Die Kameliendame

Lavish and luxurious poduction of the Alexandre Dumas clasic about a dying woman , Margarita Gautier nicknamed La Dame aux Camille : Greta Garbo, a beautiful woman who has found success as Parisian courtesan , but has never found love , until she has a love affaire for a younger and innocent gentleman called Armand : Robert Taylor , while another suitor, a wealthy Baron goes after her by giving money . Still, Camille agress to give him up, realizing her scandalous past will jeopardize hus future .

Nice film graced with the vulnerable and distant quality that only the great goddess Greta Greta Garbo could deliver by giving one of the best acting of her short career . As the attractive Garbo , beautifully dressed in gowns by Adrian, plays the sick courtesan providing sensibility and sweetness that only she could bring to character .The combined magic of Metro Golwyn Mayer's big studio and Greta's extraordinary presente along with the handsome Robert Taylor -soon to be one of MGM's biggest stars- legitimized this vintage film , an archaic creaker into an unforgettable flick. There are various adaptations based on this story , though this one remains the consummate rendition of this popular and tragic love story .

The motion picture was competently directed by George Cukor and it is still a masterpiece of its kind . Cukor was one of the best Hollywood filmmakers shooting several classic and successful movies with penchant for melodrama , comedy and musical, such as : David Copperfield, Little Women, Adam's rib , Born Yesterday , The Women , Corn is Green, Dinner at eight , My Fair Lady , Les Girls , Gaslight , A star is born , Philadelphia Story, Holiday , Heller in Pink Tights , I Should Happen to You, What price Hollywood? , Double Life , Woman's Face , and his last one : Rich and Famous, among others. Rating : 7/10 . Above average . This Alexandre Dumas story somewhat manages to escape the clichés and stands as one if the most telling monuments to Garbo's unique presente and magic in a movie . The yarn will appeal to Greta Garbo and Robert Taylor fans .

This film further proves that the assembly-line system of Hollywood studios back then should also be taken seriously in terms of artistry. Just because movies were produced run-of-the-mill doesn't mean that they weren't paid critical attention to by their makers. The usual impression on studio-era Hollywood is: take a formulaic narrative style, maybe adapt a stage play for the screen, blend in a handful of stars from the stable and the films rake in the profit at the box office. Not quite, that's the easy perception. George Cukor, another of those versatile directors, made it apparent with Camille that filmmaking as an art may still flourish despite (and even within) certain parameters. Camille is beautiful, in so many respects. And it's not just because of Greta Garbo.

Sure, the acting is amazing, the casting is perfect. Garbo is luminous, mysterious, cruel, and weak at the same time. Robert Taylor surrenders himself to be the heartbreakingly young and vulnerable Armand. Henry Daniell's coldness and sadism is utterly human and familiar. The others are just plain wonderful. The writing contains so much wit and humor, devotion and pain - but it never overstates anything. The rapport and tensions between lovers, friends, and enemies are palpable and consistent. The actions flow so naturally, just like every scene, that checking for historical inconsistencies seem far beside the point.

There is so much that I love about Camille that it's hard to enumerate them all, but with every little discovery comes the realization that this is "but" a studio production, so it makes the experience more exquisite. Camille is a gentle, poignant romantic movie that, like Garbo, takes its place delicately and self-effacingly in the history of American cinema, but makes itself indelible in the heart and mind of the lovelorn individual viewer.

"Perhaps it ill be better if I live in your heart, where the world can't see me. If I'm dead, there will be no staying of our love."

The novel/play by Alexandre Dumas Fils LA DAME AUX CAMELIAS has attracted a lot of artists. Verdi wrote his opera LA TRAVIATA basing its content on this play. The film industry have also made a lot of adaptations of the play from the period of silent era up till modern times. However, if one hears a movie title CAMILLE, what usually comes to one's mind is the film by George Cukor with Greta Garbo and Robert Taylor. Why? There is something magical about this version that made it stand a test of time, something that helped it be appreciated for almost seven decades. Is it performances, cinematography, or Garbo's presence that make it so enchanting to watch? The answer is not so easy because the movie is a masterpiece of beauty at multiple levels.

The performances are absolutely outstanding. It is difficult to say if Garbo gives her best performance in CAMILLE or GRAND HOTEL. I think that it is more a matter of personal preferences. One thing is sure - she does something more than acting. She totally feels the role, every movement, every gesture is extremely natural as if you were watching reality not a movie. As a result, Garbo achieves something really outstanding in CAMILLE, some kind of the ultimate masterpiece of performance. Robert Taylor very well fits to the role of Armand Duvall. He manages to stress the most important feature of his role - delicacy and sincerity. Henry Daniell is a perfect choice for Baron De Varville - cruel, unemotional, cynical, and very selfish. I shall never forget the scene when Marguerite plays a lyrical piece on the piano expecting Armand's visit. However, it is Baron who comes unexpectedly. While Armand is trying to get to the house, Baron plays the piano and Marguerite has to behave as if she wasn't expecting anyone. The scene ends with hysterical laughter of them both and a magnificent acting. Laura Hope Crews also gives a lovely performance as Prudence Duvernoy stressing her frivolity and extravagance. Consider her performance at the party at the mansion. Yet, Lionel Barrymore, though not given much time on screen, is memorable, particularly in the scene of his meeting with Marguerite. What a lovely presentation of two different world views! Not a better or a worse view but DIFFERENT views - Marguerite attached to love and emotions and Monsieur Duval to social ties and reputation.

The cinematography is superb. Almost each scene has a "soul" which makes watching the movie a real admiration of beauty. The most memorable decorations are in the scene in a candle-lit boudoir filled with delicate lighting and shadows. Marguerite is looking at her reflection in the mirror and suddenly notices Armand from behind. A delicate classic musical piece is being played in the background. UNFORGETTABLE! The film's gorgeous imagery is a very strong point for the movie.

Perhaps, you will wonder why I praise this movie so much. But if you asked me if I can ever forget CAMILLE, my answer would be "never" because the imagery of this movie and the effect it has on a viewer is endless. How is it possible to forget a beautiful scene of Marguerite's first meeting with Armand? Is it also possible to skip a lovely idyllic pastoral sequence with sheep and flowering trees? How to forget a touching moment when Gaston, Marguerite's true friend, is putting a beautiful bunch of camellias at her side while she is lying ill in bed? Finally, the touching final shot and Marguerite's beautiful words that I entailed at the beginning of my review. These words, which purely refer to spiritual love, are the last words that Marguerite says.

Yes, CAMILLE is a masterpiece, one of the very few movies that promotes real beauty. It is not only a tearjerker. It is not only a story of love. It is a movie that teaches high respect for precious values in life. 10/10!

Camille (1936)

This melodramatic tale of true life in the face of the strictures of social reality is tried and true. You feel for both the male lead (Robert Taylor, who is quite good) and the female (Grate Garbo, of course, who is excellent). That's the whole point. These are two people who are not quite appropriate because they come from different social levels, but there is a sense they could make it work if they wanted to.

But outside forces get in the way. Chief among them is the man's father, who wants to save his son from a marriage that will ruin both husband and wife. This is a key role in the film, and a critical if brief 10 minutes or so. The father is played, importantly, by Lionel Barrymore, who does little else int he movie. But here he makes his case to the Garbo with amazing force. It's a great scene, even if you wish Garbo would leap up and say, no, no, I'm going to follow my heart.

But exactly what happens is what the movie is about. The rules of the culture of the time (1800s France) prevent an honest sense of two people marrying out of simple love for one another. In a way, that's the whole point of continuing the old Dumas story, which has resonated for decades into the Hollywood era. I'm not sure it would work now, except as an historical drama. This is set in the period (around 1850) and feels legit. Unlike the curious (and not bad) 1921 silent version, which sets it in a 1920s culture, this one transports us back to the original. Fair enough!

There is a contrived quality to the plot, for sure, partly because of its origins. While this doesn't ruin the whole enterprise, there is a slight feeling of being led along the whole time. Garbo and Taylor are both terrific, however, and we feel some honesty to their feelings for one another. It's on that basis that the movie works. And it really does, even through the over the top drama in the last scene. Moving and beautiful overall.

Alexander Dumas fils, the author of "La dame aux camelias", created a powerful novel that has been made into an opera, "La Traviata", as well as a play and this film just titled "Camille". The story of Marguerite Gautier, the famous Parisian courtesan has moved audiences since it first came out in France.

George Cukor seems to have been the obvious choice for directing this adaptation of the book. Mr. Cukor had a great eye for detail, as well as for guiding his female stars into performances that defined a lot of careers in the movies. He was not strange to working with the divine Ms. Garbo, and their collaboration in this film seems to have been a match made in heaven.

The film clearly belongs to Greta Garbo who, as Marguerite Gautier, runs away with the film. This seems to be a role tailor-made for the star. It's without a doubt one of her best screen portrayals. Ms. Garbo clearly understood this woman, who is tormented into resigning the man she loved when his father comes to her to ask the famous courtesan to have pity on his family and to let the young man go free.

The selection of Robert Taylor to play Armand Duval was a coup for the studio and for the production. Mr. Taylor, who went to be one of the favorite stars at MGM exuded charm and seems to have had no problems playing opposite Greta Garbo. In fact, Robert Taylor contribution to the film is enormous.

This film has always been a perennial favorite among fans of Greta Garbo. We remember seeing it at MOMA with a rapt crowd that applauded so loud at the end of the screening for what seemed to be forever.

The supporting cast is excellent as anything that was assembled by MGM. Lionel Barrymore is seen as Monsieur Duval, Armand's father who pleads with Marguerite to let his son go. Henry Daniell plays the Baron de Varville with great style.

William Daniels was the cinematographer. He clearly understood how to photograph Ms. Garbo and he is at his best in this film. The great art direction by Cedric Gibbons shows what this man was capable of doing. The screen play shows such names as James Hilton, Zoe Akins and Frances Marion among the writers.

"Camille" is a film that will live forever thanks to the luminous Greta Garbo and the inspired direction of George Cukor.