Customer Reviews

Camille

5 star:		(10)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This film is the epitome of good old Hollywood romance and glamour. Beautiful people, gorgeous costumes, wonderful sets and luminous lighting all conspire to transport the audience into another world. You know it is all very much contrived but you are more than happy to surrender yourself to the experience. Isn't this what a movie experience should be?

The pacing is excellent and the dialogue is always refine and elegant, sometimes deeply moving (as when delivered with such class by Duvall Senior), other times lightly humourous, which can only come from good writing.

Both Greta Garbo's and Robert Taylor's performances are absolutely superb. Ms Garbo's Marguerite is drop-dead gorgeous. Shs has been given an adoring platform to display the full range of her acting prowess. Mr Taylor's love-struck Armand cannot be more convincing. His subtlety is nothing short of masterful for such a young actor. I cannot understand why he did not receive any acting nomination for this role. There are so many actors who have won for less.

Watch out for the scene when Marguerite announced to Armand that she would be leaving him. In all of one second, Mr Taylor's eyes conveyed his shock, followed by realisation at this unexpected turn, his pain, his heartache, his deep sense of betrayal and his terror of losing her.

Greta Garbo is so good in this film, so witty and touching and appealing, that it's easy to forget how ordinary much of the surrounding film is. To be sure, it was given a lush budget and Henry Daniell, as Garbo's "patron" of the moment is almost as accomplished and touching as she (how much more interesting; a love story between two people who are prevented by convention from admitting the fact, even to each other), but Robert Taylor's perfromance is as stiff as his collars, the rest of the cast is little more than competent, and George Cukor's direction confirms that he was much luckier in his casts than they were in getting him as a director; Vincente Minnelli actually got a performance of sorts out of Lana Turner--a few years earlier Cukor did little more than make sure the lighting was flattering and that Turner didn't trip over the furniture. Fortunately, Garbo had no such problems, and her performance makes Maguerite Gautier one of the wittiest and most appealing characters in film history, and when she dies at the end, she makes you feel that a little bit of what makes the world good left with her--not a bad accomplishment, that.

I thought Camille was a very good movie. Greta Garbo is stunning as always, and I really liked Robert Taylor as her love interest. As I was watching the movie, I couldn't help but notice some startling similarities between this film and the more recent, Moulin Rouge, starring Nicole Kidman and Ewan MacGregor. Some lines in Camille sound almost exactly like one's in Baz's flick, and Greta's character, Marguerite, does resemble Nicole's Satine; at first, they seem over the top party animals, and then you realize they're regular, sensitive girls (and they both have a fatal illness). Also, the Baron in Camille is quite a lot like "the Duke" in Moulin Rouge.
Anyways, sorry for the rambling. I recommend you see this film. Especially if you enjoyed Moulin Rouge!

Quite by accident I saw this film and "Bridget Jones Diary (2001)" on consecutive evenings; both are about women of a similar age with somewhat similar dilemmas. Their approach (as films), however, is two generations apart--with the contemporary one rather shallow, the former (Camille), more idyllic and, in my opinion, more satisfactory.

Camille (an odd title--flowers?) is about Marguerite Gautier (Greta Garbo), a Parisian woman of the 19th century torn between love and money. The main attraction of this film is its romance. Robert Taylor, as Armand Duvall, shows undying love to Marguerite, in spite of his occasional jealousy. She, who initially resists his advances because she is practical and worldly, is eventually taken by his devotion. Armand's father (Lionel Barrymore) intervenes--leading to a sacrifice by her, and, eventually, tragedy.

The Baron (money), is a superbly-played character and not so hateful as many reviewers imply. He, too, makes a noble sacrifice. There is a great scene where he plays an incredible piano amidst a very tense moment.

This film, because of its age, may not seem readily accesible to the contemporary viewer. But in spite of such it did not take long before this viewer was sold on watching it all. "Camille" is well done and, for those who really like romance, probably a classic film.

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.

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.

Yes, I just saw this movie tonight at the Metropolitan Museum of Art as a tie-in to its exhibit on MGM costume designer Adrian, and I was surprised to find myself getting restless.

I think there might be too many scenes in the beginning that are similar, when boytoy Robert Taylor keeps trying to convince jaded courtesan Greta Garbo that he can love and take care of her better than anyone else. In movie shorthand, this should've been established with just one scene. It's a Cukor film, and looks it. By that I mean, Cukor somehow managed to make his movies look antique--just think of Hepburn's "Little Women" or Bartholomew's "David Copperfield". A tad treakly and too soft focus not to sit 100% right with present-day viewers.

But that's not to say that "Camille" is a bad movie, because it's not. Garbo gives a very interesting performance as Marguerite; she does a lot with her eyes in the early scenes to convince us she's got some kind of interior life going on. Laura Hope Crews offers good support as her flighty friend Prudence--hard to believe it's the same woman who played Aunt Pittypat in "Gone with the Wind" a few years later. Best in show: Henry Daniell as Marguerite's lover the Baron. Now, we're supposed to see him as an ogre, I suppose. But really, she IS trying to play him for a chump and cuckcold him with Taylor's Armand, so I must side with the Baron on that one, for self respect. Daniell puts over cynical acceptance of things like the pro he is.

And about that tie-in to the Met: These costumes are truly outstanding, not just for Garbo but for every woman in the movie. Exquisite, every one of them! Dying of consumption may not be fun, but it sure is something to look at clothes-wise.

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!!!!

The story is that trite 19th century favorite, the life and hard times of the tubercular, good-hearted courtesan. What makes all the difference here is the superlative performance Cukor coaxed out of Garbo. She is miles above the obviousness of the material. Her sophistication, revealed in everything she does facially, from her little smiles to her occasional slightly cocked eyebrow at Robert Taylor's sentimental line readings show us a first-rate sensibility trapped in an anticipatory B-movie world, that of the crude Paris demimonde. Most memorable is the film's denoument. It's hard to believe anyone could watch Garbo's death scene without a moist eye or a big lump in the throat.Her elegant performance is the perfect measure of that decline into unmoving and garish barbarism which distinguishes the latest version of this tale, the posthuman musical, "Moulin Rouge."

"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".