Young Harry is in love and wants to marry an actress, much to the displeasure of his family. Harry thinks that Bishop Armstrong knows nothing about love so Armstrong tells him the story of ... See full summary »
Budapest bar entertainer Zara is a discontented alcoholic who is pursued by many men but lives with novelist Carl Salter. A strange man (Tony) shows up on Salter's estate claiming that Zara... See full summary »
Erich von Stroheim
While at a ski lodge, Larry Blake sees instructor Karin Borg and decides to sign up for private lessons. The next thing he knows, she is Mrs. Blake. When he announces that he is going back ... See full summary »
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 <email@example.com>
Future two-time Oscar-winning director Fred Zinneman was an uncredited assistant to George Cukor, helping him on camera angles and visual concepts. Zinneman explained, " In 1936, long after I had worked with Busby Berkeley and Gregg Toland, I was again out of a job, and through the good offices of a friend, I was introduced to Cukor, who very kindly asked me to help him with camera angles and visual concepts in the making of a film starring Greta Garbo and Robert Taylor entitled "Camille." Actually my function on the film was rather limited. While it was a most interesting and valuable experience for me, I do not see how it could have been of much value to George. Since then we have occasionally met socially on very friendly terms, and, needless to say, I have enormous respect for George and for his work; but our professional association was not renewed, as I was signed by MGM to direct short subjects after "Camille" in 1937. See more »
Prudence raises her left hand to her cigar, but removes it from her mouth with the right hand. See more »
How can I ever repay you for all you're doing for me?
Make no mistake, monsieur - whatever I do, it's nothing for you; it's all for Armand.
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The luminous Greta Garbo in one of her best remembered roles. In this she is the tragic heroine who is dabbling with fate with Robert Taylor (who seems to be wearing more make-up than Greta!) while moving towards the inevitable weepie conclusion.
Certainly Garbo was best in these kind of other-worldly roles, in another place and time, than she was in the few contemporary features she attempted. Not a great actress, but a beautiful woman and a true star who the camera clearly loved. Taylor would move out of romances and musicals into more typically heroic roles by the end of the 1930s, but he's a good romantic lead here.
And I mustn't forget the pleasure of seeing Henry Daniell, one of Hollywood's greatest villains.
Filmed with the commonplace MGM gloss of the time, Camille' delivers on all levels - if you're looking for an escapist, teary, film with lots of close-ups and a nice slow pace. It belongs square in that first decade of the talkies and this sort of thing fell out of fashion after the Second World War.
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