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Camille (1936)

Passed | | Drama, Romance | 1937 (Austria)
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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Writers:

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

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Cast

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

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

Taglines:

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

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

1937 (Austria)  »

Also Known As:

Kameliadamen  »

Box Office

Budget:

$1,486,000 (estimated)
 »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Lionel Barrymore's role of Monsieur Duval was originally intended for his brother John Barrymore. See more »

Goofs

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

Quotes

Armand: Don't you believe in love, Marguerite?
Marguerite: I don't think I know what it is.
Armand: Oh, thank you.
Marguerite: For what?
Armand: For never having been in love.
See more »

Connections

Referenced in This Is My Father (1998) 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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