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Very disappointing...

Excellent but underrated film

Awesome Movie

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

If you ever want to watch a truly IMMENSE actress portray a gut wrenching scene, just dive deep into the 1936 film Camille. The spectacle of which I speak is easily one of Garbo's finest. It comes quite far into the movie when Marguerite must gather the courage to rip Armand's heart to shreds. As she sits at her dressing table, pleading with her maid to help give her the strength to carry out this brutal act, you'll find Garbo achingly exposed and at her passionate best, emoting a raw unpasteurized portrayal of abject suffering. It is almost torture to bear witness to this pageant of despair. I can't say enough about a woman who would give so much of her inner soul for her craft. There are many fine reviews outlining the plot of this beloved movie, so I think I'll end right here and admonish you to see Camille for the sheer spectacle of enchanting intensity and endless fascination, .. that is, ..and forever remains, ..Garbo!

The amazing performance of Greta Garbo is just enough to watch this movie. We can see a sick, weak and beautiful lady as the protagonist. She was Oscar nominated for the Best Actress in a Leading Role. Camille is said to be the favorite movie of the actress.All other actors, Robert Taylor, Lionel Barrymore etc. are perfect in their cast.Director George Cukor has done a great job in making the movie a very interesting Romantic Drama. The movie will remain in your heart for ever.Camille is highly recommended for those who are looking for great movies.Sameir Ali

No wonder Robert Taylor decided to grow a mustache. In "Camille", he is definitely eye candy, even lovelier than his leading lady, the very handsome Greta Garbo. Yes, Garbo is certainly beautiful, but when you put the two side by side, two things are apparent: A definite age difference and reasons why their sexual preferences have been questioned.Garbo and Taylor were only six years apart, but it is that six years of life between them (he was 25, she 31) where maturity takes over the face and one truly transforms into adulthood. Taylor is so youthful here he looks like a college boy, more appropriate for being behind the barricades of "Les Miserables" than hanging around the idle wannabe's of society. Yes, both "Les Miserables" and "Camille" are set in 1800's Paris, albeit 20 years between each other, and both give a completely varying view of life as it was.Garbo is Marguerite, a fun-loving courtesan in search of a new benefactor who finds one in a wealthy Baron (Henry Daniell). While he gives her money and a fancy apartment to host parties for her rather tacky friends (which includes an aging courtesan played by Laura Hope Crews) who isn't hangin' around just because she adores Marguerite's company. When Marguerite meets the handsome Armand Duval (Taylor), she is awestruck by his beautiful face and they begin an affair while her benefactor is away. The Baron and Armand's father (a hammy Lionel Barrymore) makes demands so Garbo dumps him, but destiny is not meant for them to be apart, even if it is for a sad farewell.This opulent, almost operatic tearjerker, is the quintessential Garbo film, and she is impeccably gowned and coiffed. The film screams with the Thalberg stamp (his productions were always the most lavish at MGM) and everything is exquisitely detailed from the overstuffed sets to the number of extras in the party scenes, a wedding sequence, and a gambling room which leads to a dramatic confrontation between the two rivals for Garbo's affections. Who better to direct such a masterpiece than George Cukor, the man behind "Dinner at Eight" and much later "A Star is Born" (the Garland version) and "My Fair Lady"? Together, the producer (always uncredited with the exception of the memoriam credit of his name in "The Good Earth") and director stage a saga that requires repeat viewings to take everything in.My only real fault with this movie is that there really is no chemistry between Taylor and Garbo. For playing a character suffering from tuberculosis, Garbo avoids being melodramatic, and even offers some sly humor into her obvious "woman of ill repute" character. Taylor is rather animated in his gestures. Fortunately, this was almost a decade after sound came in; Leading men in early sound films tended to have to wear too much lipstick which now makes many of them look truly ridiculous. He is spared that indignity in spite of still being a bit too pretty and youthful for his still lovely leading lady who, in spite of being obviously feminine, sometimes comes off a bit mannish. This doesn't reflect in her performance as she is at all times vulnerable, somewhat down to earth, and even sympathetic to Danielle's imperious baron.Don't expect a George Sanders/Basil Rathbone villain role for Danielle. You really understand why he reacts the way he does, although his high crust European persona never softens him. He is a character who knows that he is being used, but when he feels he is being made to look like a fool, finally stands up and cracks back. Crews truly surprises with her foolish older woman character who admits that the champagne she drinks at a wedding youthens her but makes her feel like an old woman when it goes to her feet. A final twist with her shows the selfishness hidden underneath her initial flibbertigibbet mentality. You'll completely fall in love with Jessie Ralph, the salty character actress who plays Garbo's devoted companion. She could go from imperious ("After the Thin Man") to revealing ("San Francisco") to motherly ("The Blue Bird") with each appearance, and in this film, her heart never leaves her mistress. Eily Malyon also stands out in a small role as the maid in the country home Garbo stays at. Practically forgotten today, she appears in practically every major literary adaption, most notably "David Copperfield" and "A Tale of Two Cities".While tuberculosis is never mentioned by name, it has been assumed that is the illness that Garbo is suffering from throughout the film. It is also never mentioned by name (as per the Hays code) what Garbo does to make a living, but cleaned up dialog truly expresses what her gentlemen friends are getting out of an obvious bargain, especially when Barrymore confronts her about his plans for his son's future.

Camille could top the Elephant Man for the most moving film of all time. Everything about this movie is beautiful, the acting, the cinematography and one of the saddest endings on film.The story is wonderful, based on a work by Alexandre Dumas Junior. The opera La Traviata also happened to be inspired by the story, and I noticed a number of similarities between this film and the opera, like the death scene, and when Armand insults Margherite(throwing money in her face, like in the opera).The cinematography and costumes were gorgeous, and an example of French extravagance, despite the fact that Camille was made in the 30s. The music, especially in Margherite's death scene, was so hauntingly touching. Through the music, we felt the romance between Armand and Margherite. Also Margherite's death is the most heart-rending death ever on screen, whether in romance or a biographical drama.The performances were exceptional. Greta Garbo was the movie. The whole movie is worth watching just for her performance, which was more than outstanding. This movie was referenced in the 1982 musical Annie, which was where I got introduced to the movie. Robert Taylor, I usually find a bit dull, but I felt a great much-needed restraint here, in possibly his best performance. Everybody else was great as well, particularly Lionel Barrymore as Monsieur Duval.In conclusion, a beautiful and inspired film, so worth watching for Garbo's performance and her character's death. Believe me, it is a million times better than most of the rubbishy sentimental romantic dramas out now, and that's a fact! 10/10. Bethany Cox