In 1852 Alexandre Dumas, fils., published his dramatic novel La Dame aux Camelias. After becoming an overwhelming success in France, the novel was adapted into what is considered the most popular stage play ever produced: “Camille”. Based on Dumas’ own relationship with the tuberculosis-ridden courtesan Marie du Plessis, the story has seen countless retellings on both the stage and screen. The most recent film adaptation is Baz Luhrmann’s outstanding musical, Moulin Rouge (2001), starring Nicole Kidman as Satine. And, if you happened to be at the Met on New Year’s Eve you saw the newest (and most energetic) version of Verdi’s “La Traviata”—the operatic retelling of “Camille” (but with a name change to Violetta). Whatever name the female lead is given, the story of “Camille” is one every actress worth her salt wants to play. The New York Times said it best in 1904: “What the North Pole is to the intrepid explorer seeking for fame Camille is to the actress. It is the undiscovered country, always alluring, always fascinating. No other role—unless it be possibly that of Juliet—holds such potent attractiveness for the ambitious woman player.”
Greta Garbo was an ambitious woman player, and in 1936 she gave her greatest dramatic performance in the film Camille. Aided by the steady hand of director George Cukor,
Once Marguerite makes the difficult decision to leave the Baron, she has to deal with the act of telling him and procuring from him 40,000 francs to cover her debts. Henry Daniell is really good in this scene (actually, he’s good in the entire film, but this is his best scene). He plays it with just the right amount of wounded pride and anger. I especially enjoy watching him tell Marguerite that he’s glad to get rid of such a fool and then slaps her across the face after he gives her the money.
And so for a time, Marguerite and Arnaud live blissfully in the French countryside. Yet, money and Marguerite’s past are still an issue. Their happiness comes to an end
Knowing that she can’t convince Arnaud that she doesn’t love him, she does the only thing she knows will sever their relationship forever: she chooses money and the Baron over him. The look on Robert Taylor’s face when Marguerite walks out the door is priceless. Garbo is more than believably callous in this confrontation.
But what happens in the end, you ask?
This was Garbo’s favorite role. In it she showed just how talented she was. There are few actresses who truly make you believe they are the character they are portraying, but Garbo embodies this role completely. It is truly one of the greatest female screen performances ever.
There are very few films that I rate as excellent, but this is one that I thinks deserves that ranking. The story is a timeless tale of sacrificial love—a favorite theme of mine. The acting is of superior caliber, especially Garbo and Daniell. For those who are enraptured by elegant, luxurious costumes, this film delivers. Garbo looks stunning in all of her gowns (lots of flounces and ruffles) and the men appear dashing and debonair in their 19th century long coats and top hats. Overall, it is a spectacular production that all classic cinema fans should encounter at least once…if not several times.
Well, we cannot all like the same movies.
ReplyDeleteI think Garbo was casted wrongly for Camille. I just do not see her as the flirtatious irresponsible courtesan. She is much better as the haughty Queen Christine, the noble Anna Karenina or even the comic hardliner in Ninotchka.
Well, it does not help much that I am not overly fond of the story of Camille, but should I take a pick I would choose the version of La Traviata. I love the music of that opera.
I think this is a gender thing. To me, Garbo could play any role--that's what made her so good.
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