Film Review: Camille (1936)

9 months ago

(source: tmdb.org)

There are films that can leave you cold, although they are not supposed to be, based on the talents involved and reputation built and maintained through the decades. The author of this review experienced such phenomenon with Camille, 1936 romantic drama directed by George Cukor.

The film is based on The Lady of the Camelias, novel by French author Alexandre Dumas fils, which turned into one of the most popular works of 19th Century literature and was adapted countless times, including Verdi’s famous opera La traviata. The plot takes place in 1847 Paris where Marguerite Gautier (played by Great Garbo), woman of great beauty but extremely humble background, enjoys reputation of one of city’s top courtesans. One night in theatre, while trying to catch attention of potential patron, wealthy Baron de Varville (played by Henry Daniell), she mistakes him for Armand Duval (played by Robert Young), dashing young man from noble but impoverished family. By the time the mix up is resolved, both Armand and Marguerite are hopelessly in love with each other. Marguerite is, however, wordly enough to know that she would be more financially secure with Baron than with Armand. He nevertheless manages to win her over and bring her to the country where she would live simple but happy life with her young lover. But her bliss comes to an end when Armand’s father (played by Lionel Barrymore) begs her to leave him because scandalous liaison with woman of ill repute would wreck Armand’s public career and prospects in “polite” society. Marguerite agrees and breaks her and Armand’s heart. Months later, Armand is ready to reunite with her, but Marguerite is dying of consumption.

Camille was made by Metro-Goldwyn-Mayer under the supervision of Irving Thalberg, one of the most talented producers of Classic Hollywood who died under production. Film was directed by George Cukor, immensely talented film maker who would gain reputation of “women’s director” due to his great work in melodrama and ability to get top performances from actresses. The actress in question was Great Garbo, one of the most iconic stars of Hollywood and her role of Marguerite is considered one of the best in her relatively short but memorable career. Garbo, who had began her career in silent era only to flawlessly transition to sound despite her heavy Swedish accent, shows great deal of experience and puts almost flawless performance of a woman torn between conflicting desires – hedonistic pursuit pleasure under the shadow of illness that might claim her every minute, genuine love she feels towards young man and, finally, guilty conscience when she realises that her own happiness might bring misfortune to Armand. Thalberg, Cukor and Garbo create formidable combination of talents that results in Camille displaying Classic Hollywood at its best.

While very good film, Camille isn’t perfect, although it would be hard to blame people involved in the production. Part of the problem is in literary source, which might look too melodramatic or too romantic for more cynical and jaded viewers in 21st Century. Another problem for this film is in heavy censorship of Hays Code, which forced Cukor to walk very fine line and try not to be explicit in telling what Marguerite actually does for living and true nature of her relationship with her “sponsors”. On the other hand, Cukor’s attempts to add some light humour while portraying decadent set of Marguerite’s friends and “friends” from Parisian demi-monde brings some lightness to otherwise dour film, but this is much at odds with more serious tear-jerking finale. Robert Taylor, while looking the part of Classic Hollywood hero, at times has problems matching his own acting abilities to Garbo’s, although Cukor with his direction mostly succeeds in hiding such flaws. Camille was, despite all such flaws, immensely successful at the box office and is considered one of the most iconic melodramas of 1930s Hollywood.

RATING: 7/10 (+++)