Swedish American Genealogist
Volume 27 | Number 3 Article 9
9-1-2007 Swedes in Hollywood before WWII Agnieszka Stasiewicz
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Recommended Citation Stasiewicz, Agnieszka (2007) "Swedes in Hollywood before WWII," Swedish American Genealogist: Vol. 27 : No. 3 , Article 9. Available at: https://digitalcommons.augustana.edu/swensonsag/vol27/iss3/9
This Article is brought to you for free and open access by the Swenson Swedish Immigration Research Center at Augustana Digital Commons. It has been accepted for inclusion in Swedish American Genealogist by an authorized editor of Augustana Digital Commons. For more information, please contact [email protected]. Swedes in Hollywood before World War II
Greta Garbo was not the only Swedish film actress who felt the lure of Hollywood
BY AGNIESZKA STASIEWICZ
The history of the early American This article refers to the period cinema cannot be separated from the before World War II. It cannot be for- history of immigration to the U.S. gotten, though, that after the war What would American film have been Swedes did not disappear from the like without Charlie Chaplin, Mar- American screen. It is enough to lene Dietrich, Greta Garbo, or Pola recall such movie stars as Ingrid Negri? Many actors and directors Bergman, Max von Sydow, Bibi An- came to the U.S. looking for fame and dersson, or Peter Stormare to re- fortune and the best of them were assure us that the immigrants of the offered profitable contracts. Step by first decades of the twentieth century step the brightest cinema stars of the found many remarkable successors. world concentrated in Hollywood. The five biggest movie companies, Pioneers Metro-Goldwyn-Mayer, Twentieth Swedes came to Hollywood early Century Fox, RKO, Warner Bros, and enough to take part in the process of Paramount were created there. In the American film industry’s creation the 1920s, 75,000 people – actors, practically from the time of its birth. Anna Q. Nilsson (1888–1974). directors, producers, technicians, The first actress of Swedish origin contained lots of valuable, although critics, fashion designers, and many who appeared there at the dawn of not always objective, information. others – were employed there. The the twentieth century was Linda The significant presence of Swedes greatest scenes of the world were Johnson Arvidson Griffith (1884– in American cinema began in 1911 recorded there as well. Moreover, in 1949), born in the U.S. Her first steps when Anna Q. Nilsson (1888 – 1974) the first years of the twentieth in the film industry were guided by starred in Molly Pitcher. From then century the U.S. imported a signi- the famous American Biograph Com- on she was regarded as one of the ficant number of foreign films, many pany. In 1906 she married the well- leading actresses in the silent cin- of which were from Sweden. known director David Wark Griffith. ema. Nilsson came to America as a After 1923 Hollywood entered a Beginning in 1907 Arvidsson played teenager in 1907. At first she worked period of uninterrupted prosperity. in over 150 productions. Her most as a nurse, but soon became a pop- New, astonishing phenomena ap- recognized role was Hester in The ular model. Then her beauty was peared: uncommonly high salaries Scarlet Letter (1913), which was noticed by film producers. Already in for movie stars, enormous sums described by the English magazine her first movie, Nilsson revealed spent on construction of sceneries, The Bioscope as “extraordinary sub- herself not only as a beautiful woman etc. Considering all this, it is hardly tle and deeply moving.” Linda Arvid- but also as a very gifted actress and surprising that America attracted son contributed to the movie industry she soon became famous, mostly for both beginners and the most bril- also as an author. Her memoir about her roles in westerns and melodra- liant actors of the time. Many of them the people of Hollywood of that time, mas. were of Swedish origin. When the Movies Were Young (1925),
16 Swedish American Genealogist 2007:3 Unfortunately, her career was in the U.S. but also in China and In The Wind Seastrom was faithful seriously shaken by a one-year pause Japan. The films starring Oland as to his principle of simplicity of plot she had to take after a serious horse Chan are considered an important and characters. Delicate idealist Let- accident. After treatment in Sweden step in cinema history as the longest ty, righteous Lige and cunning Roddy, and Austria, Nilsson came back on and most popular series of feature- strong Cora and cordial Beverly the screen in Babe Comes Home length films of those times. mesh into a sugestive and clear com- (1927). But with the dawn of the Before creating the character of position. The end of the film, though, sound film Nilsson’s fame faded. She Chan, Oland performed in the well- is not convincing. The main character was offered only minor parts such as known The Jazz Singer (1927). In the suddenly declares love to her hus- a very short scene in Sunset Boule- thirties he played in Shanghai Ex- band whom she previously despised vard (1950) when she played herself press (1932) and The Painted Veil and decides to stay in the land of as the movie star of yesterday. She (1934) with, respectively, Marlene winds, although she has hated it retired in California. Dietrich and Greta Garbo. In 1937 until then. Moreover, she claims not In her finest days Nilsson per- Oland unexpectedly resigned from to be afraid of the storm anymore formed in, among the others, Seven his work, returned to Sweden, and when a moment before she was close Keys to Baldpate (1917), The Luck of died a year later. to death with fear. the Irish (1920), The Lotus Eater Seastrom himself didn’t plan this (1921), The Top of the World (1925), Victor Sjöström – the banal and inconsistent ending. In the and Babe Comes Home. She also original version Letty, in the claws played a minor role in An American Swedish film school in of madness, runs outside into the in Paris (1951). Anna Q. Nilsson was Hollywood. sandstorm and dies. Such an ending, the first Swedish actress in Holly- Victor Sjöström (1879 – 1960) was a though, didn’t seem attractive e- wood who achieved real stardom and highly talented director and one of nough for an American audience, so whose name appears on the Holly- the creators of Swedish movie indus- Seastrom was made to change his wood Walk of Fame. try; in America he is known as Victor vision and introduce a classic Holly- Among the Swedish pioneer actors Seastrom. wood happy ending. Such incidents in American film industry one of the In the first decades of the twenti- were not uncommon. brightest stars was Warner Oland eth century Scandinavian films were Despite this incident, the Ameri- (1879–1938). He became an expert very popular in the U.S. American can experience left a remarkable in playing characters from the audiences were thrilled to experience mark on the works of Victor Sea- Orient, obtaining the desired look by their melancholic atmosphere, exot- strom. Under its influence he di- contracting eyelid muscles and icism, spellbinding folklore, and the rected, among the others, A Scarlet brushing the ends of his eyebrows up subtle play of light and semitones. Letter with Lilian Gish and Lars and his moustache down. To that These features were clearly visible in Hanson, giving one of the best-known ability he owed the role of a Chinese the works of Victor Seastrom. He masterpieces of American literature detective, Charlie Chan, which was treated film as a branch of culture a place on the screen. Gish praised offered to him by Twentieth Century close to poetry and in this spirit he highly Seastrom’s vision in this film: Fox. This role brought him fame and created them, making nature one of “I felt that this film should be a large group of admirers, not only the most important “characters” and directed by a Swede. Swedes are passionately introducing mystical and supernatural phenomena into his works. These features, typical for Swedish film of that time, are also visible in his American works. In 1923, already a successful director in Sweden, Seastrom came to America. Between 1924 and 1930 he directed nine films with the most famous stars of the time, among them Lillian Gish (A Scarlet Letter, 1926, The Wind, 1928), Greta Garbo (The Divine Woman, 1927), Lon Chaney, and Edward G. Robinson. Seastrom’s first American work was He who gets slapped, but the most significant one was The Wind star- ring Lilian Gish and a very popular Warner Oland (1879–1938). Swedish actor, Lars Hanson. Victor Sjöström/Seastrom (1879–1960). Swedish American Genealogist 2007:3 17 spiritually closer to our Fathers’ melodramas. Still, she managed to Pilgrims . . . than contemporary create fascinating characters even in Americans . . . . He perfectly under- the most banal and unimaginative stood the soul of this story and . . . stories. turned out to be an excellent actor, At first, finding herself in a com- the best I have ever worked with.” pletely new environment, she felt In an interview from 1924 Char- intimidated and lost. She didn’t know lie Chaplin described Seastrom as the language and the media showed “the most outstanding director of the no interest in a taciturn Swedish girl. world.” And indeed, he achieved In her next movie, The Temptress immortal fame as a master of silent (1926), she appeared as a femme fa- cinema. Yet, in the era of sound films, tale and this image was received his style started to be considered enthusiastically by American audi- anachronistic. In 1930 he returned ences. While in Sweden her movies to Sweden where he played in the were seen as awkward, in the U.S. films of other directors (including in they were admired for their intrigu- Wild Strawberries (Smultronstället) ing “refined animalism.” by Ingmar Bergman). Her next role, in Flesh and the Devil (1927), was still close to this Greta Garbo (1905–1990). The Divine Greta. image. Yet, in contrast to the banal realistic. Mystery was Greta’s com- “What, when drunk, one sees in other Temptress, this movie was filled with pany also in her private life: she women, one sees in Garbo sober” – mature eroticism. This was a com- neglected all the Hollywood rules by Kenneth Tynan. pletely new phenomenon in Ameri- travelling incognito, avoiding inter- 1925 was a turning point for the can cinematography and it became views, photographers, and autograph Swedish-American film. That year a symbol of the Swedish actress for seekers. “I want to be alone” – she 20-year-old Greta Lovisa Gustafsson many years. Although the simple plot repeated in most of her films and it (1905-1990) left her Swedish home- of The Temptress was far from bril- seemed to be true also for her private land on the steamship named, pro- liant, and Garbo’s acting style had life. phetically, Drottningholm (“The not yet achieved its highest level, this In the beginning of the thirties Queen’s Isle”). In Sweden Greta ap- film was the beginning of her un- Garbo performed in three films: Mata peared on the screen in the role of believable career in the U.S. Also, the Hari (1931), As You Desire Me (1932), Countess Elizabeth Dohna in Gösta next productions starring Garbo, and Grand Hotel (1932). The latter Berling’s Saga directed by Mauritz Love (1927) (based on Anna Karen- was awarded an Academy Award for Stiller. Several months had passed, ina by Leo Tolstoy) and Wild Orchids Best Film and Garbo herself was though, before the actress, now (1929), were very successful. It is acclaimed as “the best actress who recognized all over the world as worth mentioning that the first of played in this concert of stars.” After Greta Garbo, found a job in America. these movies had two endings: tragic Grand Hotel she suddenly left for her For after seeing Gösta Berling’s Saga – for Europe and parts of America, old homeland without prolonging her Louis B. Mayer from Metro-Gold- and happy – for other American contract with MGM. wyn-Mayer offered a contract only to areas and for all distributors who During her stay in Sweden Garbo Stiller and only reluctantly invited prefered it. read the biography of the seven- the latter’s young protégé. With the growing popularity of teenth century queen of Sweden, Garbo’s first American part was in sound films came also the anxiety Christina, which was recommended The Torrent, a banal melodrama, about Garbo’s future on the screen. to her as perfect material for a movie. which nevertheless could not hide She spoke with a low, husky voice She laid down precise conditions: she her extraordinary talent. Although at with a foreign accent making many would sign a new contract with MGM first the “Swedish colony in Holly- mistakes. But The Divine Garbo only if they created a film about wood” considered the film a disaster, triumphed also in this field. Her first Christina starring Greta Garbo. media and audience appreciated the “speaking character,” in Anna Chris- What is more, she wanted to be debut of a beginning actress. The tie (1930), was as a former prostitute guaranteed the right to participate Torrent created the image of Garbo whose Swedish origin built a proper in no more than two productions per and the type of roles she was offered excuse for the actress’s accent. After year and for each of them she de- for many years. They were usually the success of Anna Christie Garbo manded $250,000. When all her love stories with a tragic end. The was famous enough to pick and conditions were accepted, the Swed- actress herself was not satisfied with choose her roles. ish star began the second phase of this cliché. She said she could not For sound films she developed a Hollywood life with the main role in notice anything interesting in silly new style of acting which was called Queen Christina (1933), directed by somnambulic or enigmatic and un- Rouben Mamoulian.
18 Swedish American Genealogist 2007:3 Garbo’s most important val in Venice, and Garbo received the award for the best female role of the film year from the New York Film Critics Queen Christina is one of the most Circle. After Camille (1936) with a important films in the history of Swe- famous death scene, the king of dish-American cinema. The Holly- Sweden, Gustav V, called her “ingen- wood production about the Swedish ious Garbo.” For this role Garbo was queen with one of the most famous nominated for an Academy Award Swedes of all times in the main role and received the award Litteris et was a fascinating enterprise, al- Artibus from the king of Sweden. In though it was far from a financial Camille Garbo’s acting achieved success. extraordinary maturity. Moreover, In Queen Christina we see an in- her English accent improved a lot teresting summary of the Swedish without losing any of its exotic tim- social and political situation. In the bre. first moments of the film the audi- In 1939 the Swedish star played ence’s attention is drawn to the pres- in her first comedy Ninotschka, ence of the peasants and the middle directed by Ernst Lubitsch and class in the Riksdag. In the seven- advertized with the slogan “Garbo teenth century these two groups, be- laughs.” In 1941 she performed in sides the noblemen, and clergy, were Two-Faced Woman. This film, an Olga Celeste (1887–1969). represented in the parliament, and attempt “to Americanize” the Swed- their position was relatively high ish actress and to adapt her acting learned how to handle wild beasts against the background of Europe of style to the changing tastes of the and soon was known as the “Leopard that time. The dominant role in the American audience, turned out to be Woman” as she became famous for country belonged, though, to the a complete disaster. This ended training leopards. In the beginning, aristocracy which is clearly visible in Garbo’s career. Fearing another she and her cats performed together this film. Their powerful position was failure, the Swedish goddess of ci- in Vaudeville. Then she entered the established after Gustav Adolf’s nema never again appeared on the film industry, above all as a tamer tragic death. Christina feels un- screen. and a stand-in. bearably limited by the noblemen This early “retirement” became a Olga Celeste was the first woman around her, who try to control her significant element in the emergence to train and control the leopards every step. She can resist them only of the Garbo legend. At the age of 36 which performed in films, and she by abdication. she joined the circle of immortal cin- herself performed in the most dan- Most fascinating is the psycho- ema stars. Never before had any ac- gerous parts. The best known pro- logical portrait of the queen. Raised tress gained such fame. She was one ductions “starring” her cats were like a boy, wearing men’s clothes even of the few who played equally with Tarzan and the Leopard Woman and in the parliament, deeply devoted to grace and artism in both silent and Bringing up Baby. In the latter one, her homeland and people, at the sound films. She became one of the one of Celeste’s leopards played with same time she longs for something greatest stars in the history of cin- Katherine Hepburn, who got on with unknown: for Spain – the homeland ema and the most famous Swede in the cat very well. In contrast, Hep- of art, sun, and light, for love and Hollywood. burn’s film partner, the famous Cary freedom. She feels torn between a Grant, feared it. Hepburn’s secret senset of duty, the spiritual inheri- The “Leopard Woman” was a special perfume with a scent tance from her hero-father, and the that calmed the beast. During the Directing and acting was by no desire to be happy herself. After she film production, the well-trained leo- means the only contribution Swedish met Antonio, she has been seen pard wandered freely among people immigrants made to the history of wearing dresses, but above all, she until it “attacked” its partner, Hep- American cinematography. There begins to wonder if it is worthwhile burn, annoyed with her rustling were also many technicians, instruc- to sacrifice (or maybe waste) her life dress. Yet, just behind the cameras tors, cameramen, costume designers, for others. She doesn’t let misfortune waited the Swedish tamer who inventors, and others. One of the discourage her and after Antonio’s calmed her “pet” at once. death she sets off for Spain alone. most original Swedish contributors to the development of Hollywood was Garbo’s next roles brought her Conclusion immense success. The second screen- Olga Celeste (1887–1969), whose real The presence of the Swedish im- ing of Anna Karenina (1935) was name was Knutson. She came to the migrants in American cinemato- announced to be the best foreign film U.S. as a young girl to start her graphy in the beginning of the during the International Film Festi- career as a circus rider. There she
Swedish American Genealogist 2007:3 19 twentieth century made an extra- like Shirley Grey or Jean Rogers, 1949, New York: Oxford Univer- ordinary contribution to the develop- ought to be mentioned here. More- sity Press, 1998. ment of its leading position in the over, Hollywood appreciated not only 6. Slide Anthony, The Griffith Act- world. Not only did many of them Swedish actors and directors, but resses. South Brunswick: A. S. create original film styles and images also screenwriters, cameramen, in- Barnes, 1973. but they also transplated many ventors, and many other specialists. 7. Slide Anthony, The International achievements of Swedish film onto The remarkable position of Swed- Film Industry: A Historical Dic- American screens. ish people in Hollywood not only tionary. New York: Greenwood Victor Seastrom introduced the played an important role for Ameri- Press, 1989. exotic Scandinavian features into his can culture, but also for their com- Hollywood productions but also used patriots in the U.S. Moreover, thanks The full version of this article was many elements of culture, land- to their achievements, Sweden and published before in Politeja. Pismo scapes, and tradition typical of Amer- Swedes were more recognizable and Wydzialu Studiów Miedzynarod- ican reality. He devoted his talent respected in American society. owych i Politycznych Uniwersytetu and experience to convince American Jagiellon'skiego, Nr 2 (6), Kraków, audience that film is a real art. Greta Poland 2006. Garbo brought on the Hollywood Selected screens the new, brilliant style of bibliography The author Agnieszka Stasie- acting, exceptional individualism, wicz lives in Poland, and is a the mystery of the great star, and former recipient of the Dagmar also a piece of Swedish history. Linda Literature: and Nils William Olsson Schol- Griffith, Anna Q. Nilsson, and War- 1. Bardeche Maurice, Barry Iris, arship at the Swenson Center. ner Oland, although nowadays Brasillach Robert, The History of Her e-mail is largely unknown, achieved in their Motion Pictures, New York: W.W.
Picture from “Svenskarne Chicago i Illinois” by Peterson in 1833. & Johnson. 1880.
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