Author: The Lady of the Tree
When I first watched "Camille Claudel" many years ago, the film was translated as "Rodin's Lover" A name full of malice. Later, the Chinese edition of the novel published in China was also called this name.
At first, with the purpose of gossiping celebrities, he easily clicked on the play button, but after watching it, he fell into the grief of an artist's fall and could not extricate himself, leaving a huge contrasting movie-watching mark. This feeling is a bit like watching "The Beautiful Legend of Sicily", which should be beautiful, erotic, and imaginative, but after reading it, it is subverted.
I lived in the peaceful age of the twenty-first century, from a young age, I had no sharp artistic talent; she lived in the late nineteenth and early twentieth centuries, and she showed her talent as an artist early on. I grew up loving to draw, but none of my family knew how to draw, and there was no training institution nearby; she was born in paris, a country of art, and was appreciated and cultivated by her father from an early age, and entered a famous school and worshiped famous teachers. She fell in love with and entangled with the great sculptor Rodin for more than a decade; I married an unknown comic uncle.
With a vastly different cultural background and experience, I can feel all her arrogance, grief and disillusionment.
I often see some bizarre social news, which makes people's hearts hurt. But that kind of pain is not the same as the pain of watching "Camille Claudel", and I don't believe you can feel it.
<h1 class = "pgc-h-arrow-right" > gifted teenage girl and middle-aged sculptor</h1>
The film begins with Camille Claud (1864-1943) as a teenager, when she was eighteen or nineteen years old, and her father was convinced that she was gifted from an early age and still ran to earn money for her daughter to study. After Camille's teacher left, she was succeeded by the famous sculptor Rodin, who has since become Rodin's student. At this time, Rodin has not yet shown a windy, speculative face, just a very professional middle-aged sculptor, with a broken mouth, who loves to show off his past. When he discovered Camille's talent, he invited her to be his assistant and took her to Paris.
Aside from a mind-to-heart white plaster mud, young Camille has gone through what life. How beautiful, individual, simple, and talented she was at that time, although she was not welcomed by her mother, at least she still had the favor of her father and the dependence of her brother, and the family provided the necessary emotions, funds and learning opportunities for her artistic creation. If all goes well, in time, she will become an epoch-making pearl in the history of Art in Paris, where the sculpture major does not accept female students.
If, just if.
She was fortunate to meet Rodin, two similar artistic souls burst into a spark of passion, 44-year-old, the inspiration has dried up Rodin to find inspiration in the 19-year-old Camille, and it is the kind of unstoppable ten thousand horses galloping. Inspiring each other and creating together, it can be called a soul partner, and in order to express this fiery love of souls embedded in each other, Camille threw herself into Rodin's furnace, burning herself, willing to be his model, lover, and assistant.
For the first time in my life, there was another meaning besides creation, and that was love. Although a little shocking, it is indeed love.
In Camille's eyes, all men are inferior to him, whether they are bearded or not. Her bust for Rodin amazed rodin and made him feel as if he saw his future self. In his eyes, all the students and beautiful women were inferior to her. The "artistic nature" of the two people's passionate entanglement and passionate creation is breathtaking, and those pictures also make people blush, but when they think of the ending behind, the heartbeat becomes ten times the heartbreak.
Meeting Rodin was also a great misfortune for Camille. Finally, the two men disagreed. Rodin, who has been famous for a long time, is no longer a simple creator, he still has to be good in social situations, and Camille clearly despises this behavior and only wants to bury his head in creation. In addition, Rodin had a long-term lover, and the watery Yanghua was said to have sex with every model. Camille was the only one in Rodin, and she couldn't tolerate that there were many ways to love, and that love could be more than one person.
Camille becomes pregnant, and she forces Rodin to choose between Rose, the lover of life, and the lover of art herself. It was clear that Rodin wouldn't have chosen her, with a whole bunch of excuses.
In this paragraph, I don't know what the real deeds of the characters are, but in the movie, as an artist and the feelings between the artist, the handling is actually quite rough and nothing new. Maybe this is just the director's true history of being faithful to them, or maybe this is in line with the immutable law of emotional deviation between men and women, men are thinner and women are more obsessed? After all, there are few Wang Xiaobo in the world, and there are few men who can gamble and swear that "loving you is like loving life".
Camille left Rodin without looking back. This decision is quite handsome, handsome. She began to live alone, transforming all her passion and pain into creation. Although she believes in her own strength, she cannot get rid of the gossip and malicious speculation of the outside world. The unworldly Camille imagined this as Rodin's jealousy and revenge. People kept telling her that Rodin didn't want to hurt her, but instead introduced her to creative opportunities. Camille almost gave the man a look of contempt.
Is it love, the times, or character that kills her?
She's too rigid, so rigid that she's easy to fold. Whether it is an ordinary city dweller or a unique artist like Camille, he may have to suffer from any kind of personality flaw for the rest of his life. Character is a person's disposition and personality, is the life spell internalized in the genes, a person, if not deliberately long-term practice, it is difficult to get rid of the negative factors of personality.
Camille would rather be alone and miserable than compromise with Rodin, both emotionally and creatively. Without this uninhibited and confident, you would not have become a top artist. But that character also destroyed her. The painter Van Gogh is a combination of excellence and tragedy, but Camille is even more tragic than Van Gogh, she has no independent artistic name, and she still has to be named Rodin's lover to be known to more people.
Living alone for a long time, coupled with the disappointment of her family and the doubts of the world, Camille's spirit has become fragile and chaotic. When angry, she would stand like a shrew downstairs from Rodin's house, jumping to throw stones, cursing Rodin, and scattering garbage in front of his house. In the face of a well-intentioned visiting magazine reporter, she would also explode and burst out the door. The curator, who admired her talent, dragged her out of her half-flooded house by the Seine and told her to put on a solo sculpture show for her.
The exhibition was held, and Camille's works were wonderful, but no one bought her works, they were just vulgar visitors to the curiosity. Camille was so irritated that she smashed the plaster like work. She put all her life's feelings and energy into art, in exchange for what, what is the meaning of art?
It is said that in Camille's real experience, Rodin used many destructive methods against her. I wonder if this master sculptor will be a true "contemplator" at the time of his death?
<h1 class="pgc-h-arrow-right" > art is a battle</h1>
In Van Gogh's biography "Longing for Life", there is a chapter titled "Art is a Battle", for genius artists, between them and art, art projected into their lives of the brilliance and shadow, is it like us and chai rice oil salt and house, will also be a relationship of love and killing, there is no eternal salvation, there is no eternal tranquility, wrestling with each other, everything is in mutual rebellion and suppression.
I believe that although the portrayal of Rodin's character in this film is rigid and rough, the real Rodin, as a man and an artist, must also have his battlefield, right? He has to fight with art, master inspiration and skills to attract people's attention; he has to fight with politicians, carefully maneuvering to broaden his market a little bit; he also has to fight with feelings, is it a non-aggressive, safe, long-term tailor girlfriend, or choose a talented, restless, passionate young artist Camille? For creation, of course, talent is the most worth following, but sorry, in life below, above survival, or simple, humming little women are more suitable. It seems to me that men generally lack the ability to interpret and respond to the emotions of quality women.
In France at the end of the nineteenth century, public opinion, patriarchy and art were full of malice towards women. I believe that the reason why Camille's mother did not like her, and never visited her during her thirty years in the lunatic asylum years after Camille, must be because such a daughter was so outlandish that she could not bear the uneasiness and provocation. Some say that Camille was born a little earlier to enjoy the national treatment of Georges San romanticism, and a little later to catch up with the changes of the early twentieth century. However, she was not born at the right time. As a genius artist, it is bound to be an era of success and failure.
She was not without good luck, her father provided for her education, her brother comforted her with poetry, even after the breakup, Rodin still wanted to be a good person who took care of her business, in the film, she also had the favor of the musician Debussy (I liked Debussy very much, but this character had no room to show in the film, and she was a foil), and the curator of the art museum was willing to hold an exhibition for her.
She was not without a chance to reunite with Rodin and repair the wounds of her body and art, but she could not rub a grain of sand into her big blue eyes. Artists can't do it.
Therefore, these kindnesses and luck are not enough to compete with the rebellious and self-destructive forces in her character, once she can't get the understanding of the industry, once she hits the gun of love, she will fall into a helpless situation. It was clear that she was a crazy genius artist, not a flowery socialite, not a little woman with a flood of motherhood, who could not calculate and be clever. She longs for a unique life, but finds it difficult to understand the complexity of life and cannot reconcile with hatred.
How lonely, like a wild wolf living in isolation, bloodthirsty, panicked, desolate...
In her case, art was eventually diluted by broken love. The other side of love is hate, and further down, anger and disillusionment.
<h1 class= "pgc-h-arrow-right" > the top charisma of an actor</h1>
From the beginning to the present, I have not mentioned a word of Camille's character, Isabelle Adjani. She is a National Treasure actress in France, on a par with Sophie Marceau. The character of Camille Claudel is like a person to Adjani, and if the plot of this film and the other characters are flawed, Adjani's soul interpretation obscures everything, so deep and heartbreaking that this story that was originally far away from us is truly presented to us.
Her eyes were like lakes, reflecting ancient sorrows, and her beauty was like a dream about to wake up at dawn, mercilessly pierced by the sunrise. Therefore, many of her scenes are carried out in the dark night, the film begins with her digging mud in the dark, then entangled with Rodin in the dark night of Paris, and then, alone in the dark studio, completes a large number of magnificent works, and finally breaks the work and buries everything in the dark. Dreamlike eyes, silhouettes in the dark, impatient steps and movements, make the character of Camille Claudel layered, emotionally rich, and watertight. In particular, the state of each age group has a very natural transition and distinction.
I think that's the top charisma of the actor. If it weren't for Adjani's performance of this effect, I wouldn't have expected anything from this kind of film. It is precisely because of her interpretation that I will never forget it after I see it for the first time. Whenever I delve into the mystery of love, I always think of Camille's experience, and she always reminds me, with the fragments of her tragic life, to remind me that I want to do my best to break free from the shackles of love. How precious this life is, if the dream of love is broken, there are other parts left, even if it is only one percent, 0.001 percent, it is still worth going all out.
< h1 class="pgc-h-arrow-right" > several associations brought about by the film</h1>
From an artistic point of view, this film reminds me of Takeshi Kitano's "Achilles and the Turtle", artistic creation can sublimate the humble life of an individual, but also cause unbearable difficulties, right? What kind of life is a meaningful life that you will never regret? Sometimes, it is a dilemma and a cage of your own. The person standing outside the circle said, I understand. The people in the circle said, you know a yarn. They will never understand each other.
From the perspective of love, this film reminds me of Zhang Ailing. In writing, she is definitely worth looking up to, but about her life experience, there must be many people who cast compassionate eyes, do not understand, and even feel that it is not worth it. There is never truly equal empathy between people. All we can do is recognize our own thinking and sensory systems. What kind of person we want to be, we must firmly put it into action, and there is no other way.
From the point of view of the family, I think of the poetess Tsvetaeva. Born into a family of veteran artists, her mother was a student of the pianist Rubenstein, and from an early age, her mother would tell stories and read poems to her children to worship divine beauty. Tsvetaeva once said, "With such a mother, I can only do one thing: become a poet." "Camille has no such mother, and her mother, who did not react when she came home weakly and called her mother, personally sent her to a mental hospital, even if the director wrote to her to visit her daughter, she responded viciously: She will bring us harm. If Camille had a mother of the same type as Tsvetaeva, perhaps her ending would have been very different.
Regarding genius, I am also reminded of "A Beautiful Mind." If Camille's boyfriend had not been Rodin, but an art dealer, or a third-rate collector, street performer, pet doctor, as long as they gave Camille long-term trust and support, perhaps her ending would have been different.
Unfortunately, she only lived as a lonely version of Camille Claudelle, not the version that anyone assumed and expected.
(Image from the Internet, copyright belongs to the original author)