Customer Reviews

Camille

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3 star:		(5)
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I have seen many, many classic movies. I have seen the best performances of the best movie stars and I have seen all of the most respected classic films. None come close to Camille, the best movie ever made! I'm not kidding, either. This film is pure magic. The screenplay is brilliant and flawless. The romantic lines will last in your memory just as long as the beautiful images. And there are many unforgettable scenes.. Garbo drops her fan as she walks down the staircase (in a magnificent Adrian gown), as she sees the man she loves. The scene where Robert Taylor throws his money at the woman he can't have. And the single best scene in motion picture history..Garbo's legendary and tearjerking death scene. The first time I saw this movie, the end made me cry uncontrollably for half an hour. Just as magnificent are the heartfelt performances by Garbo and Robert Taylor, who is sensitive and tender, as his character should be. Garbo is breathtaking in her best role. Her lines are perfectly blended with her character, such as when she is on her deathbed and whispers, "If you can't save me, how can a doctor?" or "My heart isn't used to being happy." As they are falling in love, the lines are absolutely wonderful, such as when Taylor tells Garbo his parents were married 30 years and Garbo says, sadly, "Nobody could ever love me 30 years." People could laugh at this movie and say it is sentimental, but that just indicates lack of heart. I have never seen a movie without a sentimental script that ever inspired me to write. This movie inspired me in every way.. It inspires us to be more compassionate towards each other and live to love. This is the most effective love story ever told, and this 63 year-old film still breathes life into a 150 year-old story. Why? Because it is timeless. A story is only old if the artists think so, but this film is a masterpiece. It will always be my favorite movie.

Every actor or actress who has achieved success in Hollywood tends to have one film that is their "signature" part and in Greta Garbo's instance that role would have to be her tragic heroine Marguerite Gautier in the MGM classic "Camille'.

This film was, and is one of the benchmarks for how a classic movie should be put together. Flawless attention to detail, a great romantic story, exquisite performances by all concerned, a sumptous production and a fine literary source. All these elements successively combine here to make a screen masterpiece that has moved, charmed and entertained movie goers for generations. Indeed "Camille" is probably the best known and most often revived of all of Greta Garbo's great body of work which includes such masterpieces as , "Grand Hotel", "Mata Hari", "Queen Christina", and "Ninotchka".

Greta Garbo, the mysterious, and reclusive MGM star here proves yet again what a stunning actress she can be when given material worthy of her talents. Based on the tragic story by Alexandre Dumas of "The Lady of the Camellias", "Camille" tells the story of Marguerite Gautier a famous 19th Century courtesan in Paris who lives by her beauty and the support of those men who can pay for it. The tragedy of her situation is that when life means very little to her and she finds herself slowly dying of consumption, she meets the love of her life the young and penniless gentlemen Armand who loves her for herself and not because of the charms she can offer. Armand offers her a life of genuine love and purpose which is missing in her gilded Parisian life among her superficial, pleasure loving friends and as the mistress of the grim and domineering Baron de Varville who views her as his personal plaything. Garbo instills in Marguerite just the right qualities of tragedy and humour to make her a well rounded believable character. Her scenes with the Baron have just the right elements of fear and loathing of the situation she finds herself in. Garbo, who earned yet another Oscar nomination for this role, reached new dramatic heights here and it was a performance which she was justifibly proud of.

"Camille" has a wonderful array of performers who surround Garbo with some stunning work. Robert Taylor was a rising MGM star only just beginning his incredibly long career with the studio when he was handed the plum role of Armand. Previously acted on screen by non other than Rudolph Valentino, Taylor has been accused of a certain stiffness in his playing. Reportedly he was terrified at the propect of working so closely with the legendary Garbo but it does not show in his performance. Certainly his work in the second half of the film is a major improvement when he experiences the frustrations of loving a woman who is being kept by a wealthy older man. His is a fine performance given the limitations of the role . Henry Daniell, a veteran character actor with many fine performances to his credit does a superb turn as the nasty Baron de Varville. He is excellent in his scenes with Garbo and projects an image of a cruel, self centred individual who regards Marguerite as his personal possession and who believes that money can get him everything he wants in life. The sterling cast also contains some wonderful work from Jessie Ralph another veteran character actress. She takes the sympathetic role of Nanine , Marguerite's devoted maid who stays with her devotedly through all the ups and downs of her life. Perhaps one of the most dazzling performances is turned in by Laura Hope Crews as Marguerite's superficial and self centred friend Prudence. Rarely has Crews, best known nowadays for playing Aunt Pittypat in "Gone With The Wind", given a more wonderful performance, she is in turn selfish, amusing, uncaring and infuriating and she dominates her scenes aided by her gaudy jewellery, over the top fashions and commanding presence . Lionel Barrymore also registers in the supporting role of Armand's concerned father Monsieur Duval and his most memorable scene occurs when he confronts Garbo's character with what she is potentially doing to Armand's chances of ever succesively making his way in life. Garbo's anguish at having to reject Armand for his own good despite the love she is feeling for him is heartrenching and gives Marguerite the mantle of a great tragic character. The interplay between Garbo and Barrymore, who had worked together before very effectively in "Mata Hari", is brilliant and goes a long way to explaining why these two performers are still considered stars 70 years after this production.

Superbly directed by the legendary director George Cukor who worked so beautifully with Garbo on a number of occasions, "Camille" literally glows with the essence of a tragic romance in the making. Cukor was expert at extracting just the right amount of pathos and longing for other things from his players and here he excels in one of his finest films. The production also benefits from MGM's great ability to bring the very best of talents to everything both in front of and behind the scenes. Adrian never surpassed himself than here in the stunning costumes he created for Garbo and the chief supporting players in this production. The film is so gorgeously costumed it makes viewing "Camille" a veritable eye feast but they tie in very carefully with what courtesans of that time wore and shows MGM's meticulous research into a time or period. Cedric Gibbon's sets almost rival his stunning work for "Marie Antoniette" a year later and have that unmistakably no expense spared MGM look about them.

"Camille" is the ultimate in romantic screen entertainment of the first order. For people wanting to sample Garbo's work for the first time this production is the best choice of all her films. I love it as an example of old style movie making at its very best with all areas of the production given total care and attention. It is a timeless story and for all lovers of romance this film will never fail to move you in its dilemma of searching for real love at the expense of ones creature comforts. I never fail to be impressed by "Camille" and you wont regret this trip into another time and place when love and position could mean everything in an individuals life.

"Camille" is that rare occurance in movies where the story, director, star, and studio are all working in sync. The result is one of the finest romantic dramas of all time.

"Camille" is based on Alexandre Dumas tragic story of a tubercular Parisian courtesan, Marguerite, who sacrifices all for true love.

George Cukor, the director, proved yet again that he is the consummate actor's director. With impeccable taste and skill, he consistently brought out the best in the most gifted actors such as Katharine Hepburn, Spencer Tracy, Judy Garland, Cary Grant, and Audrey Hepburn to name a few.

And with Greta Garbo as the star of "Camille", Cukor elicited one of the best performances in movie history. You are never aware of Garbo acting. She simply becomes Marguerite, the seemingly light-hearted, yet world-weary courtesan whose beauty and sexual favors she offers to wealthy men. Those men in turn use her and then pay her.

That is Marguerite's means of survival. She is not educated or job-skilled but she is seductive to men, and she can capitalize upon that.

Marguerite has never known true and unselfish love until she meets Armand Duvall, a young and principled man who falls in love with her at first sight. He is earnestly played by a very handsome and youthful Robert Taylor.

Armand is finally introduced to Marguerite by a mutual friend.
Unbeknownst to Marguerite, Armand has visted her home for several months while she was convalescing from her tuberculosis. He would visit with Marguerite's devoted housekeeper Nanine everyday to find out if Marguerite's health was improving. He truly cared about her well-being.

And even though Marguerite always has plenty of "friends" to party with, these so-called "friends" are mostly shallow and opportunistic. When Armand is finally invited to one of Marguerite's soirees, he is the only one who is concerned that she is gasping and weak after a tubercular bout worsened by dancing.

Marguerite is skeptical at first about Armand's devotion, but she finally realizes that he is truly in love with her. He wants to take her away from Paris to the peaceful countryside where the fresh air and sunshine will help her to get well.

And Marguerite and Armand do spend an idyllic summer in the countryside until something happens to disrupt their tranquility. I will not disclose what happens next.

For those who have never seen Greta Garbo in a movie before, I would alert you that her beauty is transcendent. There are no earthly words to adequately describe her luminous, extraordinary visage. Combine that beauty with formidable talent, and you can understand why Garbo was and still is a legend.

Garbo's performance as the tragic Marguerite is not merely great, it is sublime. Somehow she tranmits that there is a moral and selfless person beneath the apparently promiscuous and materialistic person she has become.

With exquisite subtly and restraint, Garbo as Marguerite convincingly conveys how profoundly Armand's love has not only touched her, but has transformed her entire being. You acutely feel Marguerite's overwhelming joy and despair. It is a perfectly modulated performance.

As for the rest of the movie, "Camille" is a trademark world-class MGM production with gorgeous sets, breathtaking costumes, and lovely cinematography. If you appreciate pure artistry in movie making, you'll love "Camille".

Greta Garbo's superb performance as CAMILLE finally comes to DVD. Based on the romantic novel by Alexandre Dumas. The story takes place in the giddy Paris of the 1800's. Marguerite Gautier (Greta Garbo) is the most dazzling and popular courtesan, who delights in breaking hearts and squandering her money, yet does her best to hide a frail constitution. Into her life comes the handsome yet humble Armand (Robert Taylor). The jaded Marguerite experiences her first taste of real love, but Armand's father (Lionel Barrymore) insists that she call off the romance. She returns to the empty artifice of Paris, but Marguerite will be forever changed thanks to her "unstained love". Fantastic support performances from Laura Hope Crews (as the grasping Prudence), Elizabeth Allan, Lenore Ulric, Jessie Ralph and Henry Daniell. The beautiful gowns are provided by Adrian and the charming score by Herbert Stothart.

Director George Cukor managed to extract from Garbo her most unguarded and vivid screen performance. She simply becomes Dumas' "Lady of the Camellias", and never does the audience see her merely acting. Those under the false belief that Garbo wasn't a superb actress should take another look at CAMILLE.

Though the DVD transfer is far from the best. The print is littered with scratches, dirt, debris and watermarks. Warners could at least have restored the film for it's DVD debut.

The big extra is the inclusion of the 1921 silent film version starring Alla Nazimova as Marguerite and Rudolph Valentino as Armand. The print has been beautifully-restored and features a brand-new musical score provided by Peter Vantine. For those who are only familiar with the Garbo CAMILLE, the silent version will be a lovely new look at the story, now set in the modern times with Nazimova emoting wonderfully as the doomed Marguerite.

Warners cannot be forgiven for the slipshod way they have released Garbo's CAMILLE on DVD, but the silent version somewhat lessens the blow.

A word of advice when viewing this movie: Get out the kleenex! A classic romantic weeper, this film lived up to all my expectations and more. It took me months to find a video store that had this video for rent, and though very expensive, it was completely worth it! Greta Garbo is my new hero. Her acting is ... remarkable in this film. I confess, though perhaps some may disagree, that I liked her much better in this film than in Ninotchka - also an excellent movie, but lacking one of my newfound favourite actors: Robert Taylor, who is astounding in this film. I'm dreadfully sorry ... I cannot think of an adjective that would do justice to any of the aspects of this movie. Robert Taylor, Greta Garbo ... both are incredible, and a perfect romantic match. It's almost funny; when they are together and happy, you'll find you have a huge smile on your face. But when they are apart; or when Armand, (Robert Taylor), is doubting her love; or when Camille makes that great sacrifice - (I'll say no more, I hate reviews that give the plot away!) - you'll find your eyes brimming with tears. The story, the set, the costumes, the many supporting actors, (watch out for the Baron! He's especially hateable!) ... all are perfect! And because I find I cannot say enough about the two stars, let me add once again that Greta Garbo and Robert Taylor are magnificent! When they were together they seemed to glow, and you always sensed something missing when they were apart. A remarkable film with an incredible cast, it boasted the greatest tearjerker plot! If you are looking for THE tragic romance, watch Camille! It truly is a beautiful movie.

The legendary Garbo interpreted the famous courtesan of literature with the subtlety that earned for her the title of "the first lady of the screen". Even as the impish demi - mondaine of the early sequences, Garbo managed to convey the impression of maturity, of a certain etherealism and spiritual integrity which raise her above her surroundings and mark her as one apart. Greta Garbo's performance as Marguerite Gautier is eloquent, tragic yet restrained: through her artistry her portrayal made a hackneyed theme new again - poignantly sad and hauntingly lovely. Robert Taylor at 26, is surprisingly good as Armand, a bit on the juvenile side perhaps, but certainly not guilty of callowness. Henry Daniell is suavely perfection as the Baron de Varville. Good sound performances are given by Laura Hope Crews as flighty Prudence, Lenore Ulrich, and Rex O'Malley as the effete Gaston. Lionel Barrymore is just a tad too American as Monsieur Duval (listen for Taylor's Nebraska accent!) Alexandre Dumas wrote LA DAME AUX CAMELIAS over a century ago, but the basic message of the film CAMILLE is timeless. The story was adapted for the screen by Zoe Akins, Frances Marion and James Hilton (who wrote LOST HORIZON and GOODBYE MR. CHIPS among other popular novels of the day). They modernised the script but not jarringly so. Director George Cukor successfully retained the full flavour of the period - France in the middle of the nineteenth century - without drenching his film with the cloying scent of a hothouse.

One day I was flipping through the channels when I found this movie I had never seen before. I watched it, and I think that it is one of the most timeless movies I have ever seen. I am only 16 years old, and in some of my spare time, I watch classic movies from decades ago, I have seen alot of movies from this time period, but none can compare to Camille. It remains my favorite because of outstanding acting by Robert Taylor, and especially Greta Garbo! Greata Garbo's films will always remain classics because in the time period that she worked you actually needed talent to be an actor or actress. There is none of the gratuitous violence or sex which have characterized the films of today. This classic film is filled with drama and romance!This movie is great for all ages! See this movie!!!!

Movies can generate much disagreement (that's why it's such a lively art) but one thing I think no one disputes is the artistry and allure of Greta Garbo. Reputedly, she was somewhat unprepossessing in real life; but when she stepped in front of the camera magic happened, and she is one of the screen's most fascinating images. Garbo was in M~G~M's top roster, and with her moody aura it was inevitable that she be cast in "Camille", the dramatization of "La Dame aux Camélias" by Alexandre Dumas fils. Unfortunately, the title "Camille" makes no sense at all. According to Cornelia Otis Skinner, when Sarah Bernhardt first saw the word "Camille" on an American marquee, she asked "Qu'est-ce que c'est?"; and when she was told it was the English-language equivalent of "La Dame aux Camélias", she couldn't stop laughing. Be that as it may, this 1936 production is big and rich, begun by Irving Thalberg (he died during filming) and directed by George Cukor with comprehension and sensitivity. Marguerite Gautier (Garbo) is a Parisian demimondaine living in a world (or, rather, a half-world) where irresponsible relationships ae bought and sold. (This same setting gets a lighter treatment in "Gigi".) Marguerite is torn between Armand Duval, a boyish bourgeois who adores her despite her reputation, and the Baron de Varville, who pays her bills. A remarkable scene has the Baron playing the piano, he and Marguerite frantically laughing, both fully aware that Armand is locked outside, ringing her doorbell. Later, when the Baron agrees to finance Marguerite's country sojurn (knowing she is meeting the younger man), Marguerite kisses the Baron on both cheeks. In return, he slaps her sharply across the face. What a couple! Robert Taylor is Armand. He was not the world's greatest actor, but he served Metro well over the years, playing everything from Johnny Eager to Ivanhoe,and his puppydog devotion here is touching. As Armand's father, an ambulatory Lionel Barrymore is a little pedantic. Henry Daniell is suavely brutal as the pitiless Baron (a role originally meant for Lionel's brother John), and Rex O'Malley is interesting as a bon vivant who turns out to have a compassionate nature. But, of course, it is the mercurial Garbo who is the center of attention, and she can devastate with a single gesture. When she drops her fan in the gambling club and, glancing at the Baron, gets only a redundant remark and a cold stare in return, she realizes she must pick up the fan herself. In that one stooping movement, Garbo captures her character's degradation. And the voice: when leaving Armand to return to the Baron, she sounds like she's lived ten lifetimes. Her final scene, when she is ill and destitute, is poignantly realistic. "Camille" is a movie to watch when you are pensive yet responsive. Tragic but not ponderous, sentimental but not schmaltzy, its sobriety will leave you intoxicated.

Garbo is my favorite actress and CAMILLE is my favorite film. If you have to point to only one film that captured the essence of what her career is about, and the range of her talent, the unique mix of intelligence, irony, pathos, flirtation and unvarnished wrenching emotion, this is the film (closely followed by ANNA KARENINA).
A Garbo film presents us with a woman with "an unpleasant past," a new love that changes her, a passion of operatic proportions, a grand self sacrifice, and the expected outcome of such unbridled passion in this time period.
Based on the classic story by Dumas (based on the life of a real "courtesan"), this story begins with superficial beauty and the social games at the opera, a mistaken identity that sparks the love of a lifetime. The costumes are beautiful, Garbo is playful and pouty, and her illness progresses throughout the film.
Young, almost too pretty Robert Taylor plays her mannered young paramour, in the role that confirmed his stardom. The supporting players all fit the bill(Aunt Pittypat from GONE WITH THE WIND plays the exact same character here, to fine effect.) Over the years, I recognize that Jesse Ralph, the older character actress who plays her maid Nanine, gives a really marvelous supporting performance, almost always present, it is the definition of a truly supporting performance.
How do you describe your great love? This is my favorite film, and how can I do it justice. To many this will be too much emotion on the sleeve, too heavy handed, but for it's time period it was simply brilliant, and the script remains witty and layered and resonant today for anyone who understands self sacrifice. "[I must] make my love hate me, make my love hate me."
This wonderful DVD version also includes the Nazimova/Valentino silent version of Camille that is frequently referred to in books and on film for it's art direction. It is set in high deco 1920s style on mostly closed in theatrical sets that are stylish, unsettling and memorable. Also stylish, unsettling and memorable (for all the wrong reasons) is Nazimova's hair! And her acting! While the director is clearly poking fun at the posey, pouty game playing of the era, hers is high-silent acting style - grasping her brests in horror, etc. Contrasted here with Valentino who is much more natural. It is a history lesson in acting styles, because this was the day when, on stage, actors used standard poses to indicate emotions.... Nazimova learned the book!
A simply MUST HAVE for any film lover.

As much of a treat as finally having the Garbo Signature Collection released on DVD is, one of the great joys of these new releases is finally getting the opportunity to see the Nazimova/Valentino/Rambova modernized version of the Dumas classic. Nazimova is an actress one hears much of in classic film fan circles, but so little of her work is actually available to view that finally getting a chance to see a full length "Camille" was an overdue and treasured experience.

Bravo to Garbo/Young, but bravo also to the charismatic pairing that was Alla Nazimova and Rudolph Valentino.