dsmith-25000 General Director Preysing being arrested for killing Baron Felix von Geigern makes little sense. The Baron was trying to rob him and a competent police force would only bring Preysing in for questioning, after which he would probably be released due to self defense. Even the audience knows he acted in anger, its unlikely that it would have resulted in charges.Also unlikely that Grusinskaya could get out of the hotel with a murder in nearby room without hearing about it.

George Wright When I watched this movie set in Berlin in 1932, I immediately thought of the previous war and the coming war and the depression the world was going through. Certainly there are references to the events of the day but mostly, this movie is a set of stories about a group of people together at a particular point in time. The idea goes back to the Canterbury Tales and is reflected again in classics like John Steinbeck's Wayward Bus. In the cinema, we also see it in the movie Ship of Fools directed by Stanley Kramer. The stories here are generally sad, with conflicted characters in search of love, money, power or in one case, a onetime fling with happiness before death. The movie has a superb script and a cast of characters played by some of the great actors of the time: two of the Barrymores, Lionel and John, Greta Garbo, Wallace Beery, Joan Crawford, Lewis Stone. The overhead shots of the circular balcony levels in the interior of the building are stunning. The characters are a commentary on human society. A luxury hotel with impeccable service does not mean everyone inside is content, much less living in the lap of happiness. I couldn't take my eyes away from this two hour long movie with its various vignettes. It was riveting but I could also imagine myself out for an evening's entertainment in my best attire just like an audience in1932; 85 years later, the movie is still great viewing.

lasttimeisaw This early MGM talkie is a trend-setter at its time for the all-star glamor, also an Oscar BEST PICTURE winner (oddly enough, without any other nominations). There are five centre characters hemmed in Berlin's Grand Hotel, a Russian prima ballerina Grusinskaya (Garbo), a moneyless Baron Felix von Geigern (John Barrymore), an accountant Otto Kringelein (Lionel Barrymore), a dying man who decides to shell out all his savings by living in the luxury. Then a young stenographer Flaemmchen (Crawford), hired by the industrial magnate Preysing (Beery), who is negotiating a merger deal and is the former employer of Mr. Kringelein. None of them are satisfied with their status quo, Grusinskaya is grievously rattled by the fading appeal of her dance as the turnout is ebbing away and the thought of suicide sneaks in, while the chivalric Baron must abase himself to theft in order to pay back his debt, but sadly that kind of deal doesn't go along with his blue blood, and when he resorts to his last straw - gamble, luck is not on his side when Otto's beginner's luck foreshadows his doomed nobility. But the ablaze passion between Grusinskaya and Felix appears so genuine and powerful, it might save both from their plights, they are planning to catch a train together but the twist of fate cannot let that happy ending happen. Here Garbo histrionically alternates between frowning in angst when dreads for her future and flitting about hyper-actively when a budding romance resuscitates her life. John Barrymore, revels in posing as suave and earnest, a heart-stealer in every sense, their ill-destined romance is the quintessential melodrama no matter how dated it comes across by today's standard. Flaemmchen is charmed by Felix's debonair appearance too, but he returns with an avuncular affection, calls her "the funny one" and promises a dance only. She succumbs to reality, a pretty girl who needs money, when the one she loves cannot love her back, she moves on, grants tacit consent to become Preysing's mistress, but eventually, after a heartbreaking incident, fate offers her a better option and she does't hesitate to take it. Crawford is my pick of MVP in this movie, at her utter prime, she blends her magnetism perfectly with the worldly wisdom, her acting is less mannered and occasionally sparks with certain flair of self-assurance, a true flapper of its time. As for Otto, he is supposedly to be a sympathetic character, but myself find Lionel Barrymore's all-over-the-place acting quite annoying, wanting any trace of subtlety needed to counterbalance the haphazardly-paced narrative, together with Beery's hateful Preysing, an outrageously repulsive character, becomes the nadir of star-power vehicle (Beery won BEST LEADING ACTOR at the same year for THE CHAMP 1931 though).Director Edmund Goulding (THE RAZOR'S EDGE 1946, 7/10) is an important name in the Golden Age Hollywood - although never won any substantial accolade for his directing work, plus his filmography being too comprehensive to sum up thus it is difficult to extract his own directorial touch to be categorised as an auteur - his adroit skill in manoeuvring a large and elaborate set, the outstanding fluidity of shifting his camera within a confined interior and magnanimously permitting enough space for his stars to enjoy the spotlight, is undeniably a key factor is this polished hit of its era.

grantss The 1932 Best Picture Oscar winner hasn't aged well. Stuffy, snooty, aloof, with some pretty hammy acting. Slow moving. The first 80% of the movie felt like Act 1, the set up. Then, when things do start to happen, it is over very quickly, and then onto the conclusion. Pacing is horrendously bad.The characters were hardly likable. In fact, the only one I cared about was Joan Crawford's character, the stenographer. Maybe because she was the only real, down-to-earth one of all of them. Everyone else just seemed stuck up, scheming or nuts.The likability of the stenographer is largely due to Joan Crawford's performance. She is fantastic - bubbly, witty and beautiful. None of the remainder of the cast worked for me. Greta Garbo, John Barrymore and Lionel Barrymore all seemed like they were auditioning for a play - very overdone, overacted performances. Admittedly, this was the early days of talking movies, so maybe old, silent movie, habits died hard. Certainly makes me wonder what all the fuss about Greta Garbo was, at least.