VALUTAZIONE IMDb
7,3/10
8746
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaA 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.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.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.
- Candidato a 1 Oscar
- 3 vittorie e 1 candidatura in totale
Mariska Aldrich
- Friend of Camille
- (non citato nei titoli originali)
Marion Ballou
- Corinne
- (non citato nei titoli originali)
Phyllis Barry
- Minor Role
- (non citato nei titoli originali)
May Beatty
- Dowager
- (non citato nei titoli originali)
Daisy Belmore
- Saleswoman
- (non citato nei titoli originali)
Wilson Benge
- Attendant
- (non citato nei titoli originali)
John Bryan
- Alfred de Musset
- (non citato nei titoli originali)
Georgia Caine
- Streetwalker
- (non citato nei titoli originali)
Lita Chevret
- Woman in Theatre Box
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizGreta Garbo's personal favorite of all her films.
- BlooperWhen Marguerite and Armand go walking through the field in the countryside, he asks her, "Tired?" When she responds "only mildly tired," her lips do not move.
- Citazioni
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.
- Versioni alternativeAlso available in a computer colorized version.
- ConnessioniEdited into Hollywood: The Dream Factory (1972)
- Colonne sonoreAufforderung zum Tanz (Invitation to the Dance)
(1841) (uncredited)
Composed by Carl Maria von Weber
Played on the piano by the Baron
Recensione in evidenza
Garbo and Taylor are both great, if still a hair stiff in their transposition to 1800s France
Camille (1936)
This melodramatic tale of true life in the face of the strictures of social reality is tried and true. You feel for both the male lead (Robert Taylor, who is quite good) and the female (Grate Garbo, of course, who is excellent). That's the whole point. These are two people who are not quite appropriate because they come from different social levels, but there is a sense they could make it work if they wanted to.
But outside forces get in the way. Chief among them is the man's father, who wants to save his son from a marriage that will ruin both husband and wife. This is a key role in the film, and a critical if brief 10 minutes or so. The father is played, importantly, by Lionel Barrymore, who does little else int he movie. But here he makes his case to the Garbo with amazing force. It's a great scene, even if you wish Garbo would leap up and say, no, no, I'm going to follow my heart.
But exactly what happens is what the movie is about. The rules of the culture of the time (1800s France) prevent an honest sense of two people marrying out of simple love for one another. In a way, that's the whole point of continuing the old Dumas story, which has resonated for decades into the Hollywood era. I'm not sure it would work now, except as an historical drama. This is set in the period (around 1850) and feels legit. Unlike the curious (and not bad) 1921 silent version, which sets it in a 1920s culture, this one transports us back to the original. Fair enough!
There is a contrived quality to the plot, for sure, partly because of its origins. While this doesn't ruin the whole enterprise, there is a slight feeling of being led along the whole time. Garbo and Taylor are both terrific, however, and we feel some honesty to their feelings for one another. It's on that basis that the movie works. And it really does, even through the over the top drama in the last scene. Moving and beautiful overall.
This melodramatic tale of true life in the face of the strictures of social reality is tried and true. You feel for both the male lead (Robert Taylor, who is quite good) and the female (Grate Garbo, of course, who is excellent). That's the whole point. These are two people who are not quite appropriate because they come from different social levels, but there is a sense they could make it work if they wanted to.
But outside forces get in the way. Chief among them is the man's father, who wants to save his son from a marriage that will ruin both husband and wife. This is a key role in the film, and a critical if brief 10 minutes or so. The father is played, importantly, by Lionel Barrymore, who does little else int he movie. But here he makes his case to the Garbo with amazing force. It's a great scene, even if you wish Garbo would leap up and say, no, no, I'm going to follow my heart.
But exactly what happens is what the movie is about. The rules of the culture of the time (1800s France) prevent an honest sense of two people marrying out of simple love for one another. In a way, that's the whole point of continuing the old Dumas story, which has resonated for decades into the Hollywood era. I'm not sure it would work now, except as an historical drama. This is set in the period (around 1850) and feels legit. Unlike the curious (and not bad) 1921 silent version, which sets it in a 1920s culture, this one transports us back to the original. Fair enough!
There is a contrived quality to the plot, for sure, partly because of its origins. While this doesn't ruin the whole enterprise, there is a slight feeling of being led along the whole time. Garbo and Taylor are both terrific, however, and we feel some honesty to their feelings for one another. It's on that basis that the movie works. And it really does, even through the over the top drama in the last scene. Moving and beautiful overall.
D’aiuto•100
- secondtake
- 12 apr 2014
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Dettagli
Botteghino
- Budget
- 1.486.000 USD (previsto)
- Tempo di esecuzione1 ora 49 minuti
- Colore
- Proporzioni
- 1.37 : 1
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What is the Mexican Spanish language plot outline for Margherita Gauthier (1936)?
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