Camille (1921) Format : AVI Format/Info : Audio Video Interleave File size : 556 MiB Duration : 2h 19mn Overall bit rate : 557 Kbps Director : created.with.SUPER(C).v2009.bld.36 Writing application : SUPER(C) - by eRightSoft Format : MPEG-4 Visual Format profile : Simple@L1 Format settings, BVOP : No Format settings, QPel : No Format settings, GMC : No warppoints Format settings, Matrix : Default Codec ID : DIVX Codec ID/Info : Project Mayo Codec ID/Hint : DivX 4 Duration : 1h 9mn Bit rate : 1 004 Kbps Width : 720 pixels Height : 480 pixels Display aspect ratio : 4/3 Frame rate : 29.970 fps Standard : NTSC Resolution : 24 bits Colorimetry : 4:2:0 Scan type : Progressive Bits/(Pixel*Frame) : 0.097 Stream size : 502 MiB (90%) Writing library : SUPER(C) Format : MPEG Audio Format version : Version 2 Format profile : Layer 3 Codec ID : 55 Codec ID/Hint : MP3 Duration : 2h 19mn Bit rate mode : Constant Bit rate : 96.0 Kbps Channel(s) : 2 channels Sampling rate : 22.05 KHz Resolution : 16 bits Stream size : 48.0 MiB (9%) Alignment : Aligned on interleaves Interleave, duration : 26 ms (0.78 video frame) Interleave, preload duration : 522 ms http://www.imdb.com/title/tt0012027/ http://www.tcm.com/tcmdb/title.jsp?stid=1867 Director:Ray C. Smallwood Writers:Alexandre Dumas fils (novel) June Mathis (written by) Rudolph Valentino ... Armand Duval / Manon's Lover in Daydream Rex Cherryman ... Gaston Rieux Arthur Hoyt ... Count de Varville Zeffie Tilbury ... Prudence Patsy Ruth Miller ... Nichette Elinor Oliver ... Nanine, Marguerite's Maid William Orlamond ... Monsieur Duval, Armand's Father Consuelo Flowerton ... Olympe Alla Nazimova ... Marguerite Gautier / Manon Lescaut in Daydream Edward Connelly ... The Duke (uncredited) 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. Trivia for Camille (1921) The original play opened in Paris in 1852. The first Broadway production of the play opened on 9 December 1853. There have been 15 Broadway revivals of the popular play, the last in 1935. User Comments (Comment on this title) 12 out of 13 people found the following comment useful:- An Unusual Version of the Famous Dumas Tale, 21 May 2005 Author: from Biloxi, Mississippi Valentino was still something of an unknown quantity when this film was made, and although it was adapted from the screen by his mentor June Mathis and designed by his wife Natasha Rambova, CAMILLE is not a Valentino film. It belongs instead to Alla Nazimova, whose eccentric charm that combined both frantic gaiety and an exhausted world-weariness made her the most highly regarded "high-art" performer of her day. Surely by now every one knows at least the basic outline of the story, which French author Dumas drew from life: Marguerite Gautier (Nazimova) is a celebrated courtesan who despises her life and yet cannot break free of it. When confronted with true love in the form of society youth Armand (Valentino), however, she attempts to leave her past behind--only to be convinced by her lover's father that if she really loves Armand she must leave him that he might take his rightful place in society. She returns to her old life, where she dies of consumption with her one true love's name upon her lips. Nazimova, who is credited with introducing the Russian "method" to the New York stage, is an extremely interesting Camille. Unlike the later Garbo, she offers us a truly neurotic creature who in public screams with nervous energy--and then in private collapses under the twin weights of self-loathing and her increasing illness. At times her performance goes as far over the top as her hairstyle, but the cumulative result is exceptionally affecting. Valentino is typically Valentino, with an intriguing presence that relies more upon appearance than actual skill, and his performance adds no significant dimension to the part of Armand; this may, however, be an unfair criticism, for the role is notoriously thankless. Rambova's strange set design for Marguerite's apartment is a highlight of the film and worth studying, very 1920s modern and yet still far advanced of anything commonly seen in even contemporary decor, and the cinematography gives CAMILLE an effectively lyrical feel. All in all, the film might best be considered as a high-art experiment that does not entirely come off, but even so it gives us the opportunity to see Nazimov near the height of her appeal, and as such is recommended to all silent film fans. 12 out of 13 people found the following comment useful :- Nazimova, Rambova and Mathis Combine to Create a Masterpiece, 23 September 2004 Author: from United States Alla Nazimova (1879-1945) is one of the female pioneers of the silent cinema. While her name endures, her movies are seldom seen, and indeed many of them have been lost altogether. She was a native of Russia, born of Jewish parentage as Adelaide Leventon, and studied with Stanislavsky. She came to the United States in 1905 and gained fame for her skills as a dancer, and an actress, conquering Broadway and becoming renowned as the era's greatest interpreter of the plays of Ibsen. Her stage fame brought about her first appearance on screen in 1916, and although her subsequent Hollywood starring career spanned a brief ten years and only seventeen films, her influence was profound. Nazimova also dominated the making of most of her films, often functioning without credit in all three primary capacities of producer, director, and writer. In addition to her films, Nazimova became the first of the movie queens to establish a virtual Hollywood court at her home (later known as "the Garden of Alla"), largely of emigres, who were dedicated in many different ways to the art of the cinema. Rudolph Valentino became part of this group in 1920, when Nazimova was forty and at the height of her fame and power. Through the creative community she gathered around her, she helped form the milieu that inspired what Valentino hoped to do in movies. Under the influence of Nazimova and others, Valentino came to realize the artistic potential of the cinema, and sought to ally himself with talented individuals. Valentino had spent several years moving up from a supporting player to his breakthrough role in THE FOUR HORSEMEN OF THE APOCALYPSE (1920). Before the release of THE SHEIK in 1921, with Valentino in the title role that would secure forever his star image, he had played leading roles in a number of disparate films. It was in this interregnum that Nazimova selected him to star as the true love Armand opposite her in CAMILLE, a property she had chosen to make. CAMILLE, distributed by Metro, was her last film for a studio; she selected the property, and the scenario for this modern-day version of the Alexandre Dumas fils classic was written by June Mathis (1892-1927). The third significant woman contributing to CAMILLE was the film's art director, Nazimova protege Natacha Rambova. Unlike Nazimova, despite her name Rambova was not an expatriate, but the daughter of a wealthy Utah family (born Winifred Shaughnessy) who had adopted the name Natacha Rambova before she met Nazimova. By the time of CAMILLE, Rambova and Valentino had fallen in love, having met one another through Nazimova. Part of his attraction to Rambova was his recognition of Rambova as a woman of rare intelligence and ability as well as beauty, with whom he fell deeply in love. In collaboration with Rambova, he sought to make films that were more than commercial product, but studio moguls bitterly resented Rambova's intelligence as a woman and a wife, and Rambova found herself and her marriage to Valentino smeared by gossip. Ultimately, the strains would drive Valentino and Rambova to divorce a year before his sudden death in 1926. CAMILLE richly displays the range of Nazimova's acting ability, at once varied, highly stylized, and realistic in the role of Marguerite Gauthier. Perfectly complimenting her performance is the mise-en-scene. For instance, ovals continually reappear around Nazimova in closeups, accented by the many iris-in shots, all evoking Marguerite's symbol of the camellia. Rambova's designs, both linear and ornamental, highlight the ubiquitous circular motifs through a myriad of similar background shapes, such as windows and doors. There are many typical European touches throughout the melodramatic narrative, such as the silhouettes of the dancers seen through arches in the casino. Snowfall represents Marguerite's illness, while her temporary recovery under Armand's care is...
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