In the early 1930s, scholarly studies were done on the impact of screen stars on teenagers, because of fears that the movies were sexualizing them. These studies found that teenage girls learned sex techniques through watching Garbo’s sex scenes, especially those in Flesh and the Devil; they then practiced her techniques at home with their girlfriends. Raymond Daum described Garbo’s many young female fans as having “schoolgirl crushes on her” that “defined a national idolatry.” And knowledge of Garbo’s non-heteronormative sexuality was spread through lesbian networks “from coast to coast.” Moreover, the 1920s was an era of commercial expansion in which the ranks of saleswomen and typists, careers dominated by young women, increased. These women made enough money to see a movie more than once. They identified with female stars and liked to see them in powerful roles.
Greta Garbo in Flesh and the Devil (1926)
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Propaganda
John Gilbert (The Merry Widow, The Big Parade)—no propaganda submitted
Conrad Veidt (The Cabinet of Dr. Caligari, The Man Who Laughs)—Just look at him your honor. Ich würde
This is round 1 of the bracket. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage man.
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John Gilbert (1817-1897), 'The Demon Lover’, ''The Book of British Ballads'' by Samuel Carter Hall, 1842
Source
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John Gilbert and Edna Tichenor in Tod Browning's The Show, 1927
Available to watch on Amazon
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"I'll never forget the hushed atmosphere on the stage during her presence. We spoke in whispers, and moved about on tiptoe. Not by order, but because, almost subconsciously, every one of us was affected by a strange reverence for this unearthly woman, so close to us, and yet so remote and untouchable. She never spoke to anyone on the set except Mamoulian— not even to Gilbert. Gilbert, it was said, had wept from joy when the studio gave him the part after an all-night huddle, thus reuniting him with Garbo for the first time in five years. He was very nervous on the set during the first few days, so much so, in fact, that he was unfit for work. He missed his cues, forgot his lines, and we had to do the same scene over and over again, sometimes as often as 20 times, before Mamoulian was satisfied. Garbo, on the other hand, always knew her lines perfectly and never interrupted a scene and required a re-take. She spoke her lines without any foreign accent, in that wonderfully modulated and penetrating voice of hers, and so faultless was her stage diction that it seemed impossible she hadn’t spoken English all her life."
-Movie Classic magazine, Feb. 1937, an article by Leon Surmelian who played in Queen Christina one of the Spanish officers
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The Phantom Horseman by John Gilbert (1817-1897)
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The Astor Theater, Broadway at 45th Street, when it was showing King Vidor's The Big Parade, starring John Gilbert and Renee Adoree, 1925.
Photo: Grranger/Fine Art America
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John Gilbert - The Enchanted Forest (1886)
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John Gilbert and Alma Rubens in THE MASKS OF THE DEVIL (1928), directed by Victor Sjöström
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Greta Garbo and John Gilbert, A Woman of Affairs, 1928
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