Camille (1936)

Passed  |   |  Drama, Romance  |  1 January 1937 (USA)
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Ratings: 7.6/10 from 5,400 users  
Reviews: 50 user | 32 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.



(screen play), (screen play), 3 more credits »
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Nominated for 1 Oscar. Another 2 wins. See more awards »



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


An attractive woman going by the name Marguerite lives in Paris and is a courtesan, kept by the rich aristocrat Baron de Varville. When the handsome young Armand sees her for the first time, he immediately falls in love. Camille is not so easy as to fall for his charms immediately. She lives a comfortable life, after all. As she comes to have feelings for him, Armand's father intervenes asking her not to cast a shadow on his son's future prospects and she agrees. In her greatest time of need however, the loving Armand returns to her. Written by garykmcd

Plot Summary | Add Synopsis


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


Drama | Romance


Passed | See all certifications »

Parents Guide:





Release Date:

1 January 1937 (USA)  »

Also Known As:

Kameliadamen  »

Box Office


$1,486,000 (estimated)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


In the middle of production, Irving Thalberg, who had always suffered from congenital health problems, suddenly died of a heart attack at age 37. His death came on the heels of George Cukor losing his own mother earlier during production, and the sense of grief was palpable. The loss inevitably hovered over the film, especially while Greta Garbo filmed Marguerite's famous death scene. See more »


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


Armand: Yes, you, well you did smile at me a moment ago, didn't you?
Marguerite: Well, you tell me first whether you smiled at me or my friend.
Armand: What friend?
Marguerite: You didn't even see her?
Armand: No.
See more »


Version of La mujer de todos (1946) See more »


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

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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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