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
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 »
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 <firstname.lastname@example.org>
The play originally opened in Paris on 2 February 1852. Alexandre Dumas fils based the character Marguerite on a woman with whom he had an affair for 11 months. She died when she was 23. The movie inspired Milton Benjamin to write and publish a song in 1936 called "I'll Love Like Robert Taylor, Be My Greta Garbo". See more »
Prudence raises her left hand to her cigar, but removes it from her mouth with the right hand. See more »
If you don't stop being so easy-going with your money, you'll land in the gutter before you're through or back on that farm where you came from, milking cows and cleaning out hen houses.
Cows and chickens make better friends than I've ever met in Paris.
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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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