I love this movie so much

Very Cool!!!

Best movie ever!

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Long-suffering womanhood – the turf of Ruth Chatterton - is NOT what I want from a Garbo film. And to hear her called Susie – good grief – this is Garbo, not Janet Gaynor. In this sob-sister story, Susan is a character who rises above victimhood to become a woman in control of herself and her life. And Rodney is the impetus for her transformation. But, like Robert Montgomery's Andre in Inspiration, Gable's Rodney spurns Susan because she's been unfaithful. Unfaithful – how much better and more evocative that title would have been than Susan Lenox, Her Fall and Rise.In this on-again off-again love story, Garbo is convincing as a woman who spends years chasing after Rodney, who repeatedly rejects her, because, she says, "I know he loves me." Amazingly - or not so amazingly since this is Hollywood - as it turns out, Susan is right. He does love her. During the years that's she's been rising from the gutter and he's been falling into the male version of the gutter – alcohol and laboring in steamy tropical jungles – he's loved her. Gable was well-cast and is convincing as a man who knows how to love a woman, but has difficulty forgiving. Although the script is as faulty as the story, and despite the paucity of jaw-dropping costumes, any film Garbo appears in is worth seeing. And adding Gable is frosting on the cake. 2 months after Susan Lenox arrived in theatres, Mata Hari was released. Now THAT's a story fit for Garbo.

I am, of course, jesting when I describe this as a silent film with dialogue. But that's just how I felt in the opening scenes (particularly) of the film. The over-acting of the principals reminded me precisely of the exaggerated motions that silent film actors usually went through. I almost deleted the film at the point, but stuck with it, and I'm glad I did. It was worth it, although I would hardly call this a great movie. Too creaky! Clark Gable has some good scenes here...and some not so good scenes, but I blame it more on the screen play and the director than I do on Gable. Gable's character couldn't quite decide whether to be the hero or a louse, and a little more consistency would have been helpful. However, this was one of Gable's first truly starring roles, and one can see why he hit it big.I know many will disagree with me, but once again I have to say -- what's the great attraction to Garbo. I certainly don't see it here.The story itself is rather daring. Garbo plays a woman who will do almost anything to reconnect with the man she loves. Today we'd probably say she was stalking Gable's character.Transitions here are terrible, and again, I blame the director for that. It's not a bad story, but after a while you get a little bored with Garbo's relentless pursuit of Gable. I wanted to yell at her (and him), "Get over it and move on!" Okay, I watched it once...but never again.

Greta Garbo suffers to the max as a poor girl whose unwed mother died right after giving birth to her, leaving her in the hands of her nasty Uncle Jean Hersholt who had hoped the baby would be born dead. As the child grows up (shown in a montage of shadows), her uncle promises her to a lecherous Alan Hale (Sr). He attempts to rape her while stranded at Hersholt's home during a flood-causing rainstorm, and Garbo escapes into the night, eventually running into engineer Clark Gable and being taken in by him. They are instantly in love but their plans to wed after Gable returns from a business trip are dashed when Hersholt and Hale locate her. In true pre-code Hollywood fashion, Garbo ends up in a carnival and when Gable finds her, he incorrectly assumes she is a loose woman. Garbo's fury towards men (previously kept quiet) is unleashed as she vows to be exactly what Gable believed her to be. Like any bad penny, Garbo and Gable keep running into each other as the assumptions become worse and Garbo falls deeper into sin.Long before her riotous laugh in "Ninotchka", Garbo is briefly light-hearted here, playfully teasing Gable in their initial love scenes and showing an engaging smile. However, her transition into a tramp from a broken winged bird really isn't believable. Dozens of these films with stars like Dietrich, Bankhead, Stanwyck, Crawford and Twelvetrees (to mention a few) were made in the pre-code sound era, and this doesn't have any more dimension than they did. Cecil Cummingham is amusing as a tattooed carnival performer, while Gable (minus mustache) is very handsome in his only film opposite Ms. G. Hersholt and Hale play very one dimensional, hiss-able characters. But Garbo is always worth a look, and there are some really nice photographic moments between her and Gable that are perfect for movie stills.

The first twenty or so minutes of this film is about as good as you can find for Greta Garbo and Clark Gable. When poor little Greta is forced to run from her abusive and cold home, the movie really becomes marvelous as the relationship between Garbo and Gable begins. During all this time, the cinematography is tops, with wonderful camera-work, lighting and composition. And, the romance between the leads is really compelling and beautiful. However, after this wonderful start, the film quickly falls apart. Through a series of misunderstandings, the lovers inexplicably become cold and angry towards each other--and after such a great start, this really makes no sense at all! Then, for the rest of the film, we see Clark and Greta periodically "stumbling upon each other" and then mistreating each other even though EVERYONE watching the film knows they really love each other and KNOWS they will ultimately admit this to each other. So, you KNOW what will happen and there is no suspense at all--NONE! It's really sad when a film starts off so well and then fizzles into a dull and predictable mess that could have simply been handled if either Garbo or Gable had just said "let's stop the bickering and marry--after all, YOU know and I know that it's meant to be!". But, for some odd reason, the writers want us to just assume the leads are too stupid and too proud to admit it. Gimme a break!