Rating: 
Summary: GARBO`S MOST FAMOUS
Review: MGM was the king of the movieworld in the golden era, and they produced the greatest moviestar ever, GRETA GARBO(1905-1990) (Greta Lovisa Gustafsson). In CAMILLE(1936) Greta Garbo was the height of her beauty and fame - and made the part of the dying courtesan her own. Robert Taylor also great as her Armand Duval. Directed by George Cukor. With QUEEN CHRISTINA, Garbo`s best film.
Rating: 
Summary: Garbo weeps
Review: Movies can generate much disagreement (that's why it's such a lively art) but one thing I think no one disputes is the artistry and allure of Greta Garbo. Reputedly, she was somewhat unprepossessing in real life; but when she stepped in front of the camera magic happened, and she is one of the screen's most fascinating images. Garbo was in M~G~M's top roster, and with her moody aura it was inevitable that she be cast in "Camille", the dramatization of "La Dame aux Camélias" by Alexandre Dumas fils. Unfortunately, the title "Camille" makes no sense at all. According to Cornelia Otis Skinner, when Sarah Bernhardt first saw the word "Camille" on an American marquee, she asked "Qu'est-ce que c'est?"; and when she was told it was the English-language equivalent of "La Dame aux Camélias", she couldn't stop laughing. Be that as it may, this 1936 production is big and rich, begun by Irving Thalberg (he died during filming) and directed by George Cukor with comprehension and sensitivity. Marguerite Gautier (Garbo) is a Parisian demimondaine living in a world (or, rather, a half-world) where irresponsible relationships ae bought and sold. (This same setting gets a lighter treatment in "Gigi".) Marguerite is torn between Armand Duval, a boyish bourgeois who adores her despite her reputation, and the Baron de Varville, who pays her bills. A remarkable scene has the Baron playing the piano, he and Marguerite frantically laughing, both fully aware that Armand is locked outside, ringing her doorbell. Later, when the Baron agrees to finance Marguerite's country sojurn (knowing she is meeting the younger man), Marguerite kisses the Baron on both cheeks. In return, he slaps her sharply across the face. What a couple! Robert Taylor is Armand. He was not the world's greatest actor, but he served Metro well over the years, playing everything from Johnny Eager to Ivanhoe,and his puppydog devotion here is touching. As Armand's father, an ambulatory Lionel Barrymore is a little pedantic. Henry Daniell is suavely brutal as the pitiless Baron (a role originally meant for Lionel's brother John), and Rex O'Malley is interesting as a bon vivant who turns out to have a compassionate nature. But, of course, it is the mercurial Garbo who is the center of attention, and she can devastate with a single gesture. When she drops her fan in the gambling club and, glancing at the Baron, gets only a redundant remark and a cold stare in return, she realizes she must pick up the fan herself. In that one stooping movement, Garbo captures her character's degradation. And the voice: when leaving Armand to return to the Baron, she sounds like she's lived ten lifetimes. Her final scene, when she is ill and destitute, is poignantly realistic. "Camille" is a movie to watch when you are pensive yet responsive. Tragic but not ponderous, sentimental but not schmaltzy, its sobriety will leave you intoxicated.
Rating:
Summary: The Best Romantic Movie EVER!!
Review: One day I was flipping through the channels when I found this movie I had never seen before. I watched it, and I think that it is one of the most timeless movies I have ever seen. I am only 16 years old, and in some of my spare time, I watch classic movies from decades ago, I have seen alot of movies from this time period, but none can compare to Camille. It remains my favorite because of outstanding acting by Robert Taylor, and especially Greta Garbo! Greata Garbo's films will always remain classics because in the time period that she worked you actually needed talent to be an actor or actress. There is none of the gratuitous violence or sex which have characterized the films of today. This classic film is filled with drama and romance!This movie is great for all ages! See this movie!!!!
Rating:
Summary: "You will never love me thirty years; no one will"
Review: Quite by accident I saw this film and "Bridget Jones Diary (2001)" on consecutive evenings; both are about women of a similar age with somewhat similar dilemmas. Their approach (as films), however, is two generations apart--with the contemporary one rather shallow, the former (Camille), more idyllic and, in my opinion, more satisfactory. Camille (an odd title--flowers?) is about Marguerite Gautier (Greta Garbo), a Parisian woman of the 19th century torn between love and money. The main attraction of this film is its romance. Robert Taylor, as Armand Duvall, shows undying love to Marguerite, in spite of his occasional jealousy. She, who initially resists his advances because she is practical and worldly, is eventually taken by his devotion. Armand's father (Lionel Barrymore) intervenes--leading to a sacrifice by her, and, eventually, tragedy. The Baron (money), is a superbly-played character and not so hateful as many reviewers imply. He, too, makes a noble sacrifice. There is a great scene where he plays an incredible piano amidst a very tense moment. This film, because of its age, may not seem readily accesible to the contemporary viewer. But in spite of such it did not take long before this viewer was sold on watching it all. "Camille" is well done and, for those who really like romance, probably a classic film.
Rating:
Summary: "You will never love me thirty years; no one will"
Review: Quite by accident I saw this film and "Bridget Jones Diary (2001)" on consecutive evenings; both are about women of a similar age with somewhat similar dilemmas. Their approach (as films), however, is two generations apart--with the contemporary one rather shallow, the former (Camille), more idyllic and, in my opinion, more satisfactory. Camille (an odd title--flowers?) is about Marguerite Gautier (Greta Garbo), a Parisian woman of the 19th century torn between love and money. The main attraction of this film is its romance. Robert Taylor, as Armand Duvall, shows undying love to Marguerite, in spite of his occasional jealousy. She, who initially resists his advances because she is practical and worldly, is eventually taken by his devotion. Armand's father (Lionel Barrymore) intervenes--leading to a sacrifice by her, and, eventually, tragedy. The Baron (money), is a superbly-played character and not so hateful as many reviewers imply. He, too, makes a noble sacrifice. There is a great scene where he plays an incredible piano amidst a very tense moment. This film, because of its age, may not seem readily accesible to the contemporary viewer. But in spite of such it did not take long before this viewer was sold on watching it all. "Camille" is well done and, for those who really like romance, probably a classic film.
Rating:
Summary: LADY OF THE CAMELLIAS
Review: The legendary Garbo interpreted the famous courtesan of literature with the subtlety that earned for her the title of "the first lady of the screen". Even as the impish demi - mondaine of the early sequences, Garbo managed to convey the impression of maturity, of a certain etherealism and spiritual integrity which raise her above her surroundings and mark her as one apart. Greta Garbo's performance as Marguerite Gautier is eloquent, tragic yet restrained: through her artistry her portrayal made a hackneyed theme new again - poignantly sad and hauntingly lovely. Robert Taylor at 26, is surprisingly good as Armand, a bit on the juvenile side perhaps, but certainly not guilty of callowness. Henry Daniell is suavely perfection as the Baron de Varville. Good sound performances are given by Laura Hope Crews as flighty Prudence, Lenore Ulrich, and Rex O'Malley as the effete Gaston. Lionel Barrymore is just a tad too American as Monsieur Duval (listen for Taylor's Nebraska accent!) Alexandre Dumas wrote LA DAME AUX CAMELIAS over a century ago, but the basic message of the film CAMILLE is timeless. The story was adapted for the screen by Zoe Akins, Frances Marion and James Hilton (who wrote LOST HORIZON and GOODBYE MR. CHIPS among other popular novels of the day). They modernised the script but not jarringly so. Director George Cukor successfully retained the full flavour of the period - France in the middle of the nineteenth century - without drenching his film with the cloying scent of a hothouse.
Rating:
Summary: LADY OF THE CAMELLIAS
Review: The legendary Garbo interpreted the famous courtesan of literature with the subtlety that earned for her the title of "the first lady of the screen". Even as the impish demi - mondaine of the early sequences, Garbo managed to convey the impression of maturity, of a certain etherealism and spiritual integrity which raise her above her surroundings and mark her as one apart. Greta Garbo's performance as Marguerite Gautier is eloquent, tragic yet restrained: through her artistry her portrayal made a hackneyed theme new again - poignantly sad and hauntingly lovely. Robert Taylor at 26, is surprisingly good as Armand, a bit on the juvenile side perhaps, but certainly not guilty of callowness. Henry Daniell is suavely perfection as the Baron de Varville. Good sound performances are given by Laura Hope Crews as flighty Prudence, Lenore Ulrich, and Rex O'Malley as the effete Gaston. Lionel Barrymore is just a tad too American as Monsieur Duval (listen for Taylor's Nebraska accent!) Alexandre Dumas wrote LA DAME AUX CAMELIAS over a century ago, but the basic message of the film CAMILLE is timeless. The story was adapted for the screen by Zoe Akins, Frances Marion and James Hilton (who wrote LOST HORIZON and GOODBYE MR. CHIPS among other popular novels of the day). They modernised the script but not jarringly so. Director George Cukor successfully retained the full flavour of the period - France in the middle of the nineteenth century - without drenching his film with the cloying scent of a hothouse.
Rating:
Summary: Garbo at Her Tragic Best
Review: The legendary Greta Garbo gives one of her legendary performances as Marguerite Gautier, a comsumptive French courtesan caught between two men - Armand, whom she loves, and the Baron de Varville, whom she needs for financial support. Surrounded by a group of superficial friends, she must ultimately make a decision about the depths of her love that will have an impact on all three. Garbo's performance really comes to life when she is confronted by Armand's father (Lionel Barrymore) and the scenes after that meeting. The Garbo mystique is on full display in these scenes as she turns Marguerite into one of the great tragic figures. As Armand, Robert Taylor is alright, although clearly inexperienced as an actor. Henry Daniell gives a more polished performance as the Baron. Camille moves along well, but it probably wouldn't be half the film it is were it not for the unique screen presence and talent of its star.
Rating:
Summary: "Great Acting in Melodrama"
Review: The story is that trite 19th century favorite, the life and hard times of the tubercular, good-hearted courtesan. What makes all the difference here is the superlative performance Cukor coaxed out of Garbo. She is miles above the obviousness of the material. Her sophistication, revealed in everything she does facially, from her little smiles to her occasional slightly cocked eyebrow at Robert Taylor's sentimental line readings show us a first-rate sensibility trapped in an anticipatory B-movie world, that of the crude Paris demimonde. Most memorable is the film's denoument. It's hard to believe anyone could watch Garbo's death scene without a moist eye or a big lump in the throat.Her elegant performance is the perfect measure of that decline into unmoving and garish barbarism which distinguishes the latest version of this tale, the posthuman musical, "Moulin Rouge."
Rating:
Summary: "Great Acting in Melodrama"
Review: The story is that trite 19th century favorite, the life and hard times of the tubercular, good-hearted courtesan. What makes all the difference here is the superlative performance Cukor coaxed out of Garbo. She is miles above the obviousness of the material. Her sophistication, revealed in everything she does facially, from her little smiles to her occasional slightly cocked eyebrow at Robert Taylor's sentimental line readings show us a first-rate sensibility trapped in an anticipatory B-movie world, that of the crude Paris demimonde. Most memorable is the film's denoument. It's hard to believe anyone could watch Garbo's death scene without a moist eye or a big lump in the throat.Her elegant performance is the perfect measure of that decline into unmoving and garish barbarism which distinguishes the latest version of this tale, the posthuman musical, "Moulin Rouge."
|
