6.8/10
340
3 user 1 critic

Lady of the Camelias (1981)

La storia vera della signora dalle camelie (original title)
A young girl from the provinces, comes to Paris with one goal: to become a part of the rich bourgeoisie. To achieve this she will use her unique beauty and charm.

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Writers:

(based on the novel by), (scenario) | 2 more credits »
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5 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
Alphonsine Plessis
...
Plessis
...
Count Perregaux
...
Dumas son
Clio Goldsmith ...
Clemence
Mario Maranzana ...
Dumas father
Yann Babilée ...
Agenor
Carla Fracci ...
Cécile Vassort ...
Henriette
David Jalil ...
Piero Vida
Fabio Traversa ...
Priest
Remo Remotti
Mattia Sbragia
Clara Colosimo
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Storyline

A young girl from the provinces, comes to Paris with one goal: to become a part of the rich bourgeoisie. To achieve this she will use her unique beauty and charm.

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

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Details

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Language:

Release Date:

26 February 1981 (Italy)  »

Also Known As:

A Dama das Camélias  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)
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Did You Know?

Goofs

Marie Duplessis didn't die on her father arms, but in fact, in her husband arms the count Perregaux. See more »

Connections

Version of La dama de las camelias (1944) See more »

Soundtracks

Petite créature
Lyrics by Mauro Bolognini
Music by Ennio Morricone
Performed by Luciana Turina
See more »

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User Reviews

Blurb.
5 December 2001 | by (United States) – See all my reviews

Mauro Bolognini's THE LADY OF THE CAMELLIAS is a French-Italian co-production. It gives us the "true" demystified story of one of French literature's most famous courtesans and who was the basis of many later variations including Verdi's Violetta in LA TRAVIATA and Greta Garbo's Camille. The premise is excellent, by the execution is marred by the presence of Isabelle Huppert in the title role. She seems just too scant and passive to be the self-sacrificing femme-fatale she is supposed to be portraying. And although the settings and decor are nothing short of superb (always dependable in Bolognini's films like THE INHERITANCE and LA GRANDE BOURGEOISE), little is gained by the constant clinical insistence on Alphonsine's genuine sickness (she is constantly coughing up blood for our edification) and by the unconvincing delineation of her relationships with her suitors. The film is very much worth seeing if for no other reason than to compare it with other better versions of the story, perhaps the Zeffirelli film version of the opera, with Teresa Stratas and Placido Domingo.


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