Greta Garbo – The upper limit of human aesthetics
The beauty of Swedish women is not world-class, it is "puzzle" grade. No matter what kind of temperament they belong to, they will be interpreted to the extreme, so that all latecomers are dwarfed or even extremely redundant. In terms of coldness, Greta Garbo has never given any beauty in the history of cinema even the slightest chance to win. On April 15, 1990, when Garbo passed away, I was still hovering between the awkward period between my child and my adolescence. A few years later, the black-and-white silent film-watching experience, which began with Chaplin, saved me from a too low film starting point, and when I had the opportunity, I began to look for classic light segments, including Garbo's La Traviata and Anna Karenina. I knew that my poor vocabulary accumulation was not enough to describe the beauty of Garbo, and I secretly rejoiced that I had touched the upper limit of human aesthetics when I was very young and certain aesthetic standards were being formed. A lot of people don't think so, and will refute me with certain facial features that they think are more exquisite, listen to me, 1930's Anna Christie, a sound film, the third Oscar nomination for Best Actress, Greta Garbo is there. Between following, emulating, catching up, and starting, there are boundaries that can never be crossed. She can catch people's hearts just by laziness.
