This modernized film version of the Herr Alexander Dumas story takes some liberties from the original (well, this German Count has to say that it is always better to make a good, original adaptation than a simple copy). "Camille" (a strong and ethereal girl), known as "the lady with the camellias", was directed by the relatively unknown Herr Ray C. Smallwood. It's a strange film for this German Count
. strange because there is something bizarre about this film that deeply mystifies and haunts the audience at the same time (even those aristocrats who have a chance to see it).
The film was produced by and starred the stylish Damen Alla Nazimova and also featured the handsome Herr Valentino. At the time, Nazimova was a star. Herr Valentino was just becoming a big star. The acting, especially Valentino, is static and clumsy but at the same time the exaggerated, divine, fragile Nazimova's performance balanced things incredibly well. (That's why this German Count said before that this film had something special there is to a great extent a fair unreal reality.) Their different acting styles fit fairly well in a film that wants to expose the sublimation of love; it's a romantic film par excellence.
This film has a story larger than life it is a remembrance or idealization of "pure love", the sacrificing love and the love tragic. It is a film that projects a dreamful film atmosphere in a haunting Paris society full of dilettantes (if we talk about those people, there must appear a Count de Varville, natürlich!). They live an unconcerned life surrounded by banality and selfishness, besides strange furniture and outfits. They lack feelings. Ultimately Camille has the chance to find at last her true love suffering at the very end. And thus ends one of the most interesting and romantic silent films of the early 20's (book adaptations or not).
And now, if you'll allow me, I must temporarily take my leave because this German Count must to investigate if the love in itself exists.
The film was produced by and starred the stylish Damen Alla Nazimova and also featured the handsome Herr Valentino. At the time, Nazimova was a star. Herr Valentino was just becoming a big star. The acting, especially Valentino, is static and clumsy but at the same time the exaggerated, divine, fragile Nazimova's performance balanced things incredibly well. (That's why this German Count said before that this film had something special there is to a great extent a fair unreal reality.) Their different acting styles fit fairly well in a film that wants to expose the sublimation of love; it's a romantic film par excellence.
This film has a story larger than life it is a remembrance or idealization of "pure love", the sacrificing love and the love tragic. It is a film that projects a dreamful film atmosphere in a haunting Paris society full of dilettantes (if we talk about those people, there must appear a Count de Varville, natürlich!). They live an unconcerned life surrounded by banality and selfishness, besides strange furniture and outfits. They lack feelings. Ultimately Camille has the chance to find at last her true love suffering at the very end. And thus ends one of the most interesting and romantic silent films of the early 20's (book adaptations or not).
And now, if you'll allow me, I must temporarily take my leave because this German Count must to investigate if the love in itself exists.