IMDb > Camille (1936)
Camille
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Camille (1936) More at IMDbPro »

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Camille -- In gambling dens and lavish soirees, men of means exert their wills and women turned courtesans exult in pleasure.

Overview

User Rating:
7.5/10   5,073 votes »
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Director:
Writers:
Zoe Akins (screen play) &
Frances Marion (screen play) ...
(more)
Contact:
View company contact information for Camille on IMDbPro.
Release Date:
1 January 1937 (USA) See more »
Genre:
Tagline:
You who are so young--where can you have learned all you know about women like me?
Plot:
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. Full summary » | Add synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. Another 2 wins See more »
User Reviews:
"Afraid of nothing except being bored" See more (46 total) »

Cast

  (in credits order) (verified as complete)

Greta Garbo ... Marguerite

Robert Taylor ... Armand

Lionel Barrymore ... Monsieur Duval
Elizabeth Allan ... Nichette
Jessie Ralph ... Nanine

Henry Daniell ... Baron de Varville

Lenore Ulric ... Olympe
Laura Hope Crews ... Prudence
Rex O'Malley ... Gaston
rest of cast listed alphabetically:
Mariska Aldrich ... Friend of Camille (uncredited)
Marion Ballou ... Corinne (uncredited)
Phyllis Barry ... (uncredited)
May Beatty ... Second Doorman (uncredited)
Daisy Belmore ... Saleswoman (uncredited)
Wilson Benge ... Attendant (uncredited)
John Bryan ... Alfred de Musset (uncredited)
Georgia Caine ... Streetwalker (uncredited)

Lita Chevret ... Woman in Theater Box (uncredited)
E.E. Clive ... Saint Gaudens (uncredited)
Mabel Colcord ... Madame Barjon - the Florist (uncredited)
Chappell Dossett ... Priest (uncredited)
Elspeth Dudgeon ... Fireplace Attendant (uncredited)
Effie Ellsler ... Grandma Duval (uncredited)
Elsie Esmond ... Madame Duval (uncredited)
Rex Evans ... Charles - Pianist at Party (uncredited)
Dorothy Granger ... Woman in Theater Box (uncredited)
Russell Hardie ... Gustave - the Bridegoom (uncredited)
Sam Harris ... Armand's Friend (uncredited)
Sibyl Harris ... George Sand (uncredited)
Maude Hume ... Aunt Henriette (uncredited)
Olaf Hytten ... Baccarat Croupier (uncredited)
Eugene King ... Gypsy Leader (uncredited)
Fritz Leiber Jr. ... Valentin (uncredited)

Joan Leslie ... Marie Jeanette (uncredited)
Gwendolyn Logan ... Governess (uncredited)
Eily Malyon ... Therese - Maid in Country House (uncredited)
Adrienne Matzenauer ... Soprano (uncredited)

Edwin Maxwell ... Doctor (uncredited)
Ferdinand Munier ... Priest at Wedding (uncredited)

Barry Norton ... Emile (uncredited)
Lionel Pape ... General (uncredited)
John Picorri ... Orchestra Leader (uncredited)
Guy Bates Post ... Auctioneer (uncredited)

Frank Reicher ... Creditor Agent (uncredited)
Yorke Sherwood ... Butcher (uncredited)
Zeffie Tilbury ... Old Duchess Bidding 3750 Francs (uncredited)
Douglas Walton ... Henri (uncredited)

June Wilkins ... Louise - Armand's Sister (uncredited)
Howard Wilson ... Armand's Friend (uncredited)
Harris Wood ... (uncredited)
William Worthington ... Extra in Casino (uncredited)

Directed by
George Cukor 
 
Writing credits
Zoe Akins (screen play) &
Frances Marion (screen play) and
James Hilton (screen play)

Alexandre Dumas fils (from the play and novel by)

Carey Wilson  uncredited

Produced by
David Lewis .... associate producer
Bernard H. Hyman .... producer (uncredited)
Irving Thalberg .... producer (uncredited)
 
Original Music by
Herbert Stothart 
 
Cinematography by
William H. Daniels (photographed by) (as William Daniels)
Karl Freund (photographed by)
 
Film Editing by
Margaret Booth (film editor)
 
Art Direction by
Cedric Gibbons 
 
Set Decoration by
Henry Grace (uncredited)
Jack D. Moore (uncredited)
 
Costume Design by
Adrian (gowns)
 
Makeup Department
Norbert A. Myles .... makeup artist (uncredited)
Harry Thomas .... assistant makeup artist (uncredited)
 
Production Management
Ulric Busch .... unit manager (uncredited)
 
Second Unit Director or Assistant Director
E. Mason Hopper .... director: mob scene (uncredited)
Edward Woehler .... assistant director (uncredited)
Fred Zinnemann .... assistant director (uncredited)
 
Art Department
Fredric Hope .... associate art director
Edwin B. Willis .... associate art director
Harry Edwards .... props (uncredited)
George E. Lee .... property manager (uncredited)
 
Sound Department
Douglas Shearer .... recording director
 
Camera and Electrical Department
William Grimes .... still photographer (uncredited)
 
Music Department
Wayne Allen .... orchestrator (uncredited)
Paul Marquardt .... orchestrator (uncredited)
Charles Maxwell .... orchestrator (uncredited)
Leonid Raab .... orchestrator (uncredited)
Edward Ward .... composer: additional music (uncredited)
 
Other crew
Val Raset .... dances stager
Nathalie Bucknall .... researcher (uncredited)
Eugene Joseff .... jeweller (uncredited)
Joan Joseff .... jeweller (uncredited)
 
Crew verified as complete


Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
109 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
Argentina:13 | Australia:PG | Australia:G (DVD rating) | Finland:K-12 (1965) | Finland:K-16 (1937) | Netherlands:18 (original rating) (1937) | Sweden:15 | USA:Passed (National Board of Review) | USA:Approved (PCA #2825) | USA:TV-PG (TV rating) | West Germany:12

Did You Know?

Trivia:
When Irving Thalberg saw the rushes, he said, "I think we have caught Garbo as she should be caught. She will be the most memorable Camille of our time."See more »
Goofs:
Continuity: Prudence raises her left hand to her cigar, but removes it from her mouth with the right hand.See more »
Quotes:
Madame Barjon, the Florist:For the lady of the camillias. And they're almost twice as large as usual.
Marguerite:I shall have twice as many tomorrow.
Prudence Duvernoy:Twice as many! Oh, don't listen to her, Barjon. I know what those things cost.
Madame Barjon, the Florist:Doesn't she listen when she orders her hats and dresses from you?
Prudence Duvernoy:They're an investment!
Marguerite:Of course I order too many hats and too many dresses and too many everything, but I want them.
See more »
Soundtrack:
Aufforderung zum Tanz (Invitation to the Dance)See more »

FAQ

What does the opening title card say?
See more »
4 out of 4 people found the following review useful.
"Afraid of nothing except being bored", 21 March 2010
Author: Steffi_P from Ruritania

The great literary romances of the late nineteenth century, despite perhaps being presumed today to be models of propriety and principle, were more often than not frank tales of adulteresses and prostitutes. When many of these great works were adapted for the screen in the 1930s, the most natural choice for a leading lady was often Greta Garbo, than whom there was none finer at portraying such fallen women as noble and tragic heroines.

Garbo was one of the cinema's great natural performers, and in her day was probably the most genuine person to have graced the screen. She brought something to these roles not only because she was dangerously beautiful, but also because she was irresistibly human. Even when her character lied to her lover she could make us sympathise with her motives, as well as understand why the lead man was so enamoured of her to be taken in. In Camille, she brilliantly captures the conflict between Marguerite's strength of character and her physical frailty. Her occasional coughs and lapses into weariness are so neatly understated, but in a way that makes us accept that she is fighting against them rather than that they are insignificant.

Whether Garbo's professionalism rubbed off on others, or whether it was the intensely personal direction of George Cukor, Camille also features some superb performances from what could have been a disappointing supporting cast. Lead man Robert Taylor (who once described acting as the easiest job in the world) was generally little more than a handsome but wooden matinée idol, and yet here the youngster pulls off his part like a pro. True, for the first hour of the picture he is simply a handsome, grinning mug, but when his character is required to display some emotional depth he steps up to the task. Henry Daniell and Lionel Barrymore were both shameless hams, but here they are at their most restrained, without losing any of their trademark qualities. When you compare Daniell in Camille to his other performances, it's like seeing the real person that a caricature is based on.

While the sincerity of the cast certainly helps to give Camille its emotional intensity, it is the direction of Cukor which gives it its pace and watchability. Cukor's cinema is all about movement, and he has a hundred tricks up his sleeve, each using motion to draw our attention or set tone. Take Garbo's big scene with Barrymore. The two of them are essentially just wheeling around a small room, but Cukor keeps his camera up fairly close, emphasising their almost constant changes in position. This gives an unsettling, desperate quality to the scene, even giving the impression that Barrymore is chasing Garbo. At other times such rapid change would be distracting, especially if the scene contains a lot of important information, but Cukor still uses subtle shifts in perception to keep the narrative feeling fresh and meaningful. For example in the lengthy episode at the opera where we meet the principle characters for the first time, Cukor uses the fuzzy glow of the stage as a backdrop for the first meeting between Garbo and Taylor, and the blandness of the box for the equivalent encounter with Daniell.

Both the acting and the direction here are purely cinematic, the former glamorous yet honest, the latter unobtrusively guiding the audience with the moving image. And yet it takes away none of the integrity of Alexander Dumas fils' novel. And so this final nod is to the hidden hand behind the screen - producer Irving Thalberg. Thalberg's aim was never simply to make a fast buck; he wanted to leave high quality product behind him. It seems that pictures like Camille are what he always aspired to - ones that harnessed all the faculties of the medium, yet were as prestigious and culturally significant as any classic play or novel. This was among his last productions, and he died before it was released, but it is undoubtedly a worthy asset to his legacy.

Was the above review useful to you?
See more (46 total) »

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Garbo or Stanwyck? jhpcine
Movie set or real theatre? clauded
What a beautiful movie! ohhowmarvelous
I just watched this with my parents... TheMysteriousLady
Whoopee! practicepiano
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