One of the earliest and most painful collisions between a European auteur and Hollywood’s factory system came during the production of The Temptress (1926). Garbo’s second American film began under the direction of her mentor Mauritz Stiller, but tensions mounted: Stiller spoke little English, clashed with leading man Antonio Moreno, and struggled to adapt to studio expectations. Irving Thalberg ultimately fired Stiller and brought in Fred Niblo to complete and re‑shoot the picture. The reshoots proved expensive; despite its popularity, The Temptress was actually the only Garbo picture of the period to lose money. The episode stands as a concrete instance of studio executives exerting managerial control over production — replacing directors, ordering reshoots and treating even prestige projects as ledger items — and it vividly demonstrates how foreign directors were often sacrificed in the name of a commercially engineered star image.
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