1921 Camille

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Camille is a 1921 silent film starring Rudolph Valentino and Alla Nazimova. It is one of numerous screen adaptations of La Dame aux Cam\u00e9lias by Alexandre Dumas, fils. The original play opened in Paris in 1852. The film moves the setting of the story to 1920s Paris, and includes many lavish Art Deco sets, including that of Marguerite's apartment. Natacha Rambova, who would later become Valentino's second wife, was the movie's art director.

SYNOPSIS: Camille is a courtesan in Paris. She falls deeply in love with a young man of promise, Armand Duval. When Armand's father begs her not to ruin his hope of a career and position by marrying Armand, she acquiesces and leaves her lover. However, when poverty and terminal illness overwhelm her, Camille discovers that Armand has not lost his love for her.

Directed by Ray C. Smallwood
Produced by Metro Pictures Corporation
Written by Alexandre Dumas, fils/June Mathis(adaptation)
Starring Rudolph Valentino, Alla Nazimova
Distributed by Metro Pictures Corporation
Release date(s)\tSeptember 26, 1921
Running time is approx. 70 minutes (contemporary edit)
Country\tUnited States
Language Silent film, English title cards

ORIGINAL REVIEW
http://www.silentsaregolden.com/reviewsfolder/camillereview.html
CAMILLE
Starring Alla Nazimova and Rudolph Valentino
MOTION PICTURE CLASSIC

December, 1921
The story of the courtesan, Marguerite Gautier, and her tragic love for Armand Duval, as penned by Alexander Dumas, the younger, is too familiar to need outlining. The present Nazimova version is more or less freakish thruout, altho frankly it is the best thing the Russian star has given to the screen in a long time, taken all in all.

Nazimova has taken innumerable liberties with the Dumas romance. There are the so-called "impressionistic" settings, for instance. These seem to us merely bizarre backgrounds, suggestive of a Broadway ladies' shop. Real impressionism aids the dramatic mood, as in the superb backgrounds of "The Cabinet of Dr. Caligari." Certainly, genuine impressionism would aid the dramatic movement rather than cry out with garish stridency, as in the settings of the Nazimova "Camille."

We understand that Mme. Nazimova constructed two conclusions to "Camille": one in which she follows the original novel in that the heroine dies alone, and the other in which she follows the play, wherein the lady of the camellias dies, for the sake of dramatic effectiveness, in the arms of the sorrowing Armand. We had the opportunity of viewing only the former, which, we must admit, has not the emotional wrench of the speaking play's climax.

Mme. Nazimova's performance varies thru the film version. It runs perilously close to burlesque in the early moments, if, indeed, it does not cross the dangerous line. But it hints at pathos as it progresses, and there is a real note in the death of Camille. Actually, these final moments are the best thing Mme. Nazimova has given the screen since the days of "Revelation."

"Camille" is very nearly a series of close-ups of the star. The flashes of Rudolph Valentino as Armand indicate further promise in this highly promising young actor, but the remainder of the cast is wholly out of the atmosphere

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