CAMILLE

Greta Garbo and Robert Taylor

CAMILLE (1936). Director: George Cukor. Colorized. 

"I didn't know rich men ever looked like that." 

"Cows and chickens make better friends than I have ever met in Paris."

"Love isn't always selfish, nor goodness dull, nor men faithless."

Marguerite Gautier (Greta Garbo of Mata Hari), a former farm girl, is now an infamous courtesan living in Paris in 1847. One night at the theater she meets two men who will become quite important to her: the very, very rich Baron de Varville (Henry Daniell of The Four Skulls of Jonathan Drake); and the very, very handsome Armand Duval (Robert Taylor of Valley of the Kings). 

Henry Daniell with Garbo

Marguerite allows herself to be taken off by the baron, who sets her up in fancy quarters and takes care of her while she spends and spends and spends. Despite her reputation, Armand is convinced that he is in love with her, and she dares to hope that they might actually have a chance. They retreat to the country, where -- wouldn't you know? -- the baron's utterly magnificent castle (too bad we never get to see the inside of it as Marguerite does) lies just over the hill. However, despite this reminder of her past, the couple are very happy until Armand's father (Lionel Barrymore) visits and tells Marguerite in no uncertain terms how she is essentially ruining Armand's life and chances for real success. She makes a fateful decision ... 

Armand and the Lady of the Camellias 

Camille is a romantic masterwork that excels in just about every element. The performances are wonderful, with Garbo -- despite being a bit mush-mouthed at times -- creating an indelible and poignant portrait of a woman who may be mischievous and clever but certainly not evil. Taylor possibly gives the best performance of his career, up there at Garbo's level throughout the picture. Daniell is as superb and icily cutting as ever. Jessie Ralph as old Nanine, who loves Marguerite like a mother; Laura Hope Crews as the scatterbrained yet shrewd Prudence; Lenore Ulric as the rather catty Olympe; and Rex O'Malley as the boyish yet kindly Gaston, are all on the money. I might have wished for heavier scoring by Herbert Stothart, but the music is pleasant, and the film is very well-directed by George Cukor, famous for his work with actors, and well-photographed by Karl Freund and William Daniels. 

Lovers in the mirror

Camille had been filmed several times before and after, but I feel confident that this is the best version. It is, of course, based on Alexandre Dumas fils famous novel "The Lady of the Camellias," written when he was only 23 and after an affair with a courtesan he based the character on, who died at that same age. Garbo was 31 and Taylor 25; the difference in their ages is obvious but it makes no difference, as Armand clearly doesn't care about his great love's age or occupation. 

Verdict: Near-perfect, and with a genuinely moving finale. ****. 

ANNA CHRISTIE

Greta Garbo and Marie Dressler share a cocktail

ANNA CHRISTIE  (1930). Director: Clarence Brown.

"If my old man don't help me, it's men again. Men all the time."

In this loose adaptation of Eugene O'Neill's play, the first film in which "Garbo Talks," coal barge captain Chris Christopherson (George F. Marion) is nervous because the daughter he hasn't seen in may years is coming to town. Chris' companion, Marthy (Marie Dressler), agrees to move off the barge to make way for Anna (Greta Garbo), who far from being innocent was employed as a prostitute after her cousins on the farm had their way with her. As father and daughter awkwardly try to mend fences, into their lives comes a sailor named Matt (Charles Bickford), who falls in love with Anna. But what will he think when he learns of the woman's past? Garbo's performance in her first talkie is a bit uneven, still influenced by the style of silents, but she does have some fine moments, such as when she delivers the poignant "I am my own boss" speech in which she tells of being misused by men throughout her life, and there's a beautifully played scene when Anna and Chris have their first meeting in the bar. Marie Dressler [The Patsy] almost walks off with the movie as Marthy, and has some especially splendid moments when she has a drink with Anna when the younger woman first arrives at the saloon. "You're me," Anna tells her, "forty years from now!" Charles Bickford [The Big Country] is a little broad but effective as Matt. The story is resolved much too neatly [except for poor Marthy] but the movie is well-done and well-acted for the most part. A German language version was made immediately afterward using the same sets but Garbo [Mata Hari] was the only cast carry-over. O'Neill's play was also the basis for the musical "New Girl in Town" decades later.

Verdict: Garbo Talks and More! ***.

MATA HARI

MATA HARI (1931). Director: George Fitzmaurice.

A romantic film fashioned from the legend of the famous spy Mata Hari, here enacted by the equally legendary Greta Garbo. Mata is a German spy working in Paris in 1917, taking her orders from Lewis Stone. Her latest assignment is the boyish Russian soldier, Lt. Alexis Rosanoff (Ramon Navarro). Lionel Barrymore is an aging General who is obsessed with Mata and Karen Morley is Carlotta, another, ill-fated German agent. The second half of the film turns into a surprisingly poignant love story with Garbo and Navarro both giving excellent performances. It takes a while to accept both of these actors in their respective roles, but once you do they are very creditable and convincing. This probably has very little to do with the real Mata Hari, but it's a very compelling movie. Lewis Stone is also excellent as the head of the spy ring.

Verdict: One hanky tearjerker at least. ***.