Customer Reviews

Camille [VHS]

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Valentino was still something of an unknown quantity when this film was made, and although it was adapted from the screen by his mentor June Mathis and designed by his wife Natasha Rambova, CAMILLE is not a Valentino film. It belongs instead to Alla Nazimova, whose eccentric charm that combined both frantic gaiety and an exhausted world-weariness made her the most highly regarded "high-art" performer of her day.

Surely by now every one knows at least the basic outline of the story, which French author Dumas drew from life: Marguerite Gautier (Nazimova) is a celebrated courtesan who despises her life and yet cannot break free of it. When confronted with true love in the form of society youth Armand (Valentino), however, she attempts to leave her past behind--only to be convinced by her lover's father that if she really loves Armand she must leave him that he might take his rightful place in society. She returns to her old life, where she dies of consumption with her one true love's name upon her lips.

Nazimova is an extremely interesting Camille. Unlike the later Garbo, she offers us a truly neurotic creature who in public screams with nervous energy while in private collapses under the twin weights of loathing for her public persona and her increasing illness. At times her performance goes as far over the top as her hairstyle, but the cumulative result is exceptionally affecting. Valentino is typically Valentino, with an intriguing presence that relies more upon appearance than actual skill, and his performance adds no significant dimension to the part of Armand; this may, however, be an unfair criticism, for the role is notoriously thankless. Rambova's strange set design for Marguerite's apartment is a highlight of the film and worth studying, very 1920s modern and yet still far advanced of anything commonly seen in even contemporary decor, and the cinematography gives CAMILLE an effectively lyrical feel. All in all, the film might best be considered as a high-art experiment that does not entirely come off, but even so it gives us the opportunity to see Nazimov near the height of her appeal, and as such is recommended to all silent film fans.

This version of Camille features Nazimova as the courtesan and Valentino as her young lover, Armand. It certainly makes for an excellent film and deserves to be viewed as an earlier rendition of the story that features a mature star opposite a rising one. I think it holds its own space next to the Garbo version, and both benefit by the comparison.

Valentino is subtle and intense, he gives a memorable performance and his presence is electric. He is much more expressive than Robert Taylor in the Garbo version. Nazimova must have been aware of his scenic power, as she chose to have him absent in the last scene, so we could concentrate on her death which was very well done. In general Nazimova tends to be over the top in the crowd scenes, but her solos or scenes with Valentino reveal subtlety and add depth to the interpretation. She is very convincing for example, in establishing the disease as a major feature in her character from the very beginning.

The story takes place in the present then 1920's and not in the 1840's. The designs for sets and dresses by Natasha Rambova are exquisite. We first see Camille at the top of a grand staircase in what we assume is the Opera, surrounded by admirers and wearing a grand gown, and wild hairstyle. The party at her house afterward is perfect in the decor and design, particularly the way we can see into her boudoir from the salon. The country scenes were beautiful as were the flashbacks into the story of Manon Lescaut, the book that is a gift from Armand, and which he reads to her in their idyllic moments, and that she will hold on to till the very end. It relates a similar life to hers in the 18th century, and we understand her predicament to be a recurring theme, as old and human as society itself. The interior scenes in the country however were too spartan and middle-class in style. And her dresses are also too plain. We find it hard to believe Marguerite could have spend so much and get so little. It does seem a perfect environment though, for Armand's conventional and small- minded father, who looks like Napoleon III in his commanding incarnation of bourgeois morality.

The gambling scene that marks her re-entry into her old life is one of the best in the film. The communication between Marguerite and Armand from across the room is as intense as if they were holding each other close. It must be seen to be understood, as no words can accurately describe the gamut of feelings rushing by the actors, it is precisely at these moments that we understand the art of the silent era, and Norma Desmond's comment in "Sunset Boulevard" :"We didn't need words, we had faces".

Though far from being the best of Valentino's films, it's still an example of his grace, style, and screen presence. Made in '21, it's an "updated" version of Dumas' "La Dame aux Camélias" with elaborate and sometimes outlandish sets and costumes by Natasha Rambova (Mrs. Valentino) and written for the screen by his friend June Mathis.

Nazimova, a mere slip of a woman with huge eyes, big hair and exotic looks, plays Marguerite like the ultimate camp vamp. Even when taking into consideration the mime quality of silent screen acting, she goes way over the top...there are scenes that made me want to say "enough already !".

Valentino's performance is lovely, though his part is secondary to Nazimovas...the scene where he reads her goodbye note is wonderful. For the best of his work see the fabulous "The Four Horsemen of the Apocalypse" (which is a silent masterpiece), "Blood and Sand", "The Eagle" and "Son of the Sheik"...these were marvelous films that used his talent to the fullest, and the reason it's still remembered and admired.

Warner includes as a special feature in the DVD edition of Garbo's "Camille", an earlier version filmed in 1921 and starring Alla Nazimova and Rudolph Valentino with a new and appropriate orchestal score and an almost-perfect copy of the film. It is sad that such treatment is not enough to increase the limited interest of the movie itself. The scenario for this version was written by the very talented pioneer June Mathis who did a good work, very faithful to the spirit of Dumas' novel. What makes the movie dated and ridiculous today is Nazimova herself, credited as one of the great actresses of those years. All that a contemporary viewer could find in her "Camille" is an overact performance that gives you the wrong impression that Marguerite Gautier is simply a neurotic woman. Because the film is all around Nazimova everything seems excessive, including the sets designed by Valentino's wife, that are pretentious and tasteless.

A film that offers little more than the historic interest of seen a diva of the twenties and a silver screen legend in the beginning of his career.

Alla Nazimova poses, preens and overacts shamelessly in what amounts to a vanity production. She seems to have called all the shots, which included re-filming the ending minus "co-star" Valentino at her bedside. His original performance in this scene was said to have elicted tears from the crew members. Snip-snip, and this Camille dies alone! Valentino is completely wasted here due to Nazimova's ego (no close-ups!), but his soon-to-be wife, Natasha Rambova, did a fabulous job with the stunning art-nouveau production design; it holds one's interest far more than Nazimova's sometimes laughable histrionics.

This is the only version of the famous Alexandre Dumas Fils story I've seen to date, but it stays pretty much true to what goes on in the book, only in a modern setting. This isn't what I would call one of the greatest silent films ever, but it is enjoyable, a pleasant way in which to kill time. Alla Nazimova was quite the diva and over-the-top performer; her clothes, hairstyle, and surroundings in this picture are nothing next to some of the ones in her other movies! She was such a diva in fact that she refused to let her handsome up-and-coming co-star upstage her, making it clear that this was her movie and hers alone, not wanting to share the glory. She even cut him out of the death scene because his performance there threatened to upstage her, so Armand isn't there in this version as Marguerite dies with the name of her one true love upon her lips. Of course it's primarily the story of Marguerite, but Armand is a very important character and presence too; it's too bad there aren't more scenes featuring him, since the story might have played out in a more developed manner then. Still, the understated role that is played by Armand is lovely to watch, in comparison to Nazimova's frequent over-the-top performances. In my opinion the best scene is the one in the casino, where Armand wins big but then flings his winnings in disgust at Marguerite, believing she betrayed him for money, then telling him to look at him and say she no longer loves him, pinning her arms behind her back and violently kissing her on the neck. Not one I'd use to introduce someone to the lost art of silent films, but for what it is it's enjoyable enough.