Marie Walewska

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.

CONQUEST (1937) directed by one of Garbo's favorite directors, Clarence Brown, is a movie that appears to have multiple levels of analysis. It is a historical epic, it is a romance, it is a Garbo movie and a Charles Boyer movie at the same time. Moreover, it is a Hollywood classic production from the days when art meant something more than automatic computerized techniques.

I had usually wondered why many modern movie buffs turn to old films until I myself came across one or two true silver screen classics and fell in love with them. Now, for me, the most obvious answer to that question is that these films had a soul, they were made for beauty and passed this beauty to the world. In other words, they really had something to offer. However, they were also vehicles for stars. Among the actresses that still stands as a symbol of that cinema is Greta Garbo.

Garbo, however, does not appear to be so good here as in her other films. She has a difficult role that, logically, occurs quite vague for the Swede. She portrays a very specific patriot, a Polish patriot, Marie Walewska whose love to her nation is psychologically torn by the love to a great conqueror, Napoleon Bonaparte (Charles Boyer). He was, historically speaking, a great hope for the Poles since Poland did not exist at the map at the time and patriots hoped that by gaining Europe, he will help Poland rise again from the oppression of three neighboring empires. And that is mentioned clearly in the movie; yet Garbo turns out to be better in the romantic side of the role than in the historical one.

Charles Boyer as Napoleon is perfect. He truly portrays an ambitious unstable character: proud, inconsistent, emotional, sometimes furious, strong yet easily broken conqueror whose psyche is built upon power and madness, upon courage and fear. He is the one who shakes the very fundamentals of Europe and, to the contrary, the one who is shaken within. His performance is truly one among the very best in the history of cinema and, as a result, his character is usually dominant in CONQUEST even though the film is not solely on Napoleon. There are roles everlasting, like Peter Ustinov's in QUO VADIS (1951), Garbo's in QUEEN Christina (1933), Bergman's in CASABLANCA (1942). So is it with underrated Charles Boyer's in CONQUEST (1937).

Except for the aforementioned advantage of the movie, the historical events appear to be shadowed in the movie, directed towards background, like in many Hollywood movies of the time. Therefore, history is not a strong point of the film. Yet, the two other strengths about CONQUEST that should still be appreciated and cherished are stunning visuals and memorable moments. Clarence Brown was very good at directing elegant sequences in royal courts. He proved that in ANNA KARENINA a few years earlier as well as in other of his productions and that is exactly what we have here in CONQUEST: exceptionally beautiful picture of a "luxurious life" with lavish sets. Consider, for instance, the Schonnbrunn scenes or a visually symbolic pearl when the map of Europe is shadowed by the figure of Napoleon.

As far as memorable moments are concerned, I most admired the romantic short scene when Napoleon tells Walewska "I love you" - such a well known sentence in cinema, yet presented in a beautiful way: snow falls as if it sealed their words. Among funny moments, the one worth considering is the hilarious conversation between Napoleon and Countess Pelagia Walewska: when she asks him who he is and he tells her "Napoleon", that does not make sense to her at all. I also laughed at the scene when Napoleon learns to dance with Walewska. Among the supporting cast, the performance that I find worthy attention is Dame May Witty's as Laetitia Bonaparte, Napoleon's mother.

CONQUEST is a very beautiful film, a classic like many other movies of the time. However, as I have already mentioned, do not treat it as Garbo vehicle or your first Garbo movie for it is not. CONQUEST is the last film Garbo made with Clarence Brown, her last great love story but it is not at all similar to ANNA KARENINA or QUEEN Christina. CONQUEST is foremost an epic, a romance, a picture of sentimental patriotism and a Charles Boyer splendid manifestation of talent. 9/10

What was Greta Garbo's greatest film? I suppose most people would opt for CAMILLE, ANNA KARENINA (the sound version), QUEEN Christina, or NINOTCHKA. But I feel that CONQUEST may be the only major film in her career that she ended up being dominated by her co-star. It isn't that she doesn't act, or that Clarence Brown (her favorite sound film director) did not do what he could to show her to advantage. It is that Charles Boyer is a very fine actor, and he is playing one of the leading figures of history. Boyer is Napoleon Bonaparte, and he is fantastically good in the role, showing the childlike hesitation and fascination with simple things that mingled with his military and political genius (and growing egomania). My favorite moment in the film is when Boyer first dances with Garbo, and his clumsiness is actually quite charming.

Garbo could not compete with this character. Marie Walewski may have sacrificed all for her Poland (briefly Napoleon did create a Duchy of Warsaw out of fragments of the Poland that had been destroyed by Prussia, Austria, and Russia), but she did not do all that badly as the Emperor's mistress. She did not succeed Josephine as Empress (she could give no political advantage to Napoleon if they had married) but what advantage did Napoleon's second wife, Marie Theresa of Austria, get out of it - they married in 1809, had one sickly son (who died in 1831 as Duke of Reichstadt), and in 1815 the Emperor was defeated for the second and final time - her husband's empire was finally gone. So we are left looking at that fascinating man of destiny. He at least keeps our attention.

One problem that I have with the film - Reginald Owen is very good as Talleyrand, but in 1815 (at the time of Waterloo) he was not an adviser of Napoleon. In fact, with Joseph Fouche, they were doing their best to undermine the Emperor's attempt to return to power. He certainly would not have supported the creation of a new grand army to confront the Bourbons and the Allies. Yet even with this error, I have to admit that one of my favorite moments in the film is when Napoleon, after a discussion of military strategy with Talleyrand, throws his pen down on the table on a map, and it ("miraculously") lands pointing on the portion of the map where Belgium is, at Waterloo. A corny bit of business, but quite well done.

Goodness, I can't believe, I'm saying this, but Garbo is good in ''Conquest''...... Here I was, complaining the other day, about Garbo's ''Inspiration'', and saying the only good performance she ever gave was in ''Ninotchka''...... I take that back now, so far, her good performances are given in both ''Ninotchka'' & ''Conquest''...... Garbo & Boyer displays well blend chemistry together...... (a surprise, since this is their only movie together) However, it's Boyer who carries off, and holds the movie together, w/ his charm & wit...... (during some flat spots) You could see, that Garbo is responsive to Boyer's performance/character, unlike her usual ''I want to be alone'' self...... What's more stunning, is Garbo smiles in this movie..... (more than once too!) That's enough good shock for me...... We do see a rare, lighthearted Garbo here, just like in ''Ninotchka''...... I would even say, that Boyer is Garbo's best co-star so far..... Charles Boyer & Melvyn Douglas......

This frivolous epic may be novelettish at best but it is also sumptuous and highly entertaining and with Garbo and Boyer in the leads it couldn't be anything less. He's Napoleon, (and Oscar-nominated for his performance) and she's a Polish countess called Marie Walewska, (the film's alternative title), with a husband over twice her age, (the great Henry Stephenson). Initially she just admires Napoleon but then falls in love with him, leaving her husband and risking scandal and the movie works as a likeable if trite romance greatly helped, of course, by the chemistry between its stars, both of whom are outstanding. A splendid supporting cast and the kind of art direction that only money can buy also go to making this something of a treat.