WOverly04
Joined May 2005
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WOverly04's rating
Maybe it helps to be a romantic. But for my money, this is the greatest romance that was ever put on film. It has the perfect stars. Greta Garbo was the star of the age--any age--still beautiful and absolutely created to act in films. Even in silent films, her acting is measured and understated. She never falls prey to exaggeration nor pretense. I think that is the secret to her effectiveness. Allow me an example: after accepting money from Baron de Varville for a disguised outing with her lover Armand (which the Baron already suspects), she kisses him gently on the cheek only to be reviled with a harsh slap from the baron, who then departs. The camera moves in on that incomparable face. The head slowly lowers, the lips slightly part, a low moan expresses the guilt, shame and humiliation which momentarily consume her. Then she spies the money clutched tightly in her hand. Recognizing she now has the means to escape with her lover, a slight smile emerges reflecting her change of mood and restored joy. It is a scene like no other.
As for her co-star, Robert Taylor was castigated as being too callow for the role. In fact, most critics today realize he was exactly what Dumas intended: young, impressionable--and certainly irresistibly gorgeous in his dewy youth. That beauty often caused the young Taylor undeserved venom from the critics. He was a very capable actor and probably set the standard for the contemporary romantic leading man we see even today. Rumors that Garbo dismissed him as unimportant are not true. She liked him very much and was greatly impressed after he sent her mother flowers when they all attended the premiere of CAMILLE in Stockholm.
CAMILLE? A great movie with a great cast, including the marvelous Henry Daniell, whose Baron de Varville is very Jekyll and Hyde. I encourage anyone to see it. It is one of the finest films of the 20th Century.
As for her co-star, Robert Taylor was castigated as being too callow for the role. In fact, most critics today realize he was exactly what Dumas intended: young, impressionable--and certainly irresistibly gorgeous in his dewy youth. That beauty often caused the young Taylor undeserved venom from the critics. He was a very capable actor and probably set the standard for the contemporary romantic leading man we see even today. Rumors that Garbo dismissed him as unimportant are not true. She liked him very much and was greatly impressed after he sent her mother flowers when they all attended the premiere of CAMILLE in Stockholm.
CAMILLE? A great movie with a great cast, including the marvelous Henry Daniell, whose Baron de Varville is very Jekyll and Hyde. I encourage anyone to see it. It is one of the finest films of the 20th Century.
Greta Garbo was Swedish, so she wasn't naive about sex. But her movies are not about sex. They are about LOVE. (Remember LOVE?) Today's movies are like modern corporations. They are more interested in the profit (sex) than the product (love). Garbo knew the difference--even then. Every gesture, every emotion, every inflection in her voice, every expression in her beautiful face was a reflection of love. And that is why WE love HER.
In the film CAMILLE, the wealthy Baron de Varville grants Marguerite's request for money to pay her bills, cognizant that she actually wants it for a romantic interlude with another lover. When she gently kisses him on the cheek in gratitude, he slaps her harshly across the face for her deception, then brusquely leaves. Humiliated by his response, ashamed at her own actions, her head slowly drops, a look of scorn and pain crossing her lovely countenance. The she spies the money tightly clutched in her hand and she is reminded that she now has the resources to run away with her one true love. All of these emotions are expressed without any grand gestures or utterances. Just a subtle change of facial expressions.
To those who question her gigantic talent or her timeless beauty, I cite this scene as evidence that she was the greatest and most magnetic actress in film history.
In the film CAMILLE, the wealthy Baron de Varville grants Marguerite's request for money to pay her bills, cognizant that she actually wants it for a romantic interlude with another lover. When she gently kisses him on the cheek in gratitude, he slaps her harshly across the face for her deception, then brusquely leaves. Humiliated by his response, ashamed at her own actions, her head slowly drops, a look of scorn and pain crossing her lovely countenance. The she spies the money tightly clutched in her hand and she is reminded that she now has the resources to run away with her one true love. All of these emotions are expressed without any grand gestures or utterances. Just a subtle change of facial expressions.
To those who question her gigantic talent or her timeless beauty, I cite this scene as evidence that she was the greatest and most magnetic actress in film history.
To fully comprehend the mystique, one must witness the early silent films.
The moment she enters the picture as a woman in her early twenties, the viewer is deluged with a face so overwhelmingly beautiful there is no way to detach one's vision from the screen.
Her acting is the same way. Each gesture and facial expression is flawless, as if a precursor to the "method."
Surely, observing from whatever star on which she presently resides, she must be amused by the irony. One hundred years after her birth, sixty plus years after her last film and well over a decade beyond her passing, we are still transfixed by her image and captivated by her mystery. Clearly, she was born to the manner.
CAMILLE was her signature film, the evidence that she was a star of unequaled magnificence. And she was surrounded by a great cast.
One of the most interesting and mystical facets of Garbo are the rumors that she dismissed her co-star in that movie, Robert Taylor, as being unimportant. In fact, there is considerable evidence to indicate she liked him very much. I cite an article written by Eric L. Ergenbright in a 1937 edition of MOVIE MIRROR magazine: describing Garbo's delight at having recently returned from Sweden where she was treated by a doctor for an ongoing illness, and was now cured. She was apparently outgoing and friendly to everyone on the movie set. Among them was her co-star, Robert Taylor. According to Ergenbright, "Robert Taylor...played an important role in the transformation of Greta Garbo...between scenes of CAMILLE witness Bob Taylor, the ex-farm lad from Nebraska, and Greta Garbo, the ex-milliner from Sweden chatting and laughing like cronies of many years standing. Garbo, it seems, was particularly interested in the Great Middle West because to her way of thinking it is the real America. She asked Bob question after question about his childhood, about life in a small town, about the farms in the Middle West." Another story reports that Garbo was extremely moved when Taylor bought her mother flowers for the premiere of CAMILLE at Stockholm, which the three of them attended.
When she was making a movie, she tended to live her roles. It was a device she used to make her part "live." But she was not insensitive nor haughty. And she always recognized the importance of her co-stars and the stagehands.
The moment she enters the picture as a woman in her early twenties, the viewer is deluged with a face so overwhelmingly beautiful there is no way to detach one's vision from the screen.
Her acting is the same way. Each gesture and facial expression is flawless, as if a precursor to the "method."
Surely, observing from whatever star on which she presently resides, she must be amused by the irony. One hundred years after her birth, sixty plus years after her last film and well over a decade beyond her passing, we are still transfixed by her image and captivated by her mystery. Clearly, she was born to the manner.
CAMILLE was her signature film, the evidence that she was a star of unequaled magnificence. And she was surrounded by a great cast.
One of the most interesting and mystical facets of Garbo are the rumors that she dismissed her co-star in that movie, Robert Taylor, as being unimportant. In fact, there is considerable evidence to indicate she liked him very much. I cite an article written by Eric L. Ergenbright in a 1937 edition of MOVIE MIRROR magazine: describing Garbo's delight at having recently returned from Sweden where she was treated by a doctor for an ongoing illness, and was now cured. She was apparently outgoing and friendly to everyone on the movie set. Among them was her co-star, Robert Taylor. According to Ergenbright, "Robert Taylor...played an important role in the transformation of Greta Garbo...between scenes of CAMILLE witness Bob Taylor, the ex-farm lad from Nebraska, and Greta Garbo, the ex-milliner from Sweden chatting and laughing like cronies of many years standing. Garbo, it seems, was particularly interested in the Great Middle West because to her way of thinking it is the real America. She asked Bob question after question about his childhood, about life in a small town, about the farms in the Middle West." Another story reports that Garbo was extremely moved when Taylor bought her mother flowers for the premiere of CAMILLE at Stockholm, which the three of them attended.
When she was making a movie, she tended to live her roles. It was a device she used to make her part "live." But she was not insensitive nor haughty. And she always recognized the importance of her co-stars and the stagehands.