Camille 2000

CAMILLE 2000

Aspect ratio: 2.35:1 (Panavision)

Sound format: Mono

Whilst visiting Rome, an amorous nobleman (Nino Castelnuovo) falls in love with a beautiful young libertine (Daniele Gaubert), but their unlikely romance is opposed by Castelnuovo's wealthy father (Massimo Serato), and Fate deals a tragic blow...

A sexed-up love story for the swinging Sixties, adapted from a literary source (Alexandre Dumas' 'La Dame aux Camelias') by screenwriter Michael DeForrest, and directed with freewheeling flair by Radley Metzger who, along with the likes of Russ Meyer and Joe Sarno, is credited with redefining the parameters of 'Adult' cinema throughout the 1960's and 70's. Using the scope format for the last time in his career, Metzger's exploration of 'la dolce vita' is rich in visual excess (note the emphasis on reflective surfaces, for example), though the film's sexual candor seems alarmingly coy by modern standards. Production values are handsome throughout, and the performances are engaging and humane (Castelnuovo and Gaubert are particularly memorable), despite weak post-sync dubbing. Though set in an unspecified future, Enrico Sabbatini's wacked-out set designs locate the movie firmly within its period, and Piero Piccioni's 'wah-wah' music score has become something of a cult item amongst exploitation devotees. Ultimately, CAMILLE 2000 is an acquired taste, but fans of this director's elegant softcore erotica won't be disappointed. Next up for Metzger was THE LICKERISH QUARTET (1970), which many consider his best film.

I'm glad I saw it. There are life lessons about love, sex, art, pleasure, honesty, and denial here. Radley Metzger at his best is a very honest and true-to-life filmmaker. Even when he's being surreal and throwing illusions at you like in "The Lickerish Quartet" he's being brutally honest and teaching you something about yourself and about life. Neither prudish, nor libertine, just honest, Metzger artistically explored the areas of life that other filmmakers either avoided or treated with juvenile snickering attitudes. Of course he was a businessman too and his choice of subject matter was no doubt shaped in part by what was commercially viable, but he was also a brave and dedicated craftsman who helps us still to understand and grow wiser. The emotional impact of this film is not unlike "Therese and Isabell", though the eye candy in this film makes it an easier viewing experience. Not all of Metzger's films hold up today, but this is one that does.

I saw this flick due being released on the Arrow label. i do know that it was made i the roaring sixties, a time of drugs and free sex. And let this be a flick about forbidden romance.

They way it was shot I was rather surprised that some dare to call it soft erotic. Sure, there's a lot of making love going on but it's so tame for the time being shot. The girls are really lovely and all are voluptuous and that's what this all about, all showing their juggs on some LSD music. Let me say that the score is excellent but the erotic, well, for example, in the first love scene you can easily spot on the Blu ray release that the girl was wearing flesh coloured knickers not to reveal a thing. No pubic hair is ever shown. On the men site they show almost everything not intended but you know, you can't hide their testicles.

It's a classic for so many people and I can agree on many ways, the way the love scene's are shot with mirrors used that all looks fine but to say it's erotic, well, there are other flicks made back then showing more then Carmilla did. Just look at the orgy going on, a bit of master and slave but low on nudity. Go figure out that not one year later Mona was released, the first explicit flick without credits to start the golden age of porn.

A perfect example of the free sex era.

Gore 0/5 Nudity 2/5 Effects 0/5 Story 2,5/5 Comedy 0/5

The other comments I have read all seem accurate to me (except I don't think Maguerite is necessarily an aristocrat, but the poor protege of one). The innocent nudity, the gorgeous photography and glamorous Roman locations, the capturing of a moment of social freedom in the sixties, are all superb. Although the director has a reputation for making exploitation films, at least in the year 2000 it doesn't seem to me that this film qualifies as one, since the nudity, sex and drugs are relatively tame, and the film now reads as a serious dramatic effort, at least to me.

What I found fascinating about the film was the portrayal of the progress of the emotional relationship of Armand and Marguerite- it covers how they met, love won and lost several times, their emotional conflicts and life choices as a result of their feelings for each other. In this it seems to me highly realistic, perceptive and insightful. It captures the emotional life of the very wealthy, young and beautiful elite- joy, confusion, hedonism, love and also despair.

It follows the evolution of the relationship in such detail that, at times, I found the film dragging a bit, but this was a minor problem for me compared to the joy of seeing such a deep exploration of their relationship. Instead of the single roller-coaster ride of snipped-down Hollywood fare, we enter fully into another world by dwelling there through several different plot climaxes.

I first heard about this film through its music. The late Piero Piccioni was one of Italy's finest composers from the hey day of Italian cinema in the 60's and 70's.

The write up for this movie descibes it solely in terms of sex and eroticism... but it so, so much more. It is like a wonderful painting depicting the heart wrenching trials and tribulations of two lovers, who spend a great deal of time hiding from the truth. Daniele Gaubert is superb in this, and you almost fall in love with her yourself (she, like her on screen persona, also had a tragic early death at the age of 44, from cancer). I am not a big fan of Metzger but this one is a must for all fans of lush 60's cinema.

It is how the 60's (the none 'Hippies' anyway) would like to be remembered.... ultra stylish, hedonisitic, with the heartache of love lost. (Let us pray Hollywood leaves this film be and not 'create' one of their awful remakes)