getting to complicated? No matter, this scene, like every other scene in this film, is funny, witty, urbane and has a wonderfull pay-off at the end.
NINOTCHKA is THE archetype of the romantic screwball comedies.

The best.--and Garbo's only comedy.

Lubitsch's masterpiece (I'd give 'To Be or not To Be' a close second place) is delicious fun all the way through.

Greta Garbo spoofs communism, French sophisticates, the eternal war of the sexes, but most of all, she spoofs the screen personna of Greta Garbo.

One can tell that she had a blast playing counter to type--no melodramatic semitragic heroines here, it's pure wit and laughs. A fast and crazy ride, as the idealistic Ninotchka falls in love.

Among the writing credits you might notice a recent emigre to America: Billy Wilder.

See it with someone you love. And if you start to get carried away, 'Suppress it'

Ninotchka is a funny, well-written film with a good dash of romance showcasing Greta Garbo's beautiful, expressive eyes.
Her unlikely relationship with Melvyn Douglas is a hit; one that you hope will succeed.

The only flaw in the film is its characterization of Soviet Russians as buffoons (contrast the simpleton emissaries with the multi-faceted duchess) and its constant smug references to the superiority of the U.S. political system. Initially these references are just another facet of the good comedy: "I've been fascinated by your five year plan for the past 15 years" but after awhile they wear thin: [the man walking through another's apartment to get to his own or the line about the bird leaving a crumb of black bread].

Nevertheless, the action and the script, taken as a whole, is very smart and very funny. It includes some great romantic lines such as when a wooing Douglas (referring Garbo to a clock) says, "Look, one hand has met the other hand...they've kissed."

Garbo is the star. I didn't have any pre-conceived expectations of what she wouldn't do but the laugh scene in the cafe is certainly one of the highlights and key moments of the film--one that will likely have you laughing too.

This is a delightful movie with a clever plot and terrific dialogue. They truly don't make movies like this anymore. Leon's courtship of Ninotchka is persuasive, even if he is a dirty middle-aged man. The robotic Greta Garbo gets the choicest lines (Must you flirt...suppress it). Like all great comedies you feel sympathy and interest for all the characters, be they the buffoonish operatives or the rich heiress. The setting and landscape are very specific, but there is no sense in quibbling about the politics of communism or the way in which it is portrayed in this movie. It's a smart romantic comedy, smart romantic comedies unfortunately have been extinct for decades, and if Garbo laughing was a gimmick back in the day, it's simply refreshing acting for today's viewers.

Bela Legosi has a cameo appearance.

When three Russians, Iranoff (Sig Ruman), Buljanoff (Felix Bressart), and Kopalski (Alexander Granach), go to Paris to sell some jewels, trouble is sure to begin when the Grand Duchess Swana (Ina Claire) finds out. The reason? Because the jewels the three Russians are trying to sell originally belonged to her! With the help of her good friend, Count Leon d'Algout (Melvyn Douglas), they make it so that the jewels can't be sold unless the matter is brought to court. As Leon makes the Russians completely comfortable in the 'terribly Capitalistic city of Paris', envoy extradinaire Ninotchka (Greta Garbo) is sent to fix matters up. Strangely enough, Leon falls head over heals in love with the dour and stiff Ninotchka, even when he is told by her that love is only a 'chemical reaction'. But how can Ninotchka keep believing that when she begins to not only begin loving Paris, but to begin falling in love with Leon?

Believe it or not, this is my first Greta Garbo movie to watch! And I immediately fell in love with her style of acting. She just shines in her role as the 'seemingly' dull and unattrative Russian woman. But, I mean literally, she just seems to become more and more beautiful as we see the real woman inside of her. And as many other reviewers mentioned, when she laughs, it was just so charming, you couldn't help but smile and laugh along! Melvyn Douglas was equally charming in his role and the perfect example of a 'decadent and capitalistic gentleman'. He is so full of charm you can't help but smile the whole time he's on the screen. There are plenty of other notable cast members (the three Russians and the Grand Duchess) but Greta Garbo and Melvyn Douglas are who really add the sugar and spice the movie.

The humor is incredibly well incorporated into the film. Oh, how I miss the wit and humor of the oldies! "Ninotchka" is not far from being one of the best comedies of the 1930's to the 1950's. With plenty of gags, wit, sarcasm, and yes, some slapstick humor, I guarantee you'll laugh so hard you'll cry! Some of my most favorite lines are:

Ninotchka: We don't have men like you in my country.
Leon: Thank you.
Ninotchka: That is why I believe in the future of my country.

Ninotchka: Why do you want to carry my bags?
Porter: That is my business.
Ninotchka: That's no business. That's social injustice.
Porter: That depends on the tip.

Ninotchka: Must you flirt?
Leon: Well, I don't have to, but I find it natural.

Ninotchka: Suppress it.

The ending is extremely lovely and I love the romance in the movie. Greta Garbo and Melvyn Douglas make such a great duo. My advice to you is, if you love the old comedies, watch "Ninotchka". With its beautiful acting, story, humor, and romance, I'm sure it'll become a favorite of yours. I also highly recommend MGM Cole Porter's musical, "Silk Stockings". Made in 1957, it has the same basic story outline of "Ninotchka", but made into a musical. Incredibly charming, Fred Astaire and Cyd Charisse play their parts beautiful. Many of the lines are word for word!

To see someone like Garbo choosing to be fun, instead of beautiful, is a real treat. This won't spoil anything: viewers will fall out when Garbo, all dowdy and Soviet-like, goes into a restaurant and orders raw vegetables. The waiter says, "...this is a restaurant...not a meadow."

Really good flick.

Had he not also plumbed the Third Reich for laughs, in To Be or Not to Be, one would be inclined to say that Ernst Lubitsch's take on the
USSR is too light-hearted here. But since he's an equal opportunity belittler, we'll cut him some slack. Greta Garbo plays Ninotchka, a dour
and committed Soviet aparatchik, who comes to Paris to check up on three zany fellow comrades [Buljanoff (Felix Bressart); Iranoff (Sig
Rumann); and Kopalski (Alexander Granach)], whose mission to sell a famous collection of jewels, which once belonged to the Grand Duchess
Swana, has turned into a slightly debauched frolic through a grand hotel and a bevy of cigarette girls. Though initially interested only in
unloading the jewels--which are going to help pay for food, the Soviet harvest having failed--Ninotchka is gradually wooed and won by a
dapper and somewhat dissipated Count Leon D'Algout (Melvyn Douglas), who is ostensibly representing the interests of the Grand Duchess.

While Ninotchka succumbs to the Count and the City of Lights, the Grand Duchess schemes to win back her boy toy Leon. She agrees to give
up her claim to the jewels if Ninotchka will return to Russia immediately, assuming that once safely out of the way she'll be forgotten. But
Leon is not so easily sidetracked and, with the aid of Buljanoff, Iranoff, and Kopalski, the lovers are reunited.

It is one of the perverse results of the quite thorough penetration of Hollywood by the Communist Party that this rather fluffy comedy is about
as critical a look at the Soviet Union as filmgoers got, especially in the 30s and 40s. The script is considerably less acidic than we might expect
from the writing tandem of Charles Brackett and Billy Wilder (with Walter Reisch), but it does have its share of laughs, and they mostly come
at the expense of communism. In particular, the scenes that are set back in Russia, in Ninotchka's small shared apartment, portray a communist
experiment that obviously isn't working. There are also several jokes about murder being the price of disappointing the commissars. It's all
somewhat mild, but reasonably amusing.

Of course, the real point of the picture isn't to serve as a political commentary but to serve as a vehicle for Garbo, who was a big time movie
star back before celebrity came cheap. The plot pokes fun at her established silent-movie era image by having the ice queen melt. In the
keynote scene the mere fact that she guffaws became the basis for the film's advertising campaign : "Garbo Laughs!" read the posters. This was
actually her next to last role, before she became a recluse, and cemented that reputation for reserve permanently. But for us folk of later
generations, for whom she is obviously not really an icon, this kind of playing against type just doesn't resonate much. Another generational
problem arises because Melvyn Douglas, who you may remember as Shirley MacLaine's aged husband in Being There, strikes a modern viewer
as more smarmy than charming. So, even if you are captivated by Garbo, you can't help feeling that she could do better than settle for him.
The most likable characters are Buljanoff, Iranoff, and Kopalski, who if the film had been made today would be the ones who got a TV series
of their own.

Personally, I found myself rooting for the admittedly buzzardly Grand Duchess to get her jewels back and lose the Count, but then I'm an
unreconstructed White Russian.

GRADE : B+

I saw this movie one rainy night at the Clatsop Community College campus in Astoria, Oregon. I've been in love with this movie ever since. Every successful romantic comedy made since this film was released in 1939 owes part of their success to it. Greta Garbo takes a break from her serious filmmaking career and plays a strong, yet reasonable Russian woman. Melvyn Douglas is perfect in his role as well. The consumate playboy, he sees Garbo on the streets of Paris and must have her. It's not that easy though. Ninotchka isn't in Paris for romance.

Combining these two characters with the surrounding cast, it's easily one of the best comedies ever made. The writing is intelligent, and everything about this film has stood the test of time.

I have this film on laserdisc, and am wondering what's the hold up on the DVD. I'm guessing it must be Garbo's estate. Hopefully there'll be some exciting extras on the title when it's finally released. (Like the great extras on the "Rebecca" laserdisc box set & dvd set from Criterion.)

An expertly-played and presented comedy that continues to be dogged by detractors for the oddest reasons. Some feel NINOTCHKA suffers compared to Lubitsch's earlier work, finding it formulaic alongside 1933's TROUBLE IN PARADISE. (I hadn't known Lubitsch had been given 'do-what-thou-wilt' privileges from the Hays Office - I'd labored under the delusion he faced the same restrictions in content and tone every other moviemaker did in 1939.) Other nay-sayers decry the film's jabs at Soviet collectivism as 'dated' if not 'unenlightened'. (Huh? You mean show trials and forced starvation of kulaks were GOOD things that a truly witty screenplay would celebrate?) Still other kibitzers squawk over the casting, of all things! (While it IS fun to picture William Powell or Robert Montgomery in the role of Leon, the boulevardier, Melvyn Douglas was never better than he is here. If he has his spotty moments, it's in those scenes where he must swoon with ardor, reciting dialogue that rings a tad purple to the ear; it's quite possible Powell or Montgomery would have fared even worse reading those lines.) Okay, enough defensive posturing - now let's go to NINOTCHKA's numerous strengths. Garbo is magnificent; she has a real knack for comedy (her deadpan entrance is hilarious) yet, as always, is able to break your heart with a look, a word, a gesture. Her three 'stooges' (Sig Rumann, Alexander Granach & Felix Bressart) are broadly funny and genuinely endearing. Ina Claire is everything her legend always claimed she was - though her character is icily calculating, you can't hate any woman who can make dialogue bristle like this. Lubitsch is in complete command throughout; his staging and pacing of the proceedings masterful in its seeming effortlessness. Even the storied Metro glitz shines in NINOTCHKA, right down to the brilliant artifice of Cedric Gibbons' art direction (the Eiffel Tower sets especially). Last but not least is the superb screenplay by (among other hands) the team of Charles Brackett & Billy Wilder. Wisely, their satiric darts are dipped in a curare leavened by wit and sentiment, and while they are thrown with accuracy, their sting is never such that the satire sinks into the mire of political ideology. NINOTCHKA, after all, is about the triumph of love over politics, and to those who feel faint from the prevailing toilet-ethic of the Farrelly Brothers' blood-poisoning of modern comedy, represents a much-needed antidote. Inoculate yourself at your earliest opportunity.