Romance

Plot

On New Year's Eve, a young man named Harry informs his grandfather, a Bishop, of his intention to marry an actress despite the potential social scandal. To provide perspective, the Bishop recounts a poignant flashback to his youth as Tom Armstrong, a rector in 1860s New York who fell deeply in love with the celebrated Italian opera diva Rita Cavallini. Their passionate affair is complicated by Rita's past as the mistress of the wealthy Cornelius Van Tuyl and the rigid moral expectations of Tom's aristocratic family. As Tom struggles to reconcile his religious devotion with his desire for a woman of 'fallen' reputation, the narrative explores the painful sacrifices made in the name of social propriety. Ultimately, the aged Bishop uses his own heartbreak to counsel his grandson on the true value of love over societal standing.

Historical Background

Released in 1930, 'Romance' arrived during the 'Pre-Code' era of Hollywood, a brief period before the strict enforcement of the Motion Picture Production Code in 1934. This allowed the film to deal more frankly with themes of 'fallen women' and illicit affairs, though it still maintained a degree of Victorian morality inherent in its 1860s setting. The film also reflects the industry's rapid transition from silent to sound cinema, where studios were still experimenting with how to balance dialogue-heavy scripts with visual storytelling.

Making Of

The production of 'Romance' was marked by the studio's desire to maintain the 'Garbo Mystique' while navigating the technical hurdles of early sound recording. Director Clarence Brown utilized static camera setups typical of 1930, which some critics felt gave the film a 'stagy' quality. Garbo worked closely with dialogue coaches to refine her accent, though she retained the deep, soulful delivery that became her trademark. A notable challenge was the casting of the male lead; Gavin Gordon's performance was met with mixed reviews, as many felt he lacked the screen presence to match Garbo's intensity. The film's 1860s costumes were designed by the legendary Adrian, who would go on to define Garbo's iconic look throughout the decade.

Visual Style

Photographed by William H. Daniels, Garbo's favorite cinematographer, the film uses soft-focus lighting and careful close-ups to enhance Garbo's features. The visual style is characterized by its lush, high-contrast black-and-white tones, which create a romanticized version of 19th-century New York. While the camera movement is limited due to the bulky sound equipment of 1930, the lighting remains a masterclass in Golden Age glamour.

Innovations

The film is a notable example of early sound-on-film technology, specifically the Western Electric Sound System. It successfully integrated operatic singing and orchestral music with dialogue, a complex task in 1930. The use of a flashback structure was also a relatively sophisticated narrative device for the early sound period.

Music

The score, composed by William Axt, incorporates operatic elements to reflect the protagonist's career. Garbo's character performs excerpts from the opera 'Martha', though her singing was dubbed. The film also features Garbo playing the piano and singing 'Annie Laurie' and 'A Dream of Love' (Liebestraum), adding to the film's melancholic and romantic atmosphere.

Memorable Scenes

• The first meeting between Tom and Rita at the lavish evening party, where the contrast between his somber clerical attire and her flamboyant operatic glamour is highlighted.
• The climactic confrontation where Tom discovers the truth about Rita's relationship with Van Tuyl and must choose between his faith and his love.
• The final scene of the flashback where Rita prays for Tom to leave her, sacrificing her own happiness to save his reputation and soul.
• The 'bookend' scenes featuring the aged Bishop Armstrong sharing his wisdom with his grandson on New Year's Eve.

What Critics Said

At the time of its release, Mordaunt Hall of The New York Times praised Garbo's performance as 'as good as anything she has done on the screen,' though he noted the film's theatrical roots. Modern critics often find the film's pacing slow and its direction static, typical of early talkies, but Garbo's luminous presence is consistently cited as the film's saving grace. Some contemporary reviewers criticize Gavin Gordon's performance as stiff compared to Garbo's more naturalistic (for the time) emotional depth.

What Audiences Thought

The film was a commercial success, earning a profit of $287,000 for MGM. Audiences were still captivated by the novelty of hearing Garbo speak and were drawn to the high-society drama and romantic tragedy. It performed particularly well in international markets, where Garbo's star power was immense.

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