During 1921, the periodical Motion Picture Magazine reported there would be an increase of importations from Stockholm and while it featured still photographs from the films Dawn of Love, The Secret of the Monsastery and A Fortuned Hunter, it marked that the storylines we're to be adaptations from the literature of Ibsen, Bjornsen and Selma Lagerlof and that the principal players had come from the Swedish theater, which aptly describes the way in which actress Greta Garbo would be introduced to Swedish film audiences two years later.


Swedish Silent Film director Ivan Hedqvist, who had acted for Svenska Biografteatern in Kristianstad, during 1919 directed the film "The Downy Girl"(Dunungen) from a novel and play by Selma Lagerlof, the film having starred Jenny Tschernichin-Larssen, Mia Grunder in her first appearance on the silent screen and Renee Bjorling in her first screen appearance for Svenska Biografteatern. The cinematographer to the film was Julius Jaenzon. As an adaptation of the work of Selma Lagerlof the film well meets the criteria if being included as an example of the Golden Age of Swedish Silent Film. The following year Ivan Hedqvist directed the film "Carolina Rediviva" scripted by Esther Julin and starring Rene Bjorling, Lia Noree and Hilda Bjorgstrom. Paul Rotha attributes the decline of the Golden Age of Swedish Silent Film simply, uncomplicatedly to their production being discontinued, "In fact, it may be said truthfully that the Swedish Film declined and it died a natural death by reason of its national characteristics of poetic feeling and realism". Paul Rotha typified Golden Age of Swedish Silent Film production with, "They are realized with exceptional visual beauty, being characterized by their lyrical quality of theme and their slowness of development. For their enviornment, full use was made of the natural landscape value of Sweden, whilst their directors were marked by poetic feeling."
Among the films produced by Filmindustri Skandia during 1920 photographed by Raol Reynolds and directed by Rune Carlsten was the film "The Bomb" ("Sunshine and Shadow", "Bomben"), starring Karin Molander and Gosta Ekman. Actress Karin Molander had starred in the lost film "Surrogatet" during 1919, the being no surviving copies of the film. A short film lasting only slightly over a half hour, it was directed by Einar Braun for Filmindustri Scandia, Stockholm. Rune Carlsten in 1920 wrote and directed the Swedish Silent Film film "A Modern Robinson" ("Robinson i skargarden") with actress Mary Johnson. The cinematographer to the film was Raoul Reynolds. Actress Mary Johnson married Norwegian actor Einor Rod after having appeared with him in the film. Director Rune Carlsten that year also directed Mary Johnson with Tora Teje and Hilda Castegren in "Family Traditions" ("Familjens traditioner") which he coscripted as well, his co-author having had been being Sam Ask. The film was produced by Svensk Filmindustri and photographed again by Raoul Reynolds. Einar Froberg was behind the camera duting 1920 to direct the film "Lunda Indians", photographed by Hellwig F. Rimmen. The running time of the film was three quarters of an hour. Swedish Silent Film director Solve Cederstrand directed his first film, "A Fateful Incognito" (Ett odesdigert kognito), starring Tage Alquist and Signe Selid in 1920. The film was written by Axel Essen and photographed by Kurt Jager, who went on to direct the film "Elaman maantiella" (1927) in Finland. Children were allowed to public exhibition of the 1920 film "The Shoemaker Prince",directed by Hjalmer Davidsen and scripted by Jens Locher for Palladium film. The film starred Maja Cassel as Princess Charlotte and Oda Larsen. In her paper The Excavation of New Swedish Childen's Film History, scholar Taichi Niibori, Stockholm University, asks if Pauline Brunius, wife of Swedish Silent Film director John Brunius was the "Founding Mother" of the Swedish Barnfilm with the film "Dragonfly" (1920) in a chapter on the Ambiguity of Generic Identity in exhibition strategies, that its "textural aspect symbolises the contemporaneuous concept of children's films". It is a short film of 21 minutes running time. Brunius often made short films with child actors in the leading parts.
Scripted by Hjalmer Bergman as an adaptation of his 1917 work "Friarna pa Rockesnas", the 1921 film "Fru Mariannes fare" was directed by Gunnar Klintberg, the cinematographer to the film having had been Robert Olsson. The film starred Astri Torsell, Ingrid Sunblad, Aslag Lie-Erde and Gota Klintberg. Gunnar Klintberg continued by directing Astr Torsell in two more Swedish Silent Films, "The Love Circle" [Elisabet) with actresses Julia Hakanson and Gota Klintberg and in "Lord Saviles Brott", adapted from the work of Oscar Wilde. Gunner Klintberg's wife, actress Gota Klintberg had appeared with Signe Kolthoff during 1919 in the film "Jefthas dottar", directed by Robert Dinesen. Swedish Silent Film director Ivan Hedqvist in 1921 directed the film "Pilgrimage to Kevlaar" (Valfarten till Kevlaar). Ragnar Hylten Cavailius, who scripted the photoplay of the film, appears on film as a supporting actor. Ivan Hedqvist followed the film in 1924 with "Life in the Country" (Livets pa Landet), photgraphed by Julius Jaenzon and starring Renee Bjorling, Einar Hanson, and the beautiful Mona Martenson. The film us considered a lost silent film with only fragments from newsreel footage.
Mona Martenson during 1922 was on the Swedish stage at Dramaten , under the direction of Olof Molander, performing Hjalmar Bergman's one act play "Mr. Sleeman is Coming". Greta Garbo that year would give her first on stage performance there, at Dramaten, in the play "The Adventure" (La Belle Adventure".
Bo Florin, Stockholm University, descries a financial crisis in Svensk Filmindustri during 1922, to the extent that its affect was the company only having made three films during 1923. Florin points out that a staggering 90% of all silent films shown in Sweden were in fact American and that this loomed over the perhaps immanent departure of director Victor Sjostrom.
Formerly a journalist, Gustaf Edgren in 1922 had founded his own film company, Varmlandsfilm, making his screenwriting and directorial debut with the film "Miss at Pori" (The Young Lady of Bjorneborg/Froken pa Bjorneborg) starring actresses Rosa Tillman, Elsa Wallin and Edith Ernholm in her first film. The photographer was Adrian Bjurman. Adrian Bjorman was again the photographer for Gustav Edgren during 1923 for the film "People of Narke (Narkingara), which Edgren wrote and directed. Starring in the film were Anna Carlsten, Gerda Bjorne, and Maja Jerlstrom in her first appearance on screen. The film was also produced by Edgren's company Varmlandfilm, which would continue to produce only the flms of Gustaf Edgren.
Aparrently actress Karin Swanstrom was required to give co-directing screen credit to her screenwriter Oscar Rydqvist to the first film she was to direct, "Boman at the Fair" (Boman at the Exbhition, Boman pa Uttstallingen", 1923). Photographed by Gustav A Gustafson, the film starred Ingeborg Strandin and was the only film in which Karin Gardtman was to appear.
Although it joins the narrative of film history in a chapter concerned with the decline of Swedish Silent Film and its Golden Age, author Forsyth Hardy describes the work of Inga Tiblad and Einar Hanson in the 1923 Gustaf Molander film "Malapirater" as "pleasant acting". The film is a comedy. Ragnar Widestedt in 1923 directed Agda Helin and Jenny Tschernichin-Larsson in the film "Housemaids" (Hemslavirmor) written by Ragnar Hylten-Cavallius.
Frederick Andersson in 1923 directed the film "En rackarunge" with actresses Elsa Wallin and Mia Grunder. Gustaf V, King of Sweden, is listed as being in the film. It was photographed by Swedish cinematographer Sven Bardach. Sven Bardach had earlier that year photographed his first film, "Andersson, Petterson och Lundstrom", under the direction of Carl Barklind. The film stars Vera Schmiterlow and Mimi Pollock, both aquaintances of Greta Garbo, Inga Tiblad, and Gucken Cederborg.
Swedish Silent Film director Per Lindberg directed his first film during 1923, "Norrtullsligan", written by Hjalmer Bergman and starring Tora Teje, Stina Berg, Linnea Hillberg and Nils Asther. Peter Cowie, in his volume Scandinavian Cinema, commended the film by writing it "belongs among the most courageous and enjoyable films of the European decade. Films prior to 1923 had presented individual female characters of flesh amd blood, but the Nortell Gang established a precedent....The screenplay by Hjalmer Bergman transcends the familiar image of women as decorative objects." Hjalmer Bergman was in fact the brother-in-law of director Per Lindberg. Per Lindberg directed a second film scripted by Hjalmer Bergman during 1923, "Anna Klara and her Brothers" (Anna Klara och hennes broder), it having starred Anna-Britt Ohlsson, Hilda Bjorgstrom, Karin Swanstrom, Linnea Hillberg and Margit Manstad in what would be her first appearance on screen. The film was photographed by Ragnar Westfelt.
The first two films directed by Sigurd Wallen are presumed lost, with no surviving copies existing. Wallen directed "Anderssonkans Kalle" during 1922 with Anna Diedrich and Stina Berg, the photographer to the film Adrian Bjurman. The following year Wallen directed "Anderssonkans Kalle pa Nya Upptage" photographed by Henrik Jaenzon and starring Edvin Adolphson, the debut film of actress Mona Martenson. Swedish Silent Film director Sigurd Wallen during 1923 directed the lost silent film "Friaren fran Landsvagen", which , co-scripted with Sam Ask and photographed by Henrik Jaenzon, had starred Edvin Adolphson, Jenny Hasselquist, and Mia Grunden. Edvin Adolphson in fact had directed a short film during 1923 starring Hilda Castegren, "Gronkopings veckorevy" his first appearance in Swedish movie theaters as a film director. Castegren had previously worked for Rune Carlsten and Gustaf Molander.
Swedish Silent Film director Bror Abelli in 1923 directed his first two films, including the film "Janne Modig", starring Ture Ottoson in the titular role.
The periodical Motion Picture World during 1927 reminded its readers that actress Sigrid Holmquist had already been introduced to audiences in the United States. "Sigrid Holmquist , once called the 'Swedish Mary Pickford' is another foreign star, very popular with american public, who might named. She is at present making some color art pictures at Tiffany." The periodical Motion Picture Classic countered with a full page portrait of the actress photocaptioned with ,"Sigrid Holmquist is one of the dozen or more 'Swedish Mary Pickfords' - every country has one to fifty." After her first silent film made in the United States, "Just Around the Corner" (Frances Marion, 1921, seven reels) in ehich she started with actress Margaret Seddon for Cosmopolitan Pictures, most of the filmscmade in Hollywood by Swedish actress Sigrid Holmquist are presumed lost, with no surviving existing copies, including two of her earliest, the lost silent film "The Prophet's Pradise" (Alan Croslnd, 1922), and the lost silent film "My Old Kentucky Home" (Ray C. Smallwood, as well as including the films "A Gentleman of Leisure" (Joseph Heneby) (1923) and in all probality the film "The Light That Failed" (George Melford, 1923) in which she starred with actress Jacqueline Logan; all filmed in the United States before Greta Gabo, Mona Martenson, and Vera Schmiterlow had entered the Royal Dramatic Training Academy. Before having left Sweden, actress Sigrid Holmquist had debuted in three comedies directed by Lau Lauritzen during 1920 for Palladium, among which were "Karleck och bjornjakt" and "Flickorna i Ave". Swedish Silent Film director Lau Lauritzen continued during 1921 to film the presumed to be lost film 'Silkesstrumpen" starring actresses Oda Rostrup and Winifred Westover an American from California that had appeared in the "Bodakungen" directed by Gustaf Molander. The cinematographer to the film was Hugo J. Fischer. There are no existing copies of the film that survive. Lau Lauritzen also that year continued with the presumed to be lost film "Karleck och Hypnotism", also for Palladium, starring actress Kiss Andersson.

Swedish Silent Film director John Lindlof in 1924 directed the film "Man of Adventure" (Odets Man) with Inga Tiblad and Uno Henning, photographed by Gustav a Gustafson and written by J. Evicius. Knut Lambert who appears as an actor in the film and subsequently several later films, directed the lost film "Equal Among Equal" (Lika mot lika) in 1906, it having been the first film in which actress Tollie Zellman was to appear. Lambert appears with Tollie Zellman in the film as an actor with his wife Helfrid Lambert. There are no surviving copies of the film.
Sigurd Wallen during 1924 directed Inga Tiblad with Einar Froberg in " Grevarna pa Svanta" photographed by Henrik Jaenzon. Mostly known for being a theater director it was the first of only a handful of films Froberg had appeared in and the only film script that he had written. Froberg had directed an earlier film, "Lunda-indianer" starring Ture Sjogre and Malte Akerman, during 1920, his only time behind the camera, and had directed his own play, "Individerna Forbund' in Stockholm during 1919. Gustaf Molander appeared on stage in Stockholm in Froberg's play "Erna" under the direction of Gustaf Linden at The Drama (Dramaten) during 1922.
Ivar Kage in 1924 directed Gosta Hillberg and Edvin Adolphson in the film "When the Lighthouse Flashes" (Dar fyren blinken) for Svensk Ornfilm. The script was written by Esther Julin who had earlier adapted the novels of Selma Lagerlof to the screen for Victor Sjostrom. A fairly obscure or nonprolific photographer, Hellwig Rimmen during 1924 photographed the only film that he was to direct, "Hogsta Vinsten", it having starred actress Hilma Bolvig. The running time to the film was a half hour. Rimmen had began filming in Sweden under the direction of Einar Fronerg during the only film he was to direct, the 1920 film "Lunda-Indianer".
Actor Bror Berger directed one Swedish Silent Film the 1924 "Den Forgylida lergoken", based on thebplay by Emil Norlander. The film stars actresses Anna-Lisa Lindzen, Gunnilla Ehrenmark, Anna Herzman, and Stina Gutterman.
In the world Swedish Literature, during 1924 the author Birger Sjoberg published the novel Kvartetten som sprangdes (The Quartet That Split Up) which was later adapted for the screen three times, the directors including Arne Bornebusch,Gustaf Molander and Hans Alfredson.
Gustaf Edgren in 1924 directed the film "The King of Trollebro" (Trollebokungen) an adaptation of the Maja pa Stadt's 1917 novel scripted by Solve Cederstrand and photographed by C.A. Soderstrom, the film having starred actresesses Signe Ekloff, Gunvor Winberg, and Anna Carlsten, wife of Rune Carlsten.
Rune Carlsten directed a handful of Swedish Silent Films before distinguishing himself as a director of Swedish Sound Film, in 1924 their having included the film "The Young Nobleman" (Ung greven tar flickan och priset) starring Karin Swanstrom. In 1925 Rune Carlsten married beautiful Dora Soderberg, daughter of novelist Hjalmer Soderberg, author of the 1905 novel "Dr. Glas" and the 1912 novel "The Serious Game".
Included in the number of Swedish Silent Films that are lost, with no surviving copies known to exist is the film "40 Skipper Street" (Skeppargatan 40), directed by Gustaf Edgren during 1925. The film brought Mona Martenson and Einar Hanson together on screen , it also having featutred actresses Magda Holm and Karin Swanstrom. The photoplay was cowritten by director Gustaf Edgren with HUgo CLareus and Solve Cederstrand.
During 1925, Pauline Brunius was appearing on stage with Gosta Ekman in the play "Dalin och Drottningen", written by her brother in law, August Brunius. August Brunius has recently been described by one biographer as having been "the first professional Swedish critic", his having had begun writing essay on the theater in 1917.
Swedish Silent Film director William Larsson during 1925 directed the film "Broderna Ostermans huskors" with Jenny Tscherichin-Larsson and Frida Sporrong; the film is presumed to be lost with no surviving copies existing as is its 1932 remake directed by Thure Alfe, in which actress Fida Sporrong also appeared. During 1925 William Larsson also directed "For hemmet och flickan" with Jenny Tchernichin Larsson and Elsa Widborg in what was to be the first film in which she was to appear. The former was photographed by Arthur Thorell, the former by Henrik Jaenzon. "For hemmet och flickan" is presumed to be lost, with no surviving copies existing and carried the first screenplay written by Weyler Hildebrand, who went on to direct Swedish sound films.
Swedish Silent Film director Sigurd Wallen during 1925 directed the film "Hennes lilla Majestat" starring actresses Margita Alfven, Stina Berg, Gucken Cederborg, and Olga Andersson in the first feature film in which she was to appear. With a photoplay scripted by Henning Ohlson, the film was photographed by Axel Lindblom.
Olaf Molander, to bring the Golden Age of Swedish Silent Film to an anticlimax rather than a crescendo, directed only three silent films, the first in 1925, the next the following year and one the year following that. About the 1925 film, "Lady of the Camelias"(Damen med kameliorna) Forsyth Hardy writes,"The film derived some distinction from the delicately composed interiors and the touching performance of Tora Teje gave in response to Molander's skilled direction." Peter Cowie writes, "Although the film betrays the theatrical loyalties of its director, the camera observing most scenes from a single, rigid, set up, Molander knows how to rein in the histrionics of his players (Nils Arehn, for example creates an excellant Georges Duvall) and he copes well with the outdoor scenes." Photographed by Gustaf A. Gustafson, the films stars Ivan Hedqvist, Hilda Bjorgstrom and Lisskulla Jobs in the first film in which she was to appear. Not incidentally, during 1925 Olaf Molander directed "Kameliadamen" on stage at the Royal Dramtic Theater, Stockholm.
During 1926 Olaf Molander directed August Strindberg's play "Advent" at the Royal Dramatic Theater, Stovkholm. Olaf Molander chose August Strindberg's short story "Ett Dockhem" for his second of three Swedish Silent Films, adapted for the screen in 1926 from a screenplay by Per Axel Branner as the film "Married Life/Getting Married" (Giftas), photographed by Gustaf A. Gustafson. Scholar Jesper Larsson, in his paper "Tora Teje, Reception and Swedishness" writes that actress Tora Teje "was deemed to be stiff and unsuited for the screen". Jesper Larsson intuitively or sagaciously recognizes the reception of the star image of Tora Teje as "an extension of how American films reproduced ideas about consumption and luxury" veering from the concept and aesthetic of the golden age of Swedish Silent Film and its "distillation of a distinctive national style...often set in historical times or rural Sweden." Also appearing in the film "Married Life" are actresses Hilda Borgstrom and Margaret Manstad.
Actress Tora Teje returned to the stage and Dramaten during 1926 to bring August Brunius' play "Messeniernas fall" to Swedish Theater under the direction of of Olaf Molander. Mimi Pollack gives an account that she and Greta Garbo looked up to Tora Teje while at drama school and attempted to imitate her, which may account for Garbo's languishing fatigue of disinterest while portraying characters- Tora Teje at the time was austere while being devoted to religion and lofty. Pauline Brunius, on the other hand was to become Tora Teje's bitter rival.
During a year that he directed "Peer Gynt" by Henrik Ibsen at the Royal Dramtic Theatre in Stockholm, Olaf Molander continued during 1927 with "Only a Dancing Girl" (Bara en danserska), starring Lili Dagover, Karin Swanstrom, and Anna-Lisa Ryding, which he wrote and directed. The cinematographer to the film was Hugo Edlund.
Sigurd Wallen during 1926 directed the film "Ebberods Bank", the assistant director to the film Rolf Husberg. The film starred acresses Stina Berg, Jenny Tschernichin-Larsson and Carina May in her first of three screen appearances. The film is presumed to be lost, with no survivivng copies.
There are no surviving copies of the lost silent film "My Wife Has a Fiancee" (Min Fru har en Fastman, 1926) directed by Theodor Berthels who coscripted the photoplay with wife Greta Berthels. SWedish silent film actress Jenny Hasselquist stars in the film with Thora Ostberg and Tyra Leijman-Uppstrom. It was one of two films produced by Thebe Film. THe following year Theodor Berthels directed the film "Arnljot" (1927) from a manuscript written by his wife Greta Berthels. Both appear onscreen in the film with actress Thora Ostberg. The photographer of the film was Adrian Bjurman. The film is also presumed to be lost, with no surviving copies.
Petschler-Film during 1926 produced the film "Brollopet i Brana" directed by Eric A. Petschler and written by Esther Julin and Lars Tessing. The film, photographed by Gustav A. Gustafson, teamed Edvin Adolphson, Mona Martensen and Emmy Albin. The film "Hin och smalanningen" directed by Erik A Petschler for Petschler Film during 1927 is presumed to be lost, with no known surviving cooies of the film. Co-written by Petschler with Sam Ask as an adaptation of the 1888 play by Frans Hedberg, the film starred actresses Jenny Tchernichin-Larsson, Anita Dow, Birgit Tengroth and Greta Anjov. Screenwriter Sam Ask appears on screen as an actor. The film was photographed by Gustav A. Gustafson.
"Mordbrannerskan" (1926), directed by John Lindlof, photographed by Gustaf A. Gustafson and starring Vera Schmiterlow and Brita Appelgren was the first film in which Birgit Tengroth was to appear.
Actress Vera Schmiterlow, fondly remembered for being a friend of Greta Garbo, during 1927 under the direction of Sigurd Wallen with actress Stina Berg in the film "The Queen of Pellagonia" (Drottninggen av Pellagonia". Scripted by playwright Henningen Ohlsson, the film was photographed byAxel Lindblom.
Swedish Silent Film director Gustaf Edgren in 1927 directed "The Ghost Baron" (Spokbaronen) starring Karin Swanstrom and photographed by Adrian Bjuman, which was followed by "Black Rudolph" (Svarte Rudolph) in 1928, starring Inga Tiblad amd Fridolf Rhudin, both films having been written by Solve Cederstrand. The assistant director to the film "Black Rudolph" had been Gunnar Skogland. It was the first film in which actress Katie Rolfson was to appear.
Vilhelm Bryde directed his only film during 1927, "A Husband By Proxy" (En Perfekt Gentleman) a comedy scripted by Hjalmar Bergman starring Gosta Ekman, La Jana and Karin Swanstrom. The film was produced by Minerva Film. Bryde had acted in a more than a dozen Swedish Silent Films beggining with "Erotikon", directed by Mauritz Stiller.
Screenwriter Ragnar Hylten Cavailius directed a half dozen films over two decades included in his more than fourty years of contributing scripts to Swedish Silent and Swedish sound films. Included among them during 1928 was the film "Hans kungl. Hoget shinglar" starring actresses Karin Swanstrom, Brita Appelgren and Maria Paudler. The film was scripted by Paul Merzbach.
Like Ragnar Hylten Cavailius, a screenwriter from the Golden Age of Swedish Silent Film that later had had a limited foray into directing films, Sam Ask wrote and directed the 1928 Swedish Silent "Erik XIV", it having starred Sophus von Rosen, Eva Monk af Rosenchold, Lisa Ryden and Gosta Werner. Nothwithstanding, despite the film "Erik XIV", author Peter Cowie sees 1928 as the beginning of a "barren period" ensuing after Charles Magnusson was "eased out of" Svenska Filmindustri by Ivar Kruger with Olaf Andersson as head of the firm. Charles Magnusson had folded, and left his position at Svenska Filmindustri during 1928, but the present author feels that perhaps author Peter Cowie is either mistaken or exaggerating when he claims that it had precipitated a "veritable exodus of talent"- the directors Victor Sjostrom and Mauritz Stiller admittedly were in the United States, but contrary to Cowie's volume Scandinavian Cinema, actor and actress Greta Garbo and Lars Hanson had undoubtedly left Sweden prior to the departure of Charles Magnusson, as had Einar Hanson, leaving only the screenwriters Hjalmer Bergman and concievably Tancred Ibsen. And yet the spirit of Cowie's passage views him as essential as a founder and catalyst, which he was.

Peter Cowie, in his volume Scandinavian Cinema chronicles the end of the silent era in Sweden as being a time of less output, "Swedish film production declined through the 1920's, reaching a nadir in 1929, when a mere six features were released."
Danish Silent Film

Victor Sjostrom

Silent Film

Photoplay magazine during 1931 used two full pages to exhibit one photo of Jacques  on the set to follow the director into the sound era in American film. It was a scene from his film "Daybreak", starring Ramon Novarro. The caption explains that the camera was "mounted on a rubber-tired 'dolly' for the making of traveling shots Jacques Feyder, director of Garbo's 'The Kiss' is the boss. He's at the extreme left, seated from the bottom." Film periodicals had counted on there being interest in the offscreen lives of film stars and in how they might put together a sound film, the extra-textual discourse embroidering distant super luminaries into the conversations that were held after the audiences left the public sphere of the theater and entered the fantasy objectifications of spectatorship that to some of the public may have seemed to be merely an ordinary walk home from the theater; and for theater goer Greta Garbo they may have been.

     A publicity still published in Picture Play magazine during 1929 kept the caption, "Miss Garbo, at top of page, unhappy in the midst of luxury, reflects on how little life holds." Interestingly, although Greta Garbo in a low cut dress directing the view of the spectator to where she might not be wearing a bra is in front of a dressing room mirror it is not strictly a mirror shot in that she is also photographed in quarter profile as though nearing over the shoulder to effect a double image. P



Greta Garbo
Greta Garbo

Greta Garbo