Motion Picture Review Digest (Jan-Dec 1937)

MOTION PICTURE REVIEW DIGEST 17 best performance on the screen, Mr. Taylor does well by the showy but thankless role. . . This latest 'Camille' is a charmingly photographed, skillfully adapted and shrewdly cast version of the sentimental old drama." Eileen Creelman + NY Sun p6 Ja 23 '37 "Garbo is as incomparable in the role as legend tells us that Bernhardt was. Through the perfect artistry of her portrayal, a hackneyed theme is made new again, poignantly sad, hauntingly lovely. George Cukor, the classicist of the Metro studios, has retained the full flavor of the period. . . [It] is not the reverentially treated museum piece we half expected to see. . . It is Garbo' s performance in the death scene— so simply, delicately and movingly played — which convinces me that 'Camille' is Garbo's best performance. Robert Taylor is surprisingly good as Armand, a bit on the juvenile side at times, perhaps, but certainly not guilty of the traditional sin of the many Armands of the past — callowness." F. S. Nugent + + N Y Times pl3 Ja 23 '37 "Miss Garbo has never, at least within recent memory, looked more beautiful nor played with [such] glow and grace and unfailing art and so this musty old rattletrap takes on a force and a vigor and an interest that belie its ancient situations. . . That the narrative suffers from an odor of mustiness no one will deny, but neither can anyone deny its sentimental effectiveness, especially as it is performed by the beautiful and richly resourceful Miss Garbo and her excellent supporting cast." William Boehnel + NY World-Telegram p7a Ja 23 '37 "The story doesn't seem to 'date* as we follow it in this movie version, or perhaps Garbo herself makes it seem fresh and still appealing. Naturally, it's Garbo's film, more a solo than I suspect it has any business to be. . . George Cukor . . . subordinated everything to the famous death scene. . . And I think he has succeeded, and shown himself shrewd in his intention. . . I am afraid I am inclined to list Robert Taylor, the Armand, somewhat along with the handsome furbelows, Second Empire furnishings, and the like. . . Altogether, you are not likely to find any picture as refreshing as this sad tale." John Mosher + + New Yorker p61 Ja 16 '37 "Garbo, who has never been more vivacious and attractive, brings the hackneyed role to life again. And if museum pieces must be dusted off, M.G.M. should do the dusting. The studio gives 'Camille' a handsome production. . . The casting of Robert Taylor as Armand was the studio's ace in the hole. It will interest the matinee idol's admirers to learn that he can act when he sets his mind to it — or, perhaps, when inspired by a Garbo." + News-Wk p32 Ja 9 '37 "Greta Garbo may have been built up by glamour and mystery, but she will stay on the heights by great artistry. I haven't seen all the famous 'Camilles,' but I never expect to see one as satisfactory as this. . . Some of the critics have kidded Robert Taylor, saying he is nothing but a beautiful boy. In this picture he acts, perhaps not triumphantly, but darned well. . . Zoe Akins, Frances Marion and James Hilton have prepared a perfect script." Rob "Wagner + + Script plO Ja 30 '37 "Miss Garbo is at her best. Not since 'Anna Christie' has she shown such depth and emotional validity; and not since Anna Christie' has she appeared in a film that warrants her pedestal. The entire production, from prop research to Miss Garbo herself, is in a genuinely classic mood." + Stage pl4 F '37 "For modern audiences this story lacks one element: surprise. Its situations . . . have become a master pattern for generations of romantic tragedies. Screen writers emphasized every cliche, with the paradoxical result of preserving intact the story's inherent emotional vitality. . . 'Camille' is a catalog of baroque theatrical devices so complete that its banality achieves classic intensity." + Time p25 Ja 18 '37 Trade Paper Reviews " 'Camille' is truly a superb picture. Analyzed as to production and entertainment values, it ranks with the best of all times, and definitely establishes that Garbo is still number one exotic lady of the screen. She finds a role to her liking, and, aided by a restrained and admirable portrayal by Robert Taylor, depicts it to perfection. . . Distinguished direction by George Cukor makes 'Camille' perfect entertainment." + Box Office p23 D 26 '36 "Greta Garbo and Robert Taylor in this love drama should mean big box-office, for its appeal should be to all classes of audiences, especially the women from whom it will elicit many a tear. Although the ending is tragic, the plot development throughout indicates such a finish, and when the end comes it is not at all unexpected. . . The picture is lavishly mounted in every department." -f Film Daily p8 D 15 '36 "That this museum piece of outmoded sentimentality would draw by its story merits, even though reconditioned by a trio of top writing names, is doubtful. But the box office magic of the Garbo-Taylor combination is obviously irresistible. It will make money. . . Garbo's performance several times rises in emotional power and expressiveness above anything she has done. . . Robert Taylor as Armand will warmly please his array of feminine admirers. . . Some of the love scenes are of a temperature that arouses questions about censorship." + Hollywood Reporter p4 D 12 '36 + Motion Pict Daily p6 D 14 '36 "For the marquee, the names of Greta Garbo, Robert Taylor form a box office combination of unquestionable drawing power. In their respective roles, they leave nothing to be desired by the most discriminating patrons. . . Exhibitors everywhere should sell this offering for its full value and reap box office rewards accordingly." + Phila Exhibitor p38 Ja 1 '37 "Pretty close to the top mark in showmanship, direction, photography and box office names. Nothing more potently appealing as emotional entertainment has come from Hollywood this season. 'Camille' should pack the theatres, and from every viewpoint it deserves its success. . . The film shows the great care which went into its preparation and making." + Variety pl2 Ja 27 '37 "Production is gorgeous, direction and playing of highest merit to please the most playing of highest merit to please the most discriminating and the most naive — all of which spells box office of smash proportions. No more tragically appealing lady of the camelias has ever graced stage or screen than the one here projected by Greta Garbo. . . Although overshadowed by the woman's part, Robert Taylor creates a distinctive Armand, his best acting exhibit to date, skillful, and delicately shaded, honest and deeply moving." + Variety (Hollywood) p3 D 12 '36 CAN THIS BE DIXIE? 20th century-Fox 66min N 13 '36 Cast: Jane Withers. George (Slim) Summerville. Helen Wood. Thomas Beck. Sara Haden Director: George Marshall See issue of December 28, 1936 for other reviews of this film + + Exceptionally Good; + Good; -| Fair; JMediocre; — Poor; Exceptionally Poor