Queen Christina (1933)

I like the storyline of this show,it attract me so much

Very best movie i ever watch

Memorable, crazy movie

The best films of this genre always show a path and provide a takeaway for being a better person.

Garbo retired from the screen long before I was going to movies so I've had to catch up with her piecemeal; Two-Faced Woman, for example, never seems to surface whilst Ninotchka is ubiquitous. Recently I acquired a boxed set which I'm working my way through and via which I have just watched Queen Christina. This definitely belongs in the category known as 'they don't make 'em like that anymore' and in this case the cliché describes both the film itself and Greta Garbo who remains luminous some 80 odd years on. People like Lewis Stone, C. Aubrey Smith and Akim Tamiroff, fine actors though they are to a man, simply don't exist in Garbo's world which is ironic as Akim Tamiroff is always spoken of as someone 'the camera loves'. I have no idea how much, if any, of the story is historically factual and frankly, my dear, I don't give a damn when Garbo is available to beguile and enchant.

Although this picture was one of the top ten at the U.S./Canadian box office for 1934, I think "Queen Christina" is somewhat over- rated. Garbo of course is magnificent. Superbly costumed and superbly set, like an ultra-polished jewel in a perfect surround. What is not so perfect is the script, which tends to be much given to verbose speeches. All this talk is wonderful when Garbo is doing the speaking, but somewhat less than entrancing when mouthed by such second-rate players as Lewis Stone, Ian Keith and John Gilbert, whose collective acting style in this movie can only be described as old-fashioned declamatory or even hammy. Stone, alas, is by far the worst offender. The way he pitches his voice so that it has an uncanny knack of hogging the mike, the way he beats up with much facial grimacing his repetitious and woefully predictable lines, the way he gestures with his hands, the patent insincerity and hallow shamming of his whole manner, betoken the true ham, the third-rate thespian who has nothing to offer but the most superficial vocal and histrionic "tricks". Gilbert is a lot better. He's obviously trying hard to please, but obviously receiving little help from his dialogue coach. Not only does his voice have that celebrated odd timbre which seems to mis-match his image, but he tends to deliver his lines in a stiff, unnatural manner. Oh yes, there are times, I know, when he's quite effective. But these, alas, are in the minority. He's also hampered by being unflatteringly photographed — Daniels reserves all his best efforts for Garbo, really pouring on the light in her close-ups — and none too attractively costumed. Oddly enough, it's young Elizabeth Young and old Sir C. Aubrey Smith (who appears at first sight to be miscast) who alone bring a bit of credit to the support cast (though we will give Reginald Owen the benefit of the doubt by saying he is the victim of inept direction). Mamoulian is a great pictorial stylist, no doubt of that. Many of the images and visuals in Queen Christina linger long in the memory. The famous final fade-out close-up is not alone in nostalgic elegance and atmosphere. Many of the long shots — particularly those with Garbo framed like a child — are equally beautiful, equally haunting. The music score, sad to say, is awful. Worse still, executive producer Irving Thalberg's brother-in-law has contributed his usual remarkably tinny sound recording. Fortunately, this problem has been rectified to some extent on the current Warner Archive DVD.

One of movies behind any definition. Like a unique picture. As a lake in winter. History and love story and presence of Garbo. An extraordinary director and memorable scenes. And the feeling than this tale , who may be about Elizabeth the I or Boudicca has not end. It is a huge exercise of perfection and beauty in each moment. A kind of spell and form of sculpture. So, it is not movie of a time. And it is not example of artistic precise art. But it is memory. Recollection. Subject of nostalgic moment and bone of a way to give the essence of a subject. This film is Garbo. And more. The details constructs a world strange and dramatic but like sculptural roots. A extraordinary show. A wonderful queen. And one of greatest movies.

A 1933 film set in 1632 and still relevant today.Sadly, a poignant comment on TODAY's politics and wars. Imagine a leader willing to embrace peace, to deal in diplomacy, to realize the not only the financial, but human cost of war!Aside from reading the film as a commentary on today - it's quite good on it's own.I thoroughly enjoyed watching an early portrayal of a strong woman in a leadership role. So refreshing (esp. for the 30's) to seeing a woman refusing to marry, freely taking lovers as she wishes.Garbo is magnificent, so regal so powerful and able to pull off the independent spirit needed for this character (loosely based on the real Queen Christina).It's an interesting study of duty vs. personal needs (better than, but reminding me of Roman Holiday, The Queen).Sure it's not perfect, why do the Swedes sound like drunken American cowboys. How could a Spainard mispronounce the name of Seville? I find it interesting that so many of the characters supposedly find her a young boy simply from her male style of dress. (despite the lipstick & makeup). But these are minor flaws in a great film.*SPOILER*: my only issue is that she's willing to give up her crown to someone she said was simple and warlike. And that Count Magnus is not punished for his actions.