Lica u obliku ljubavnog napitka: Garbo i Šanel

Greta Garbo

Greta Garbo

Coco Chanel

Coco Chanel

Samo su dve žene u 20. veku imale ovako oštar pogled, bile mršavog izgleda, tankih usana i krupnih očiju: Greta Garbo i Koko Šanel.  Nije teško uočiti fizičku sličnost, ali ni sličnost u pogledu odlučnosti, ambicije, talenta i ekscentričnosti između ovih ikona evropske kulture. Takođe, već u naslovu pomenuti ljubavni napitak – stimulativan ili otrovan – može biti vrsta proširene metafore koja bi se odnosila na oblik lica i, naknadno, njihov uticaj na druge.

Ipak, ovo nije tekst o poređenju fizičkog izgleda i karijera ovih žena već uočavanje sličnosti, koje će se na samom uočavanju i završiti. U nastavku slede odlomak iz Bartovog eseja o Greti Garbo, kao i odlomak iz teksta magazina LIFE koji su posvećeni harizmi, ličnosti, navikama i lucidnostima švedske glumice. Smatram da se oba mogu odnositi i na francusku umetnicu mode.

Fragment iz Bartovog eseja Lice Grete Garbo:

„Garbo još pripada onom trenutku filma kada je kadar ljudskog lica mogao neizmerno da potrese mase, kad su se doslovno mogli obeznaniti od ljudske slike kao od ljubavnog napitka, kad je lice činilo neku vrstu apsolutnog stanja puti koje se nije moglo dosegnuti ni napustiti. Nekoliko godina ranije, Valentinovo lice je podsticalo na samoubistva; lice Garbo još je deo istog kraljevstva dvorske ljubavi u kome put pobuđuje mistična osećanja gubitka.

Ono je nesumnjivo čudesno lice-predmet; u Kraljici Kristini, filmu koji smo ponovo gledali poslednjih godina u Parizu, belilo ima snežnu gustoću maske; to nije oslikano lice, već je obloženo gipsom, zaštićeno površinom boje a ne svojim crtama. U svom tom ujedno krhkom i čvrstom snegu, samo su oči, crne poput čudne srži ali nimalo izražajne, dve pomalo drhtave pukotine. Čak ni u svojoj ekstremnoj lepoti, to lice nije nacrtano, već isklesano u glatkoći i krhkosti, to jest, ujedno savršeno i prolazno, ono dostiže lice brašnjavog Čaplina, njegove oči turobne biljke, njegovo totemsko lice.“*

Greta Garbo

Greta Garbo

Coco Chanel

Coco Chanel

John Bainbridge: The Great Garbo

„Whether dealing with film material that was shoddy or sublime, Garbo always approached her work with the single-minded purpose of the true artist. “She is so completely thorough in her art,” one of her directors, Richard Boleslawski, said, “that one finds her almost as marvelous as the camera itself.” Garbo’s Nordic efficiency impressed her directors almost as much as her genius before the camera. She unfailingly arrived on the set at 9 o’clock, dressed, made up and letter-perfect not only in her lines but in those of the other players who would appear with her. She had privately rehearsed the business of every scene–how she planned to sit in a chair, walk across a room–before reaching the set. “She knew just what she had to do and how she expected to do it,” the director Clarence Brown has recalled. “If the director suggested changes, she listened respectfully, sometimes arguing quietly but never angrily. She always wanted to give the best she had. Everything was for the picture’s sake.”

She had, to be sure, a number of idiosyncracies. When studio executives felt obliged to escort friends or business associates to Garbo’s set, she simply broke off the scene and retired to her dressing room, where she remained until the visitors had departed. More than once, when doing scenes involving hundreds of extras, she stopped work to remark to the director, “There are people here who do not belong here.” Usually it was discovered, sure enough, that one or more Garbo admirers had mingled with the mob in the hope of seeing their heroine at work.

“Why do you mind people looking at you?” George Cukor, who directed Garbo in two pictures, once asked her. “When people are watching,” she replied, “I’m just a woman making faces for the camera. It destroys the illusion.” To help Garbo preserve the illusion, the sets on which she worked were sometimes surrounded by black cloth screens. Though directors generally like to work near the camera, Clarence Brown often found himself in the highly unusual situation of directing Garbo through a crack in one of these screens. […] „

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