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Camille 2000 (1969)

5.9
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Ratings: 5.9/10 from 361 users  
Reviews: 14 user | 50 critic

Marguerite, a beautiful woman of affairs, falls for the young and promising Armand, but sacrifices her love for him for the sake of his future and reputation.

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(screenplay), (inspired by "La dame aux camélias" by)
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Title: Camille 2000 (1969)

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Cast

Complete credited cast:
Danièle Gaubert ...
Nino Castelnuovo ...
Eleonora Rossi Drago ...
Prudence (as Eleonora Rossi-Drago)
Roberto Bisacco ...
Gastion
Massimo Serato ...
Armand's father
Silvana Venturelli ...
Zachery Adams ...
Gody
Dominique Badou ...
Messenger
Peter Chatel ...
Marguerite's Friend
Virginia Rodin ...
Marguerite's Friend (as Virginie Rodin)
Enzo Fiermonte ...
Gambler
Graziella Galvani ...
Village Girl
Philippe Forquet ...
Edit

Storyline

Marguerite, a beautiful woman of affairs, falls for the young and promising Armand, but sacrifices her love for him for the sake of his future and reputation. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Taglines:

The "now" child

Genres:

Drama | Romance

Certificate:

X | See all certifications »
Edit

Details

Country:

Language:

Release Date:

13 November 1975 (Hong Kong)  »

Also Known As:

Apagorevmenes idones  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(DVD extended cut)

Sound Mix:

Color:

(3-strip Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Connections

Version of Cha hua nu (1955) See more »

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User Reviews

 
Stunning and refreshing version of Dumas' novel
31 March 2009 | by (United States) – See all my reviews

This is a superb film, witty, stylish, and beautifully conceived and executed. One of the things I love most about Metzger's work is the way he takes classic literature--in this case Dumas' "The Lady of the Camellias"-- and reworks them for a modern audience. Earlier renditions of this story--such as Cukor's 1936 film starring Greta Garbo, "La Traviata," and seven silent movie versions--were unable to depict the life of a courtesan with such frankness, showing what is after all one of the main aspects of a courtesan's life: her moments in the bedroom. The film, while intensely erotic, is also very much about love. The lovers want to look at one another and experience moments of wonderment at the sheer existence of the other more than they want to do bedroom antics. They are young and beautiful, and their beauty as well as her illness makes us feel achingly the fleetingness of love and youth. Moreover, the joy of youth and the erotic play out in every aspect of the film. The stylish sets and costumes, the lush party scenes, and the sensual music depict a world of pleasure-loving children who never want to grow up, but want to continue enveloping themselves in brightly-colored adult playgrounds full of sensory stimulation. The stigma normally associated with a courtesan is stripped away in this world of pleasure, in which life lived to its fullest is the ultimate goal, and an early death is a small price to pay. In this sense the parallel to some of the concerns of the swinging sixties is brilliantly captured. A 1969 review from Roger Ebert disappointingly puts down this movie, and yet Ebert's own script for "Beyond the Valley of the Dolls" is no more than a crass joke, with no feeling for the humanity of its characters or for the dignity of love, sex, or even life. He ridicules the moment when Camille is breathing heavily, not understanding that the depiction of female pleasure on the screen was so necessary to our understanding of the heroine's journey.


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