User Reviews

I liked Garbo in this. It's not much of a film but she is wonderful to behold. She's certainly up there with Claudette Colbert, Jean Arthur, Carole Lombard and Irene Dunne. Personally Babs Stanwyck and Myrna Loy are the absolute stars of screwball but it's a shame Garbo didn't make a few more comedies to attest to her versatility, in the same way that Dietrich proved herself so much more than Von Sternberg's mannequin. If you look at the comedy of the era - the classic screwball - it's a very modern type of comedy and even some of the lesser entries play quite well now, especially as we are so used to American TV's sitcoms re- popularising the genre (Frasier being one of the best). I find screwballs of the 35-42 period are funnier now than most current comedies, Two-Faced Woman included.

Greta Garbo, the mythical actress was last seen on the screen in this comedy. As directed by George Cukor, the film has its rewards for the fans of Ms. Garbo. The film, based on German playwright Ludwig Fulda, was adapted by some of the best screen writers of the time: S.N. Behrman, Saska Viertel and George Oppenheimer.

Mr. Cukor, an intelligent director probably miscalculated the effect this film would have on the viewers more used to a dramatic Garbo, who in here is made to lighten up. At times, Ms. Garbo seems to be on the right track to find a way to play the dual role of Karin/Katherine and appears to be having a good time playing the twins. Mr. Cukor was not able to erase some of the mannerisms for which the Swedish diva was famous for.

The basic problem with the film is the quick transformation of the ski instructor, Karin Borg, into the wife of the dashing and debonair Lawrence Blake. Perhaps if this aspect would have been exploited a bit more, the film would have taken a different tone. Not only are we surprised by the rapid change of the strong Karin into being relegated to being a second banana by marrying Larry.

The most interesting character from the film is Griselda Vaughn, Larry's former girlfriend who learns he has suddenly married a nobody, leaving her to fend for herself. Griselda is too smart to accept the situation. As played by Constance Bennett, she is one of the best things in the movie.

Melvyn Douglas' Larry is also excellent. He tries hard to convey this man who is used to be among sophistication and style. That's what makes it a bit hard to accept this man would settle with a woman that is attracted to a permanent winter state of mind. Ruth Gordon is good as the secretary that befriends Karin and conspires with her. Roland Young and Robert Sterling are seen in small roles.

The famous dance scene with Katherine, the twin sister, starts awkwardly, but Ms. Garbo proved she could hold her own against the partner that guides her around the night club's floor. Robert Alton has a tough time following Katherine.

"Two Faced Woman" might not have been Greta Garbo's best, but it not a total disappointment either. This film should be seen because it was her last film.

While this film is hardly the classic that Ninotchka is, it can be hardly faulted for it, as even Garbo could hardly be expected to top her stellar performance in that great comedy! I was actually quite surprised how good this film is, especially given the volume of negative press it has received through the years. Garbo, even in a slightly lesser effort, is still leagues ahead of most actresses of her day (I find Joan Crawford to be especially overrated!). Besides her forever enigmatic image, she was, perhaps surprisingly, quite adept at comedy. This film actually did very well in its day.

The reasons of Two Faced Woman ultimately being Greta Garbo's last film are a bit complicated and multi-faceted. A big reason why she didn't make any films after this one was the especially strong European Box Office returns that her films enjoyed during the 20's and 30's were, with few exceptions stopped dead in their tracks by the coming of the Second World War in 1939. No doubt, the U.S. entry near the end of 1941 also impacted in a number of ways, effectively keeping Greta out of films during the remaining war years.

Garbo was actually coming out of retirement in 1949 to do a film for MGM. Sadly, the project got cancelled, and Greta was apparently humiliated by the experience, and didn't wish to be in that position ever again.

There are likely other details that I have missed. Suffice it to say, the film itself had nothing to do with Garbo's permanent retirement from film! If you haven't seen Two Faced Woman and get the chance to do so, check it out!

Screen icon Greta Garbo was nearing the age of 36 when she began filming "Two-Faced Woman," a comedy also starring Melvyn Douglas, Constance Bennett, Roland Young, and Ruth Gordon. The world was changing, and it was time for her to come off of her queenly throne, get out of those huge Adrian costumes, and join the land of the common people. Back in those days, when an actress hit the 30-35 range, she was considered over the hill. Crawford was shown the door by Louis B., Norma Shearer smartly retired, and Garbo's costar in this movie, Constance Bennett, at 37 was playing supporting roles after years of stardom.

So in fact, Garbo's days at MGM were probably numbered as the studio sought to find her a new image. Unfortunately, her new image - in a light, fluffy comedy - coincided with the entrance of the U.S. into World War II. Everyone was too distracted to care, including Garbo, who wanted to go home to Sweden.

I come at this film with a slightly different perspective, having transcribed hundreds of hours of Garbo's phone conversations with art dealer Sam Greene for the book "Garbo" by Barry Paris. Any exposure to Garbo the woman is enough to realize that she was a remarkable artist. Though a neurotic, passive, and frightened woman, her beauty and vivid imagination, born of isolation, made her a tremendous star and a great, expressive actress.

In "Two-Faced Woman," Garbo plays a dual role, that of a nature-loving ski instructor, Karin, who marries a guest (Melvyn Douglas) at the lodge where she works, and the twin sister whose existence she fakes, the globe-trotting party girl Katherine. Katherine is invented when Karin comes to New York and sees her new husband with his former girlfriend (Bennett).

"Two-Faced Woman" isn't a great movie - it's pleasant enough, and the cast is terrific, but it suffers from bad timing and the fact that this was such a departure for Garbo. Many people didn't feel it was a particularly successful one. She actually is quite good, particularly in the nightclub scene when she dances the chica-choca, a dance Katherine makes up when her shoe catches in the hem of her dress. In real life, whenever the dance instructor arrived at Garbo's house to give her lessons, the curtains were drawn. Knocking at the door, he would hear Garbo yell, "Go away, rumba! Go away!" Nevertheless, she acquits herself delightfully throughout the scene, culminating with the dance. The other thing that is marvelous in the film is the wild skiing scene at the end - absolutely tremendous, and I'm surprised it didn't kill the stunt double.

The film was controversial because the character of Larry seduces a woman he thinks is his sister-in-law, so the script was changed to be more acceptable. A scene was inserted where Larry calls the ski lodge and learns that Karin is out of town. Realizing Katherine is Karin, he plays along, turning the tables on her. It seems like a silly change now.

"Two-Faced Woman" was not the flop the years have built it up to be; in fact, it made back 5 times its budget. And it's highly unlikely it ended Greta Garbo's career. Had things worked out, she would have returned to films after the war - in fact, she almost did. But when the funding for the proposed film fell through, she was embarrassed, humiliated, and being the kind of woman she was, never took a chance to be put in such a position again. Garbo was part of a world that ended when the bombs started dropping, and she didn't find her place in the one that emerged.

Two Faced Woman became the unexpected swan song for screen legend Greta Garbo. Though her reasons for retirement had to do with the umbrage she took at getting less than stellar reviews for this comedy, still I've always respected that she made her retirement stick for 49 years and kept her legend and image intact.

Garbo's a Swedish ski instructor who lands magazine executive Melvyn Douglas on a skiing vacation. But away from the winter wonderland, Garbo's not being quite the wife Douglas expected.

Catching Douglas in a compromising position with former flame Constance Bennett, sends Greta on the warpath. She concocts a plan to masquerade as her twin sister, her more glamorous and sexy twin. Suffice it to say, she confuses the rest of the cast for almost the rest of the film.

Garbo's playing a role better suited to such comedy veterans as Myrna Loy or Irene Dunne. Still she gets a few laughs in, getting plastered and doing a mean rumba. And she certainly puts Constance Bennett down quite nicely.

Still Greta was miscast and the film gets less than stellar reviews from the critics at the time and from me. But the legend lives on.

... and that is what both Greta Garbo and Constance Bennett are doing here - playing against type. I actually liked this one when I expected to dislike it. I don't think this one was an attempt to turn Garbo into a pin-up sweater girl as much as it was the Americanization of an old soul, and an old soul that people had become accustomed to seeing in a certain type of role for the previous 16 years.

It was great fun to see Greta's character improvising a woman of the world with no real knowledge of exactly what that meant, and it was also great fun to see Constance Bennett's Griselda, a rival for the affection of Larry (Melvyn Douglas), doing what I thought she should have done in all of those precodes where she was so mistreated and yet suffered in such silence - going off in private when things weren't going her way and yelling, throwing things, and having a bit of a temper tantrum, then readjusting her clothes and hair, regaining her poise, and walking right back into the thick of things as though nothing ever happened.

The thing that struck me as odd in this film even in the production code era - Karin (Greta Garbo) and Larry have just married after a whirlwind courtship. It is their wedding night. Both just put on their pajamas, and Larry promptly announces he is tired and lies down to go to sleep like they've been married for ten years and just returned from Black Friday shopping???? And this isn't what bothers Karin at all - it's that he admits being swept up in the moment about saying he wanted to live a simple life, and he now wants to go back to New York and his job as magazine publisher. Otherwise she would have laid down and gone to sleep too??? If this was close to realistic it would be the end of the human race.

But that's the point. The whole thing is a farce from beginning to end and a delightful surprise at that. Highly recommended for the fun of it all.

"Two-Faced Woman" carries a load of meta-baggage for having been the final film of the celebrated Greta Garbo and for its condemnation by Catholic Legion of Decency for immorality. Efforts to revise the plot after principal photography had been completed added unnecessary confusion to what was already a silly, strained and tedious bedroom farce based on one of those Central European stage plays that Hollywood processed in large numbers into sophisticated film fare from the 20's through the 40's. The MGM money men must have felt that since Garbo's previous film, "Ninotchka," made money by presenting the star in a more lighthearted vein they could profit even more by Americanizing her as well.

It's a shame that Garbo's career ended just at this point. As the ski-instructor Karin, the down-to-earth half of the title character, she exhibits an appealing onscreen naturalness and ease without losing her distinct otherworldly gravitas and depth. But as the amoral, urbane and ultra-feminine Katherine, the fake twin she impersonates to revitalize her impulse marriage to a magazine publisher (Melvyn Douglas), she comes across as an overdressed farm girl with brain damage. In fact, she acts drunk even when sober. To make matters worse, she sports a curly, fussy hairdo that emphasizes the masculine aspect of her features, destroying the intended effect. Some viewers have criticized her dance moves in a nightclub scene and the way she looks in a bathing suit after climbing out of an indoor pool. What were they expecting? Rita Hayworth and Dorothy Lamour? Her dancing fulfils the needs of the scene and her exposed limbs are as fit and healthy as anyone of her age could wish. Nothing objectionable there. The problem is the inane dialogue in several extended scenes with Douglas that unspool like a rehash of "Ninotchka" two years earlier but without the sparkle and wit.

Constance Bennett has some effective moments as Garbo's romantic rival and wins the glamour trophy hands down, but her character disappears too soon. If this film had been made several years earlier, she would have been a good choice for the title role. (She did a fine imitation of Garbo's accent and manner in the opening scene of the 1932 film "What Price Hollywood?") Ruth Gordon and Roland Young appear, not memorably, as Douglas's publishing colleagues, along with Robert Sterling as a young man smitten with the Katherine character. (Twelve years later he would take over the Cary Grant role in the TV adaption of the 1937 comedy "Topper" which co-starred Bennett and Young.)

Good writers, sparkling cast, Cukor direction, all the luxe trappings of MGM, but this attempted soufflé of a comedy is unworthy of Garbo, and probably helped speed her exit from Hollywood. Metro tries to domesticate her, to make her more of a Jean Arthur-Claudette Colbert sort of spunky dame, and she's certainly capable, but we know she's capable of so much more. Some post-production tampering on behalf of the Production Code renders the story meaningless--if Douglas knows of Garbo's deception, why doesn't he just confront her with it and end the movie?--and their relationship is an unconvincing yes-you-love-me-no-you-don't mishmash. Too, Douglas's character, though meant to represent appealing American manhood circa 1941, is rather a rotter--deceptive, callous, impatient, faithless--and while Douglas surely has the requisite charm, he doesn't make me like this guy. Constance Bennett provides some glamor and dry wit, and Ruth Gordon and Roland Young, stuck in conventional supporting roles, kill time amiably. But the novelty appeal of seeing Garbo in a swimsuit, Garbo dancing the Chica- Choca, Garbo playing a sort-of double role, isn't enough to save the picture.

Every time someone mentions this film, they say something bad about it. It wasn't the best movie but I enjoyed it thoroughly. She had my attention through the whole film. I thought Garbo was way more interesting in this film than both Constance Bennett & Melvyn Douglas. Good film. I wish I still owned it and I would watch it right now!!! I love how radical she becomes when she pretends to be her "twin" sister. Melvyn Douglas was an alright character and so too Bennett, but I thought Garbo's last performance was great and I would like for this movie to get more credit. If anyone enjoys Garbo they should enjoy this film or you are just simply not that big of a Garbo fan. That's how i see it. The mysterious lady treats us with a few funny laughs. Like when she gets drunk. Not as funny as she was in Ninotchka though. Long Live Garbo!

The legends surrounding Geta Garbo were like so many deifications, partly true, partly fiction. When Garbo was good, she was very, very good, but when she was bad, she was only average. In "Two-Faced Woman," Garbo assays comedy one more time following her success in Ernst Lubitsch's classic farce, "Ninotchka." This time she nearly falls flat. Garbo's one redeeming feature in the film is the outlandish dance she performs midway through the show. It is indeed a marvel to behold and worth the price of admission.

Almost all the other Thespians in "Two-Faced Woman" out shine the star, especially Constance Bennett, giving a wonderful personification of an acerbic bitch determined to keep her hooks in fresh meat. The gifted actor Melvyn Douglas shows his flare for comedy in a Cary Grant-type role, fun to watch in a slap-stick finale down a ski slope. The indomitable Ruth Gordon makes the most in a small role as Douglas' secretary. Bennett's former "Topper" colleague, Roland Young, is perfect as, again, a lecherous old man. Future TV "Topper" star Robert Sterling shows why he was chosen to portray George Kerby over a decade later.

Another problem with "Two-Faced Woman" is the hackneyed story and script. Director George Cukor hoped to strike pay dirt a second time with a screwball comedy along the lines of his brilliant "The Philadelphia Story," utilizing a title similar to his recently successful "A Woman's Face." Unfortunately, he was let down by the writers, who gave him a theme already old hat. Bedroom farces involving mistaken identities, twins and lookalikes, etc., were passé by 1941. The popular Fred Astair, Ginger Rogers musicals of the 1930's employed such gimmicks in a fresh and original manner. The twins ploy of "Two-Faced Woman" just doesn't work.

Karin Borg (Garbo), a ski instructor, meets and falls in love with Larry Blake (Douglas), a magazine writer. Following a whirlwind courtship that lasts only a few days, the two decide to tie the knot. Once married, however, their varied lifestyles clash. Larry spends most of his time in New York City away from Karin, who refuses to follow him, enjoying the life she already has. Distraught by visions of being two-timed and having her marriage canned, Karin heads for New York City, ending up incognito as her non-existing twin sister, Katherine. That Larry tends to be a philander becomes more evident as Karin sees her husband with other women, one in particular, Griselda Vaughn (Bennett). Katherine finds herself in the dubious position of competing not only against Griselda but against her own alter ego, Karin.

Perhaps the shortcomings of "Two-Faced Woman" helped Garbo in deciding to retire from motion pictures. She never made another film. Though "Two-Faced Woman" is not a dud, it is below standards Garbo had set for herself.

The story is a little slow and a little stupid. Greta Garbo doesn't look very good and I couldn't understand half the things she said because of her accent, which was exaggerated for this role. Melvyn Douglas, meanwhile, plays his normal unlikeable role and Constance Bennett is just so-so except for a couple of her screams, which were funny.

On the plus side, Roland Young had the best role in the film. I wish he had more lines, as he disappeared in the second half of the story. Also, it was interesting to see Ruth Gordon look so young. I had only seen her in those crazy roles she played from the late '60s to the '80s and a whacked out old woman. Story-wise, the best part might have been the final few minutes when we see a stunt man doing amazing things on skis, pretending to be Douglas falling down the slopes. That was amazing and humorous footage.

Overall, I can see where this film - Garbo's last - was not a box-office success. It just drags too much, going on and on about deceptions. It's an annoying story. Garbo knew it, too, and called it quits.

Two-Faced Woman (1941)

** 1/2 (out of 4)

At the age of 36 screen legend Greta Garbo made this MGM comedy, which tried to take her out of the costume drama and place her into a present time comedy. The results were a disaster when the film was first released and depending on which myth you believe, the bad reaction caused Garbo to retire. I've heard a lot of bad things about this film but in the end it isn't nearly as bad as its reputation. In the film Garbo plays a ski instructor who ends up marrying a man (Melvyn Douglas) after a few hours. Later that night he demands she follow him to NYC but she refuses. As time goes on the husband stays away but Garbo decides to go after him only pretending to be her vamp twin sister. This certainly isn't the greatest comedy ever made but it's not nearly as bad as some would make you believe. Yes, Garbo certainly isn't herself here but I really don't see that as a bad thing because seeing her like this is at least interesting. Seeing her smile, act drunk, playing love able and this type of thing isn't exactly what she's known for but I found her act to be quite charming even if that thick accent came off not working too well here. She also struggles during a few scenes but you can't deny that she's giving it her all as she works her way through the material. Douglas manages to be quite pleasant and ends up delivering a fine comic performance. Supporting players Constance Bennett, Roland Young and Robert Sterling turn in some fine work as well. Another plus was some of the subject matter, which certainly wasn't seen in too many films after the Hayes Office went into effect seven years earlier. The stuff is hidden behind the "marriage" but it's still fairly risqué for its time. Apparently the version currently being shown is the "cut" version missing four minutes and alternating one of the subplots. Either way, this film is a minor entertainment but those expecting something great should probably stick to Garbo's earlier films.

If you liked Greta Garbo and Melvyn Douglas in Ninotchka, it's a sure bet you're going to rent Two-Faced Woman to see them in another cute romantic comedy. This one's not nearly as cute as its predecessor, though, so it's also a sure bet you'll be disappointed. On its own, Two-Faced Woman isn't that bad. Garbo has sustained taglines to her movies of "Garbo Talks," "Garbo Laughs," and now finally, for her last movie, "Garbo Rhumbas." She plays a vivacious, calculating woman willing to go to the ends of the earth for the man she loves. She's completely the opposite of the cold Russian envoy from two years earlier, but the antics of this comedy get pretty silly pretty fast.

Greta and Mel fall in love on vacation and get married before they get to know each other. He expects a gold band to turn her into a housewife, and when he discovers she's wild and impetuous, he leaves for his old life back in New York and gets his head turned by his old girlfriend, Constance Bennett. Rather than just try to make amends, or even call it quits, Greta devises a complicated scheme to get her husband back. She pretends to be her own twin sister who's so wild and impetuous that Mel will think his wife tame by comparison and will reconcile. The only trouble is he starts to fall for the fake sister!

The preview of this movie is really cute, but don't expect the entire movie to be that good. Take it for what it is: a silly little romance. It won't hurt you, but don't expect a repeat of Ninotchka.

TWO-FACED WOMAN (Metro-Goldwyn-Mayer, 1941), directed by George Cukor, stars Greta Garbo in her second American comedy that was to become her final motion picture screen appearance. Working opposite again with Melvyn Douglas, her co-star in the now classic comedy, NINOTCHKA (1939), TWO FACED WOMAN, by comparison, is often labeled a disappointment. Disappointment as it may be, it's still a watchable item due to it being the only opportunity to see the dramatic Garbo skiing, swimming, laughing, cigarette smoking, getting tipsy with champagne, and having the time of her life doing a Rumba type dance, "La Chica Chaca." Aside from her forties hairstyle, Garbo also wears an assembly of costumes designed by Adrian. What movie can there be Garbo playing one woman with two different personalities rather than two faces? That's TWO-FACED WOMAN.

The plot opens at an Idaho Snow Lodge ("Ski your way to health') where Larry Blake (Melvyn Douglas), an overworked New York magazine publisher, who, at the advise of his doctor, comes for a rest. Almost immediately, he becomes attracted to Karin Borge (Greta Garbo), a ski instructress. Though she shows no interest in having Blake as her only pupil, his mishaps on both ski lift and mountain slopes are enough to have them married before the night is over. Their honeymoon is cut short with the arrival of Larry's executive partner, O.O. Miller (Roland Young), and his secretary, Ruth Ellis (Ruth Gordon), who come to take Larry back with them to New York the next morning to assist them with magazine matters. Because of this, an argument occurs, forcing Larry to leave without Karin, with intentions of returning to her once the assignment is completed. Though they continue to correspond by telegram, Larry's theatrical engagement with former flame and playwright, Griselda Vaughn (Constance Bennett) postpones his return for several more months. Through the arrangements with Miss Ellis, Karin secretly arrives in New York and surprise Larry. She's soon met with a surprise when finding Larry with Griselda at the 43rd Street Theater during rehearsals of her production, "Nostalgia in Chromium," to be more than just business partners. Attempting to flee the theater without being seen, she's then spotted by O.O.Miller but "introduced" to him by Miss Ellis as Mrs. Blake's twin sister, Kathryn. As the fictitious carefree twin sister, Karin assumes her masquerade by putting her husband to the test.

Reportedly a modern reworking to an old silent comedy, HER SISTER FROM Paris (First National, 1925) starring Constance Talmadge and Ronald Colman, this latest edition proved nothing new to audiences of 1941, with the exception of Garbo assuming the sort of role expected by possibly Irene Dunne, Carole Lombard or Katharine Hepburn to enact. While this was intended to be a welcome change for Garbo fans, it proved otherwise. Interestingly, this premise of deceit had already been done earlier, to a better degree, under Preston Sturges' amiable direction of THE LADY EVE (Paramount, 1941) starring Barbara Stanwyck playing look-alike characters to confuse and win back the man she loves (Henry Fonda). With the exception of the ski sloping finale that mirrors that of Abbott and Costello's 1943 comedy, HIT THE ICE (Universal), and Constance Bennett's hilarious shrieking bits, TWO-FACED WOMAN offers little cleverness and witty one-liners that had THE LADY EVE work out so well. Having the serious-minded Karin marry a complete stranger hours after their initial meeting seems out of character for Garbo. Script revision depicting her and Larry as a divorced couple remarrying and giving their marriage another try might have been better suited. The Douglas character is more on a two-faced level here, showing great interest in his new bride one moment and growing tired of her the next. He's first romantic, then domineering and critical the next, the latter that doesn't go well with any independent woman. Miss Ellis sums it up well by saying, "They're in love!" Without these marital mishaps, there could never be any situations leading to Karin's fictional gold-digging, man-chasing twin sister to liven things up. Though portions of this comedy misses the mark, it does have Garbo leaving the motion picture screen not in traditional tears, but with good humorous fun. Also look for the young Robert Sterling in this production.

Distributed to home video in the 1990s, TWO-FACED WOMAN often plays on Turner Classic Movies, home of the MGM film library, and those starring the legendary Greta Garbo. La Chica Chaca. (***)

It seems a shame that Greta Garbo ended her illustrious career at the age of 36 with this ridiculous mistaken-identity marital romp. Coming off the success of her first romantic comedy, Ernst Lubitsch's masterful "Ninotchka" (1939), where she was ideally cast as an austere Russian envoy, Garbo is reunited with her leading man Melvyn Douglas for a sitcom-level story that has her playing Karin Borg, a plain-Jane ski instructor who impulsively marries publishing executive Larry Blake when he becomes smitten with her. Once he makes clear that work is his priority, Karin inadvertently decides to masquerade as her high-living twin sister Katherine to test her husband's fidelity when he is back in Manhattan.

It's surprising that this infamous 1941 misfire was directed by George Cukor, who led Garbo to her greatest dramatic performance in 1937's "Camille", because this is as unflattering a vehicle as one could imagine for the screen legend. Only someone with Carole Lombard's natural sense of ease and mischief could have gotten away with the shenanigans presented in the by-the-numbers script by S.N. Behrman, Salka Viertel and George Oppenheimer. MGM's intent behind this comedy was to contemporize and Americanize Garbo's image for wartime audiences whom the studio heads felt were not interested in the tragic period characters she favored in the thirties.

However, Garbo appears ill-at-ease mostly as the bogus party girl Katherine and especially compared to expert farceurs like Douglas and Constance Bennett as romantic rival Griselda. Photographed unflatteringly by Joseph Ruttenberg, Garbo looks tired in many scenes and downright hideous in her teased hairdo for the "chica-choca" dance sequence. The story ends conventionally but with the addition of a lengthy physical sequence where Larry tries to maneuver his skis on a series of mountain cliffs that unfortunately reminds me of Sonny Bono's death. Roland Young and Ruth Gordon (in a rare appearance at this point of her career) show up in comic supporting roles as Douglas' associates. This movie is not yet on DVD, and I wouldn't consider it priority for transfer as it represents a curio in Garbo's otherwise legendary career. She was reportedly quite unhappy during the filming. I can see why.

I've never understood the appeal of Garbo. She always comes across in her films as stuck up, not all that alluring, and that annoying voice that could have drowned out the tuba section. She was also a very limited actress, like Gloria Swanson far better off left in the silent era. In this her last film, her performance is very average and even unassured. She tries hard but it all comes to nothing because the script is even worse than her acting.

A would be screwball romcom that is never once believable and never gets off the ground (even though Melvyn Douglas manages to get airborne in the skiing scenes, which are really the only amusing thing here).

There was potential but the script fails in almost every department, wasting every actor in it. Douglas and Garbo had good enough chemistry together but this one isn't even a spot on Ninotchka, which I also found to be extremely overrated.

Rarely seen and oft-maligned, Greta Garbo's final film, "Two-Faced Woman," is an unexpected delight. Re-teamed with "Ninotchka" co-star Melvyn Douglas, Garbo plays a ski-instructor who literally overnight marries magazine publisher Douglas, only to wake up and discover some stark differences in their approach to life. Don't ask why or how, but the frothy, often quite funny, plot finds Garbo impersonating a fictitious twin sister to test Douglas's fidelity. While the role may have been better suited for Irene Dunne, Garbo nevertheless throws herself into the part and again proves her versatility. While Karin, her ski-instructor personality, has shades of Ninotchka, Katherine, the flirtatious gold digger twin, allows Garbo to shamelessly vamp, saucily dance, and bitchily spar with a hilarious Constance Bennett.

Although Garbo as Katherine rivets viewers' attention, Bennett shines and more than holds her own in the few scenes they share. Douglas is excellent as always, and the Garbo-Douglas duo should have made more films. Ruth Gordon underplays a small role, but both Roland Young and Robert Sterling have fun as Katherine's admirers. George Cukor's direction is fine, and the screwball-like screenplay, based on a play by Ludwig Fulda, may not hold up under scrutiny, but has enough hilarious moments to cover any gaps in logic.

The reasons behind Garbo's exit from the screen are many; but neither the quality of her final film nor her final delicious performance could be among them. Watching "Two-Faced Woman," one can only wistfully reflect on what film history lost by her departure. Garbo as Mrs. Paradine in "The Paradine Case" or as Mama in "I Remember Mama" would have been memorable, and, although Gloria Swanson was magnificent, Garbo as Norma Desmond in "Sunset Boulevard" would have been sublime. Unfortunately, Garbo turned down all three roles. While Karin/Katherine may not rank among the screen goddess's greatest roles or the movie among her greatest films, any Garbo film is a treasure, and, despite an undeservedly poor reputation, "Two-Faced Woman" is not just for Garbo devotees. Fine direction and humorous script, excellent supporting performances, particularly from Bennett, and a flamboyant star turn by Garbo deserve a much wider audience than the film has had.

TWO-FACED WOMAN is a harmless but forgettable comedy. Greta Garbo stars as a sexy ski instructor who falls for big shot magazine editor Melvyn Douglas. With the charm of their young marriage fading (along with her faith in her hubby's faithfulness), she pretends to be her own (nonexistent) twin sister to see how he will react. But hubby knows the truth and is just playing along.

TWO-FACED WOMAN plays a bit like an old variety show skit that doesn't quite know when to quit. Don't get me wrong. The fairly well-scripted film does have its moments, and Garbo is as cute and charming as ever. But there really isn't enough movie here for the 90 minutes filled. Several scenes, particularly when the alleged twin sister first meets her hubby, drag on far too long. And Douglas is a poorly cast leading man, exuding arrogance in an unfunny-from-the-start role.

Garbo fans are understandably intrigued by this picture because it was the starlet's final film. The fact that she retired at a relatively young age only adds to her allure. For everyone else, however, TWO-FACED WOMAN is nothing too special.