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Camille (1936)

Passed  -  Drama | Romance  -  1 January 1937 (USA)
7.6
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Ratings: 7.6/10 from 4,855 users  
Reviews: 46 user | 29 critic

A Parisian courtesan must choose between the young man who loves her and the callous baron who wants her, even as her own health begins to fail.

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(screen play), (screen play), 2 more credits »
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Title: Camille (1936)

Camille (1936) on IMDb 7.6/10

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Nominated for 1 Oscar. Another 2 wins. See more awards »

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Director: George Cukor
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Cast

Complete credited cast:
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Elizabeth Allan ...
Jessie Ralph ...
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Laura Hope Crews ...
Rex O'Malley ...
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Storyline

Marguerite is a courtesan in Paris. She falls deeply in love with a young man of promise, Armand Duval. When Armand's father begs her not to ruin his hope of a career and position by marrying Armand, she acquiesces and leaves her lover. However, when poverty and terminal illness overwhelm her, Marguerite discovers that Armand has not lost his love for her. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Taglines:

You who are so young--where can you have learned all you know about women like me?

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

1 January 1937 (USA)  »

Also Known As:

Kameliadamen  »

Box Office

Budget:

$1,486,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Henry Daniell replaced John Barrymore due to the influence of Greta Garbo. According to Daniell's daughter Allyson, by this point the increasingly alcoholic Barrymore had poor personal hygiene, and the actress preferred Daniell as de Varville. According to Allyson in a January 1983 issue of "Films in Review," "She enjoyed working with John in "Grand Hotel," but when it came time for "Camille," it was observed that, unlike Barrymore, Daddy didn't smell." See more »

Goofs

Prudence raises her left hand to her cigar, but removes it from her mouth with the right hand. See more »

Quotes

Monsieur Duval: Please, give him up.
Marguerite: What should I do?
Monsieur Duval: Talk to him. Tell him he must leave you.
Marguerite: I have talked.
Monsieur Duval: Leave him.
Marguerite: He'd follow me.
Monsieur Duval: Tell him you don't love him.
Marguerite: He wouldn't believe me.
See more »

Connections

Version of La traviata (1992) See more »

Soundtracks

Aufforderung zum Tanz (Invitation to the Dance)
(1841) (uncredited)
Composed by Carl Maria von Weber
Played on the piano by the Baron
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Subtle, sublime studio fare
10 May 2004 | by (Somewhere in time) – See all my reviews

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.


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