Michael Ledo In the year 1971 (not 2000) Marguerite Gautier (Danièle Gaubert) is a drug using party girl who lives in the manor of the Duke in Rome. Young rich son of a businessman Armand Duval (Nino Castelnuovo) becomes infatuated with her and is warned about her. His friend has other recommendations (I would have taken the young red-haired girl) but Armand is set on breaking his heart and his own destruction. The two indeed hook-up, but Marguerite (not named Camille) has other lovers.I liked the retro style. No cell phones, mini skirts, mirrors everywhere, and clear plastic air filled furniture being sheik, but not really practical with all those indoor smokers. Looks like lava lamps and black light posters were for us poor slobs and Peter Fonda films.As a drama/romance it was pretty much the pits. The acting wasn't there. The plot was not convincing and if the women didn't run around naked/half naked I would have never watched it. BTW more nudity in the outtakes. The restoration was a B+ to A-. There were a few scenes where you could see the age of the film. If you look at the bonus material and trailers, you get a good idea about the original condition.Guide: sex and nudity. Not much swearing. Inspired by Dumas' ""The Lady of the Camellias"

anharmyenone I'm glad I saw it. There are life lessons about love, sex, art, pleasure, honesty, and denial here. Radley Metzger at his best is a very honest and true-to-life filmmaker. Even when he's being surreal and throwing illusions at you like in "The Lickerish Quartet" he's being brutally honest and teaching you something about yourself and about life. Neither prudish, nor libertine, just honest, Metzger artistically explored the areas of life that other filmmakers either avoided or treated with juvenile snickering attitudes. Of course he was a businessman too and his choice of subject matter was no doubt shaped in part by what was commercially viable, but he was also a brave and dedicated craftsman who helps us still to understand and grow wiser. The emotional impact of this film is not unlike "Therese and Isabell", though the eye candy in this film makes it an easier viewing experience. Not all of Metzger's films hold up today, but this is one that does.

Libretio CAMILLE 2000 Aspect ratio: 2.35:1 (Panavision)Sound format: MonoWhilst visiting Rome, an amorous nobleman (Nino Castelnuovo) falls in love with a beautiful young libertine (Daniele Gaubert), but their unlikely romance is opposed by Castelnuovo's wealthy father (Massimo Serato), and Fate deals a tragic blow...A sexed-up love story for the swinging Sixties, adapted from a literary source (Alexandre Dumas' 'La Dame aux Camelias') by screenwriter Michael DeForrest, and directed with freewheeling flair by Radley Metzger who, along with the likes of Russ Meyer and Joe Sarno, is credited with redefining the parameters of 'Adult' cinema throughout the 1960's and 70's. Using the scope format for the last time in his career, Metzger's exploration of 'la dolce vita' is rich in visual excess (note the emphasis on reflective surfaces, for example), though the film's sexual candor seems alarmingly coy by modern standards. Production values are handsome throughout, and the performances are engaging and humane (Castelnuovo and Gaubert are particularly memorable), despite weak post-sync dubbing. Though set in an unspecified future, Enrico Sabbatini's wacked-out set designs locate the movie firmly within its period, and Piero Piccioni's 'wah-wah' music score has become something of a cult item amongst exploitation devotees. Ultimately, CAMILLE 2000 is an acquired taste, but fans of this director's elegant softcore erotica won't be disappointed. Next up for Metzger was THE LICKERISH QUARTET (1970), which many consider his best film.

jrrylpz1 I first heard about this film through its music. The late Piero Piccioni was one of Italy's finest composers from the hey day of Italian cinema in the 60's and 70's.The write up for this movie descibes it solely in terms of sex and eroticism... but it so, so much more. It is like a wonderful painting depicting the heart wrenching trials and tribulations of two lovers, who spend a great deal of time hiding from the truth. Daniele Gaubert is superb in this, and you almost fall in love with her yourself (she, like her on screen persona, also had a tragic early death at the age of 44, from cancer). I am not a big fan of Metzger but this one is a must for all fans of lush 60's cinema.It is how the 60's (the none 'Hippies' anyway) would like to be remembered.... ultra stylish, hedonisitic, with the heartache of love lost. (Let us pray Hollywood leaves this film be and not 'create' one of their awful remakes)