One hardly wishes to confess ignorance when it comes to films that are adaptations, or that have antecedents of the same material - and 'Camille' claims both. Yet lack of familiarity with source material also allows a more fresh and unclouded perspective on a single feature as it is. 'Camille' is no revelation, but ultimately a worthy view overall.
The set design and wardrobe are immediately striking, and strong consideration was clearly given to hair and makeup as well. As is true with silent films broadly, 'Camille' relies on visual elements to impart its story, and that includes emphatic facial expression and body language to anchor performances and cement characters. The performances here aren't wholly remarkable, but the cast does well to communicate their characters' emotional states, and the progression of the narrative, with intertitles merely providing the framework to that end. Of them all, I think lead Alla Nazimova is rather marvelous as Marguerite, ably realizing her character arc.
In its earliest scenes the movie is so simple in its relation of the story as to feel ham-handed and less than believable. As the plot grows - by degrees - and especially as characters are given greater form, 'Camille' becomes easier to engage with. It remains a simple tale in general, with a thrust familiar to moviegoers who have seen pictures in the many years since. Even at that, though, key beats are executed well, conveying the great drama on hand. As the picture advances toward its conclusion, the mounting dourness is both compelling and inescapable.
If my words seem perfunctory and noncommittal, consider it a reflection of the feature. I find 'Camille' enjoyable, to be sure, yet it's not as grabbing and impactful as one supposes it should be given the narrative. It's a movie that can't entirely carry its own weight.
That it feels lacking in a very general sense doesn't mean it's not entertaining, or worth watching. 'Camille' just isn't as distinctly captivating as other pictures of the era, but if you come across it, there are worse ways to spend your time.
The set design and wardrobe are immediately striking, and strong consideration was clearly given to hair and makeup as well. As is true with silent films broadly, 'Camille' relies on visual elements to impart its story, and that includes emphatic facial expression and body language to anchor performances and cement characters. The performances here aren't wholly remarkable, but the cast does well to communicate their characters' emotional states, and the progression of the narrative, with intertitles merely providing the framework to that end. Of them all, I think lead Alla Nazimova is rather marvelous as Marguerite, ably realizing her character arc.
In its earliest scenes the movie is so simple in its relation of the story as to feel ham-handed and less than believable. As the plot grows - by degrees - and especially as characters are given greater form, 'Camille' becomes easier to engage with. It remains a simple tale in general, with a thrust familiar to moviegoers who have seen pictures in the many years since. Even at that, though, key beats are executed well, conveying the great drama on hand. As the picture advances toward its conclusion, the mounting dourness is both compelling and inescapable.
If my words seem perfunctory and noncommittal, consider it a reflection of the feature. I find 'Camille' enjoyable, to be sure, yet it's not as grabbing and impactful as one supposes it should be given the narrative. It's a movie that can't entirely carry its own weight.
That it feels lacking in a very general sense doesn't mean it's not entertaining, or worth watching. 'Camille' just isn't as distinctly captivating as other pictures of the era, but if you come across it, there are worse ways to spend your time.