In Anna Karenina (1935) the train pulls into the Moscow train station, a cloud of steam envelopes the exit of a first class car and then a woman emerges from the cloud. The figure is aristocratic, the face is a vision. But it's the eyes that enthrall the viewer and Vronsky who has expected his mother to be the first woman off the train. Bosley Crowther, New York Times film critic from 1940 to 1967, had this to say about the Garbo eyes: Set in the face of classic structure were large, sad, lu ...[Read Story]
