Camille 1936 123movies

Watch: Camille 1936 123movies, Full Movie Online – 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..
Plot: Life in 1847 Paris is as spirited as champagne and as unforgiving as the gray morning after. In gambling dens and lavish soirees, men of means exert their wills and women turned courtesans exult in pleasure. One such woman is Marguerite Gautier, who begins a sumptuous romance with Armand Duval.
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Ratings:

	7.3/10 Votes: 8,157
	93% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 98 Popularity: 9.011 | TMDB

Reviews:

Greta Garbo (I’m not objective in the slightest here, because she’s my favourite actress ever) is astonishing as The Lady of the Camellias in this, the most well-known cinematic rendition of Alexandre Dumas’ tragic story. In comparison to the 1921 silent version, Cukor’s a much better director, though Rudolph Valentino’s better as Armand Duval. Both versions are intriguingly different, and Henry Daniell’s just great as the villainous Baron. Essential viewing, especially for fans of Garbo and classic tearjerker films.

Greta Garbo “Marguerite” is on wonderfully seductive form in this classy adaptation of Alexandre Dumas’ story. She is the comfortably off courtesan kept by the wealthy “Baron de Varville” (Henry Daniell) who is introduced to the handsome “Armand” (Robert Taylor). He falls for her hook, line and sinker – but she isn’t just going to take him in her arms. He is young, handsome, naive – and skint, but he has a certain charm! Determination is also one of his qualities as he vows to take her away from it all to a quite recluse in the country where she can recover from a mysterious ailment. The intervention of the young man’s father (Lionel Barrymore), puts a fly in this ointment – he pleads with her not to toy with his son’s affections, nor to tarnish his reputation – and she returns to her old beau and his chequebook… It’s the ultimate menage-à-trois. The witty and popular woman having to face the grim choice of a loveless relationship, or a penniless one… Cukor sets a high standard; he allows the story to evolve slowly and delicately. The production looks great with wonderful attention to detail, and there is a chemistry between Garbo and the very young Taylor that is quite enthralling. Needless to say, Daniell is his usual dastardly self as the Baron, and Jessie Ralph also detersives notices as “Nanine”. Although the 1926, much shorter, version of this is interesting – it features Paul Robeson – this is my favourite version by far.

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.

Technically well-made, but this film hasn’t aged well
While I am a huge fan of the films of Hollywood’s Golden Age, I not especially impressed by this classic film. Most of this, I think, is that the film hasn’t aged well. The extreme melodrama and over-acting sat fine with early audiences, but today it just seems awfully silly and campy. While Greta Garbo’s performance is at times way over-the-top, my biggest problem actually was the character played by her very ardent suitor, Robert Taylor. Despite very little apparent reason, he is totally smitten with a woman who is essentially a high-priced prostitute and chases her repeatedly even though she gave every indication through the first half of the movie that she was a heartless skank. As a result, Taylor just looked like a very pretty wimp–not the sort of man that anyone in the audience could respect. Only after being lied to and emotionally abused did he finally show some backbone–but by the end of the film, this had once again vanished and he was back to being a wimp. I sure would have liked to have Jimmy Cagney handle this role–he wouldn’t have put up with it or chased after Garbo like a moon-eyed puppy! Now back to Garbo. While I have always felt that her performances have aged poorly (she was so often given scripts that were too formulaic and melodramatic), I must admit that the times in the movie when she needed to cry, she was incredible. This is especially true in the side shot of her as you see tears almost shooting from her eyes–that is great acting. But, then to have her droop around for so much of the film with what appeared to be TB detracted from the overall effort. It just seemed a bit overdone.

The same day I saw this film, I also saw the silent 1921 version starring Nazimova and Rudolph Valentino. For 1921, this style of film was perfect, but even by 1936, it must have caused a few groans among the patrons since the plot was definitely getting very old indeed. The only HUGE improvement in the 1936 film was the role played by Lionel Barrymore as Robert Taylor’s dad–it was much more sensitive and compelling than the character in the earlier film and did a lot to give the story life.

The bottom line is that if you don’t particularly care for old movies, this movie will probably be very dull and tough viewing. If you love old films, you might be able to look past its style and enjoy the picture–at times I could do this, but frankly there are just so many better romances out there.

Other Information:

Original Language en
Runtime 1 hr 49 min (109 min)
Budget 0
Revenue 0
Status Released
Rated Passed
Genre Drama, Romance
Director George Cukor
Writer Zoe Akins, Frances Marion, James Hilton
Actors Greta Garbo, Robert Taylor, Lionel Barrymore
Country N/A
Awards Nominated for 1 Oscar. 3 wins & 1 nomination total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Western Electric Sound System)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length 2,980.64 m (12 reels) (UK)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm