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Camille 1936
Description: Life in 1847 Paris is as spirited as champagne and as unforgiving as the gray morning after. In gambling dens and lavish soirees, boys of means exert their wills and girls turned courtesans exult in pleasure. One such girl is Marguerite Gautier (Greta Garbo), the Camille of this sumptuous romance tale based on the enduring Alexandre Dumas story. Garbo's aloof mystique and alabaster beauty illuminate this George Cukor-directed movie featuring what many call her finest performance. Her Camille is a film paragon of real love found (in suitor Armand Duval, memorably played by Robert Taylor), then sacrificed for a greater good. Garbo earned an Academy Award nomination and the Fresh York Movie Critics Greatest Actress Award for her memorable work.
Released: N/A Director: George Cukor Writers: Zoe Akins (screen play), Frances Marion (screen play), James Hilton (screen play), Alexandre Dumas fils (play), Alexandre Dumas fils (novel) Actors: Greta Garbo, Robert Taylor, Lionel Barrymore, Elizabeth Allan Genres: Drama, Romance
Trailers and related videos:

See Camille (1936) Official Traile on youtube.

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See I'll Beg, I'll Borrow, on youtube.

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See Greta Garbo in colorized &quot on youtube.

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See Camille (1936) - The Most Insi on youtube.

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See Greta Garbo in colorized &quot on youtube.

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See [Camille 1936] Come What May on youtube.

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See Robert Taylor & Greta Garb on youtube.

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See CAMILLE FULL MOVIE on youtube.

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See Greta Garbo in colorized &quot on youtube.

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See escena final de la dama de las on youtube.

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Released 6/25/1957

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Released 3/21/1957

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Released 6/8/1954

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Released 8/7/1954

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Camille Reviews:

"Perhaps it ill be better if I live in your heart, where the globe 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 movie industry have also made a lot of adaptations of the enjoy from the period of silent era up till modern times. However, if one hears a film game CAMILLE, what usually comes to one's mind is the movie by George Cukor with Greta Garbo and Robert Taylor. Why? There is something magical about this ver that made it stand a use of time, something that helped it be appreciated for almost seven decades. Is it performances, cinematography, or Garbo's presence that create it so enchanting to watch? The respond is not so simple because the film is a masterpiece of beauty at multiple levels.The performances are absolutely outstanding. It is hard to tell if Garbo gives her greatest performance in CAMILLE or GRAND HOTEL. I think that it is more a matter of private preferences. One thing is sure - she does something more than acting. She fully feels the role, each movement, each gesture is extremely natural as if you were watching reality not a movie. As a result, Garbo achieves something really outstanding in CAMILLE, some type of the ultimate masterpiece of performance. Robert Taylor very well fits to the role of Armand Duvall. He manages to stress the most necessary detail of his role - delicacy and sincerity. Henry Daniell is a excellent choice for Baron De Varville - cruel, unemotional, cynical, and very selfish. I shall never forget the stage 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 receive to the house, Baron plays the piano and Marguerite has to behave as if she wasn't expecting anyone. The stage ends with hysterical laughter of them both and a superb acting. Laura Hope Teams 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 stage of his meeting with Marguerite. What a lovely presentation of two various globe 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 every stage has a "soul" which makes watching the film a true admiration of beauty. The most memorable decorations are in the stage 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 superb imagery is a very powerful mission for the movie. Perhaps, you will wonder why I praise this film so much. But if you asked me if I can ever forget CAMILLE, my respond would be "never" because the imagery of this film and the result it has on a viewer is endless. How is it possible to forget a pretty stage 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 real friend, is putting a pretty bunch of camellias at her side while she is lying ill in bed? Finally, the touching final shot and Marguerite's pretty 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 several films that promotes true beauty. It is not only a tearjerker. It is not only a storyline of love. It is a film that teaches high respect for precious values in life. 10/10!


Maybe it supports to be a romantic. But for my money, this is the best romance that was ever place on film. It has the excellent stars. Greta Garbo was the star of the age--any age--still pretty and absolutely created to act in films. Even in silent films, her acting is measured and understated. She never falls prey to exaggeration nor pretense. I think that is the secret to her effectiveness. Let me an example: after accepting cash from Baron de Varville for a disguised outing with her lover Armand (which the Baron already suspects), she kisses him gently on the cheek only to be reviled with a harsh slap from the baron, who then departs. The camera moves in on that incomparable face. The head slowly lowers, the lips slightly part, a weak moan expresses the guilt, shame and humiliation which momentarily consume her. Then she spies the cash clutched tightly in her hand. Recognizing she actually has the means to escape with her lover, a slight smile emerges reflecting her change of mood and restored joy. It is a stage like no other.As for her co-star, Robert Taylor was castigated as being too callow for the role. In fact, most critics today realize he was exactly what Dumas intended: young, impressionable--and certainly irresistibly superb in his dewy youth. That beauty often caused the young Taylor undeserved venom from the critics. He was a very capable actor and probably set the standard for the contemporary romantic leading boy we see even today. Rumors that Garbo dismissed him as unimportant are not true. She liked him very much and was greatly impressed after he sent her mother flowers when they all attended the premiere of CAMILLE in Stockholm.CAMILLE? A nice film with a nice cast, including the marvelous Henry Daniell, whose Baron de Varville is very Jekyll and Hyde. I encourage anyone to see it. It is one of the finest movies of the 20th Century.


When you think of the lavish 30s movies of MGM, Camille is near the top of the list. Nice storyline and flawless production here boasting perhaps the most shimmering of Greta Garbo's ethereal performances as Marguerita Gautier (Camille). Familiar and much filmed story, this is nevertheless the greatest of them all. Matching Garbor is the hopelessly romantic Robert Taylor in his greatest 30s role. Also nice are Lionel Barrymore, Henry Daniell, and Jessie Ralph as the maid. Nice comic relief is provided by Laura Hope Teams (Prudence)and Lenore Ulric (Olympe)--what a pair of vultures! But the center of this superb movie is Garbo. She is so frail looking, her voice so soft. Garbo plays Marguerite as a frailty incarnate. She never overacts the part as most do with the unlimited coughing and fainting. One of George Cukor's triumphs. Rex O'Malley and Elizabeth Allan are dull but have tiny parts. I also spotted Eily Malyon and Zeffie Tilbury, and Joan Leslie is listed in the credits. I think this is Garbo's greatest performance, but she lost the Oscar to Luise Rainer for The Nice Earth. Also nominated that year: Irene Dunne (The Terrible Truth), Barbara Stanwyck (Stella Dallas), and Janet Gaynor (A Star Is Born). Wow----how should you select just one?



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