Halfway through this film, I started thinking how it almost seemed like the kind of film George Cukor would direct, with fussy attention to detail. Instead, CONQUEST is directed by Clarence Brown, a workmanlike craftsman who also tended to dwell too long on intimate and wordy scenes that lack enough spark.
However, he does elicit fine performances from Garbo and Charles Boyer. Garbo is radiantly photogenic as the married woman, wife of an elder man (Henry Stephenson), who for the sake of her country gives herself to Napoleon (Boyer). And Boyer is every bit as convincing as the man destined for his Waterloo, acting the part with every bit of his abilities and often stealing the show.
But what really steals the show is the lavish production MGM gave this story. The sets are opulent, majestic and large, looming over every frame of the film with no expense spared. The artful B&W cinematography captures every elegant detail of costumes and sets with breathtaking results.
And the supporting cast is a sturdy one, including Dame May Witty, Reginald Owen, Maria Ouspenskaya, Alan Marshal and Leif Erickson.
Garbo is livelier than usual, even smiling more often for her "gayer" moments when enthralled with being in love, and the chemistry between her and Boyer is evident from the start.
It's too bad the film wasn't fully appreciated as one of her best films when it opened, but time has been kind to it. Despite some slow moments amid a longer than necessary running time, it's an historical romance played out in the Golden Age tradition of opulence expected from MGM.
However, he does elicit fine performances from Garbo and Charles Boyer. Garbo is radiantly photogenic as the married woman, wife of an elder man (Henry Stephenson), who for the sake of her country gives herself to Napoleon (Boyer). And Boyer is every bit as convincing as the man destined for his Waterloo, acting the part with every bit of his abilities and often stealing the show.
But what really steals the show is the lavish production MGM gave this story. The sets are opulent, majestic and large, looming over every frame of the film with no expense spared. The artful B&W cinematography captures every elegant detail of costumes and sets with breathtaking results.
And the supporting cast is a sturdy one, including Dame May Witty, Reginald Owen, Maria Ouspenskaya, Alan Marshal and Leif Erickson.
Garbo is livelier than usual, even smiling more often for her "gayer" moments when enthralled with being in love, and the chemistry between her and Boyer is evident from the start.
It's too bad the film wasn't fully appreciated as one of her best films when it opened, but time has been kind to it. Despite some slow moments amid a longer than necessary running time, it's an historical romance played out in the Golden Age tradition of opulence expected from MGM.