NOTES: Despite his rave review in The New York Times, in which he commented upon Brown's "admirable artistry" and the film's "distinguished cast" ("Miss Garbo is undeniably alluring"), Mordaunt Hall did not find a place for the movie in either his "Top Ten" or his supplementary list. His fellow critics, however, were not so neglectful. In the annual Film Daily poll of 280 movie reviewers, Flesh and the Devil came in at 10th position. The movie also scored big at the boxoffice.
COMMENT: A fascinating and completely engrossing film noir, one of the top pictures in the genre, Flesh and the Devil rivets the viewer's attention from the very opening shot and never lets it go until the end title. Encouraged by Brown's inventive direction, ace cameraman William Daniels has a field day with noirish lighting and atmospheric effects. Great emphasis is placed upon darkness with some scenes so brilliantly lit, it's just possible to make out the players. Not that they have anything to complain about. Garbo not only looks great (Daniels, in fact, was her favorite cameraman) but gives a vibrant, smouldering performance that almost literally sets the screen on fire. More than one critic has even gone so far as to say that Garbo and Daniels walk away with the movie. That's not strictly true because Brown's sensitive direction also deserves a bouquet, and Gilbert's portrayal of the tortured hero is nothing short of compelling. He is more than adequately supported by Lars Hanson (a little inclined to over-act) and given solid competition by the ever-reliable Eugenie Besserer and particularly by Barbara Kent (her second of thirty-five movies) who most convincingly matures from sixteen to nineteen in the course of the story. George Fawcett also deserves a nod for his rounded portrait of the pastor who is not averse to brandy and cigars.
As might be expected from Metro-Goldwyn-Mayer, production values are nothing short of lavish. But not escapist lavish. Most realistically lavish. Sets and costumes are breathtaking, but always appropriately in character. A final compliment to Marian Ainslee whose dialogue titles are not only literate and pithy, but seem so completely natural they neither interrupt the flow of the story nor divert the viewer's attention from the tragedy that so engrossingly unfolds on the screen.
COMMENT: A fascinating and completely engrossing film noir, one of the top pictures in the genre, Flesh and the Devil rivets the viewer's attention from the very opening shot and never lets it go until the end title. Encouraged by Brown's inventive direction, ace cameraman William Daniels has a field day with noirish lighting and atmospheric effects. Great emphasis is placed upon darkness with some scenes so brilliantly lit, it's just possible to make out the players. Not that they have anything to complain about. Garbo not only looks great (Daniels, in fact, was her favorite cameraman) but gives a vibrant, smouldering performance that almost literally sets the screen on fire. More than one critic has even gone so far as to say that Garbo and Daniels walk away with the movie. That's not strictly true because Brown's sensitive direction also deserves a bouquet, and Gilbert's portrayal of the tortured hero is nothing short of compelling. He is more than adequately supported by Lars Hanson (a little inclined to over-act) and given solid competition by the ever-reliable Eugenie Besserer and particularly by Barbara Kent (her second of thirty-five movies) who most convincingly matures from sixteen to nineteen in the course of the story. George Fawcett also deserves a nod for his rounded portrait of the pastor who is not averse to brandy and cigars.
As might be expected from Metro-Goldwyn-Mayer, production values are nothing short of lavish. But not escapist lavish. Most realistically lavish. Sets and costumes are breathtaking, but always appropriately in character. A final compliment to Marian Ainslee whose dialogue titles are not only literate and pithy, but seem so completely natural they neither interrupt the flow of the story nor divert the viewer's attention from the tragedy that so engrossingly unfolds on the screen.