This was one of Valentino's first films where he was billed as "Rudolph Valentino" and at the time of production he was not yet a big star, but by the time the film was released he had appeared in The Shiek which made him a huge box office draw and helped Camille become a big success.

Nazimova was an independent producer in an era when the studios had begun to reign supreme and most independents with few exceptions (United Artists, Selznick International) were being forced out of the business.

The National Board of Review was created in 1909 but was not universally enforced. It was an early more relaxed version of what would eventually become the Production Code Administration (the Hays Code) and later lead to the Production Code of 1934 - a self censorship committee enforced by Hollywood's major studios to stave off the threat of government censorship after many high profile scandals and some so called "indecent" films

Natacha Rambova (the credits spell her name wrong) worked with Nazimova previously on Billions, but wasn't given credit for it and only proved she had worked on it to Nazimova after the production by showing her original sketches. Nazzy was so impressed she wanted to work with Rambova again and hired her for Aphrodite (1921) before this film and several later films. They became close friends and collaborators and Rambova ended up marrying Valentino after meeting him on the set of this film.

Mathis was the first woman executive at MGM and the highest paid executive at age 35. She was voted the third most influential woman in Hollywood after Mary Pickford and Norma Talmadge in 1926, only a few years after this production.

Mathis worked with Nazimova on four films before Camille, their final collaboration. She was also part of Nazimova's lesbian social circle "the 8080 club" also known as the "sewing circle" a few years later.

Smallwood worked as a director for Nazimova from 1914 through 1922, very little info available about him aside from his filmography - unclear how much of the films Nazimova directed herself as she was known for being a "backseat director" often taking over for the studio hired directors.

Note Dumas' La Dame aux Camelias had been adapted to film twice before, by Frances Marion in 1915 and by Adrian Johnson in 1917

The ballet version is still performed today.

Should say "--and of her lover, who gave up honor and country to follow her"