Good Adaptation of the Story With Numerous Interesting Features

Unusual, but Unexpectedly Interesting, Silent Camille

Nazimova, Rambova and Mathis Combine to Create a Masterpiece

No new cinematic ground broken, but very watchable version of a classic story.

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Alla Nazimova and Rudolph Valentino in Camille (1921)

Winter. Paris, magic city of pleasure, yet beneath its tinseled gaiety throbbing with life's grim note of passion and tragedy.

"Camille" Alla Nazimova 1921 Metro **I.V.

Alla Nazimova, Rudolph Valentino Film Set Camille (1921) 0012027

Rex Cherryman, Patsy Ruth Miller, Alla Nazimova, and Rudolph Valentino in Camille (1921)

Rex Cherryman, Patsy Ruth Miller, Alla Nazimova, and Elinor Oliver in Camille (1921)

Alla Nazimova

Rudolph Valentino

Rex Cherryman

Alexandre Dumas fils

June Mathis

A courtesan and an idealistic young man fall in love, only for her to give up the relationship at his status-conscious father&apos;s request.

Ray C. Smallwood

Camille

This &quot;modernized&quot; version of &quot;La Dame aux Camellias&quot; may not seem very modern to 21st century viewers, but compared to the original it must have been so for those of 1921. Direction and acting broke no new ground for the silent cinema art form, but it is very watchable. The longish story was cleverly condensed into 69 minutes with nothing essential left out. True, Armand does not arrive to witness Marguerite&apos;s death throes, but that was Nazimova&apos;s doing. She didn&apos;t want to risk any scene stealing by Valentino during her big moment. Alla Nazimova pulled out most of the stops, but she did have some poignant restrained scenes, especially the death scene when creditor representatives are tagging her furniture for an auction to pay her debts. There is a very touching interlude when these reps decide whether or not to tag Marguerite&apos;s copy of MANON LESCAUT which Armand had given her in a happier time. Valentino gives a very creditable and restrained performance throughout. Nazimova was wise to be wary of him! The sets are all &quot;Avant Garde&quot; in the extreme. They must have seemed so even to a 1921 audience, and look quite weird today. Direction and editing are taut, but the supporting cast tend to be on the hammy side. This, of course, was not unusual in the silent era, when without sound, gesture had to replace voice. Not great, but a good &quot;old&quot; movie to watch.

This "modernized" version of "La Dame aux Camellias" may not seem very modern to 21st century viewers, but compared to the original it must have been so for those of 1921. Direction and acting broke no new ground for the silent cinema art form, but it is very watchable. The longish story was cleverly condensed into 69 minutes with nothing essential left out. True, Armand does not arrive to witness Marguerite's death throes, but that was Nazimova's doing. She didn't want to risk any scene stealing by Valentino during her big moment. Alla Nazimova pulled out most of the stops, but she did have some poignant restrained scenes, especially the death scene when creditor representatives are tagging her furniture for an auction to pay her debts. There is a very touching interlude when these reps decide whether or not to tag Marguerite's copy of MANON LESCAUT which Armand had given her in a happier time. Valentino gives a very creditable and restrained performance throughout. Nazimova was wise to be wary of him! The sets are all "Avant Garde" in the extreme. They must have seemed so even to a 1921 audience, and look quite weird today. Direction and editing are taut, but the supporting cast tend to be on the hammy side. This, of course, was not unusual in the silent era, when without sound, gesture had to replace voice. Not great, but a good "old" movie to watch.

A courtesan and an idealistic young man fall in love, only for her to give up the relationship at his status-conscious father's request.

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Camille

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