lugonian CONQUEST (Metro-Goldwyn-Mayer, 1937), directed by Clarence Brown, is not a full-fledged biography nor grand scale remake of the four hour silent epic of director Abel Gance's French masterpiece, NAPOLEON (1927), though any attempt might have been interesting. Instead, this historical mini 112 minute epic indicates: "This is a story of an historic love. The imaginary detail supplied by the dramatist has not violated the spirit of this immortal romance." Starring the fine combination of Greta Garbo and Charles Boyer for the first and only time, CONQUEST, like NAPOLEON, falls into a lavish scale style, fortunately not at four hours. It does, however, equally balance these leading performers to the best capacity in screen entertainment. Reportedly a box office disappointment upon release, it was Boyer, not Garbo, who garnered enough attention to earn an Academy Award nomination, indicating Boyer was not just an ordinary Garbo co-star, but a logical choice to play Napoleon. Told in detailed title format, the first chapter reads, "January 1808, Eastern Poland" followed by rebellious horseback riding Cossacks invading and destroying personal property of the luxurious home of 75-year-old Count Wakenski (Henry Stephenson) and his attractive, younger third wife, Marie (Greta Garbo). Shortly after the intruders depart comes Marie's brother, Lieutenant Paul Pachinski (Leif Erickson) of the French Army, with news of the Emperor Napoleon and his Army arriving in Poland. Later that night, Marie leaves home just long enough to see and capture the attention of Napoleon (Charles Boyer) while standing outside a church. Chapter Two: "Two months later, at the Poniatowski Palace, Warsaw" - The Count and Marie attend a ball where Napoleon, after meeting with the Countess once more, attracts attention from surprising guests by being together on the dance floor. Though Marie consoles her husband of Napoleon's love letters to her, it is Senator Malachowski (George Zucco) who encourages her to accept Napoleon's invitation so he can free Poland. Having gone against her husband's wishes, Wakewski leaves Marie and annuls their marriage. Chapter 3: "The Castle of Finckenstein, East Prussia" - With Napoleon and his personal staff seeking shelter in the Wakenski home, Marie acts coldly towards the aggressive guest. Things eventually change as Napoleon's loneliness falls into Marie's own personal pattern. After Marie's brother learns of their affair, he loses all respect for them. Chapter 4: "Two years later, July, 1809, The Rue De La Houssaie, Paris" - Bonaparte's mother, Laetitia (Dame May Witty) confronts Marie of her son's intention on divorcing his wife, Josephine; Chapter 5: "Three Weeks Later, Schoebrunn Castle - Vienna" - Napoleon encounters an assassin; Talleyrand (Reginald Owen) encourages Napoleon to marry the Duchess Marie Louise of Hapsburg in order to have an heir of royal blood. The news proves disappointing for Marie; Chapter 6: "Two years later, December 1812, The Retreat of the Grand Army from Moscow through Poland," Napoleon and Army march through a stormy blizzard and encounter a half frozen soldier; Chapter 7: "Two years later, August 18, 1814, The Island of Elba" - After a defeat at Waterloo, Marie arrives with a surprise for Napoleon; Chapter 8: "One month after Waterloo, July 1815, The Port of Rochefemas, France." Napoleon goes into exile.In the supporting cast are Claude Gillingwater Sr. (Stefan, Marie's loyal servant); Alan Marshal (O'Ornano); C. Henry Gordon (Prince Poniatowski); and Scotty Beckett (Alexander). Maria Ouspenskaya should not go unmentioned as the Countess Pelagia, Wakewski's sister with memory loss. Her card playing encounter with Napoleon is as noteworthy as Napoleon telling Marie that, "You are the only woman whose favor I ever begged for." Aside from a smooth underscoring by Herbert Stothart, and impressive sets, CONQUEST, which often cries for Technicolor as well as extensive war battle scenes, the camera shows Garbo to great advantage on numerous occasions of her now mature, yet stunning beauty. No stranger to broadcast television prior to the 1980s, CONQUEST, with availability after-wards on video and DVD formats, remains a much underrated Garbo product. Interestingly, in the 1990 documentary, "The Divine Garbo," as hosted by Glenn Close, of all the Garbo films, CONQUEST did not get a single mention, almost as the movie itself never existed, which is quite unfortunate. CONQUEST may not be accurate in its historic account nor will it ever become a sort-after Garbo conquest in cinema history, but it's certainly worth exploring the next time it broadcasts on Turner Classic Movies. (****)

blanche-2 "Conquest," a 1937 film directed by Clarence Brown, stars Charles Boyer and Greta Garbo as Napoleon and his lover, Marie Walewska.The film is based on the true story of Polish patriot Marie Walewska, a married woman who becomes the mistress of Napoleon with the belief that it will help her country gain its independence. The two have a great love affair, but politics intervene. The power of love becomes the victim of the love of power."Conquest" is a little uneven and unsure of its plot. It begins very dramatically, with the Cossacks, horses and all, crashing into Count Walewska's (Henry Stephenson) palace. From there, we get the love affair and then Napoleon's battles, exile to Elba, and his return.The film isn't really a Garbo film; it's a rare film where she is secondary. Napoleon (Boyer) is really the main character. The love affair becomes secondary to Napoleon's battles, both political and on the field.Garbo is good, but I guess it's a little jarring not to have the film all about her. Boyer is fantastic - tough, passionate, conflicted, and ambitious, a man seen as a savior to some and a bully to others. Truly one of his greatest roles.Worth seeing for the cast, which also includes diminutive Maria Ouspenskaya, sets, and costumes.

alberto f. cañas Ever since I first saw "Conquest" back in '38, I've been convinced that the first half of the film is a magnificent production, while the second half is terribly slow,as Clarence Brown's films always tended to be. The magnificent opening, with the cossacks invading the Walewski Palace, is typical of the best Clarence Brown, even if reminds you of Josef von Sternberg's "The Scarlet Empress". The trouble with the picture is that it starts telling the story or Marie Walewska, and in the middle leaves Walewska (and Garbo!) behind to tell us the political and military fall of Napoleon, which it does very badly. It is typical of this Garbo film, that its best scene omits her, and is a verbal duel between Charles Boyer and Maria Ouspenskaya. Garbo is magnificent, but Boyer was a more talented performer, and is the only actor ever to "steal" a picture from her. Magnificent production, a screen play that has no unity, and a direction that drags, conspire to make you admire Garbo, Boyer and Ouspenskaya during the first half, and sleep through the second.

Arthur Hausner Some scenes in this film drag on too long and others are too wordy, but I thoroughly enjoyed Charles Boyer's performance as Napoleon Bonaparte. His slight accent accentuates believability. The same can be said about Greta Garbo's slight accent, but she is so stunningly beautiful I hardly noticed. She is also excellent in her last dramatic performance. There are two great scenes to watch for: the opening attack of the cossacks, riding their horses inside the stately home of Garbo and Henry Stephenson and wrecking it; and the ball at the palace in Warsaw, filled with noblemen and noblewomen adorned in gorgeous period clothing. (The gowns were designed by Adrian). Both crowd scenes are handled very well by director Clarence Brown. I was a little disappointed in the limited screenplay. Somehow, when I think of Napoleon I think of a grand epic such as "War and Peace," and not just his personal life. The only part of his war life you see is a brief scene of his retreat from Moscow in the harsh Russian winter. I was impressed by Napoleon's vision of a United States of Europe. He would have been delighted at the introduction of the Eurodollar this year.