Review: ‘Camille’

This production of Nazimova in Camille proves to be a modernized version of the story of The Lady with the Camellias, which fact is welcome for the major part, but not so felicitous as the concluding parts are reached. For, wonder of wonders, the director has entirely omitted the scene of Armand at the bedside of his beloved as she breathes her last. Perhaps this big moment was eliminated in the thought the picture fans, if unable to witness a happy ending, wanted one as happy as possible under the circumstances. Nothing could be further from the fact.

This production of Nazimova in Camille proves to be a modernized version of the story of The Lady with the Camellias, which fact is welcome for the major part, but not so felicitous as the concluding parts are reached. For, wonder of wonders, the director has entirely omitted the scene of Armand at the bedside of his beloved as she breathes her last. Perhaps this big moment was eliminated in the thought the picture fans, if unable to witness a happy ending, wanted one as happy as possible under the circumstances. Nothing could be further from the fact.

Nazimova totally immerses her own distinct personality into that of the famed heroine. Instead of the sinuous, clinging Nazimova, she appears an actress almost new-born for the part.

The surrounding company is excellent. Second to the star is the Armand of Rudolph Valentino. There are many opportunities for obtrusiveness in the role, but he keeps it correct to the minutest detail.

Camille

Production

Nazimova/Metro. Director Ray C. Smallwood; Producer Nazimova; Screenplay June Mathis; Camera Rudolph Bergquist;; Art Director Natacha Rambova

Crew

Silent. (B&W) Extract of a review from 1921. Running time: 90 MIN.

With

Nazimova Rudolph Valentino Arthur Hoyt Zeffie Tilbury Edward Connelly Patsy Ruth Miller
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