The behind-the-scenes production of Rodin's lover

A genius who can only be called "Rodin's lover"

Camille Claudel (1864-1943) is only a footnote in the art history at the end of the 19th century, and is more widely known as Rodin's mistress. When Rodin's works have entered the room, she is left behind in several works and can only be identified from them.

camille claudel is a talented sculpture artist to be rediscovered. In the biographies about Rodin, she used to be mentioned only as "Miss C" or "jane doe artist". However, when she re-entered the research field of art history, people had to re-examine Rodin's era, or by discovering Camier, people also rediscovered another auguste rodin hidden behind epoch-making works such as Bronze Age, Balzac and Thinker.

The literal translation of the title of this movie should be camille claudel, but the popular translation method is Rodin's Lover. This obscure translation is obviously too sad for camille claudel, who wants to break away from Rodin's influence and his "lover" all his life. Augeuste Rodinl (184-1917) and camille claudel met in 1881, and Rodin was Camier's supervisor. That year, Rodin was 4 years old and Camier was 17 years old. The acquaintance with Camier opened the peak of Rodin's creation. "Love made the old man grow wings". Rodin said to Camier, "You are represented in all my sculptures." But this 15-year-long secret affair also exhausted Camier's youth and artistic life.

Camier's younger brother, the poet Paul Claudel, once described his sister's appearance in a poem like this: "A beautiful forehead like a peerless beauty, beautiful dark blue eyes, sexy but arrogant mouth. It's hard to find that kind of blue anywhere except in the eyes of the characters in the novel cover painting ... wearing the brilliant light of beauty and genius, with the great power that often appears and can even be called cruelty. " This kind of power should be the chilling love that Camier has. Perhaps for men, love is not the whole. Once the soil of genius is nourished by love, it is bound to produce more beautiful and gorgeous flowers, while the same love and amazing talent will only bring destruction to women. In the years closely linked with Rodin, Camier overdrawn all the happiness in her life. Her beauty was only solidified in Rodin's sculpture, and she herself burned to ashes in this love that actually did not belong to her, but she was not lucky to be reborn. In fact, Camier should have known from the beginning that she was engaged in a cruel love game that would cost her life. Rodin has his long-term life partner Rose and son. But she thought she could change. Love for more than ten years, hiding in hiding, or being threatened by others, so it is not Rodin's love that breaks her down, but her understanding of love.

Unable to bear the loneliness and hopelessness of staying out of Rodin's life circle for a long time, Camier left Rodin in 1898 and set up his own studio, starting a period of solitary and independent creation. After leaving Rodin, she is still full of creativity, but all the beauty full of youth and vitality is gone forever. Her works have begun a kind of catharsis of pain and expression of death. All the madness, pain, melancholy and frustration have been absorbed by her into the time and space condensed by marble and clay. Those beautiful sculptures silently accompany her in the lonely and difficult years. She said to herself to the sculpture, "Rodin Rodin, I am the old woman, but not her body, and the girl who is growing in age is also me, and the man is also me, not you." I gave him all my rough personality, and he gave me my vanity in exchange. In this way, there are three me, the trinity of vanity. " Poverty, embarrassment, embarrassment, and accumulated too much resentment-from extreme love to extreme hatred, this pure woman expressed her feelings for Rodin in an extreme way. She wants to escape Rodin's control and regain the artist's confidence, but this talented female artist, like most women in the world, can't escape the magic of love and can't save herself. She is eager to surpass Rodin in order to find her lost self for many years, but she can't resist the patriarchal society dominated by Rodin. What's more, her love experience for more than ten years has made her extremely frightened and has no firm belief. A heart without strength can't beat others, but it destroys itself. When she appeared in unusual costumes and words at the exhibition held by her brother Paul, when she was so eager to attend the Biennale, she begged for support from the outside world but could not get affirmation from her heart-Camier, as an artist, was slowly falling apart.

camille claudel's exhibition held in 195 was unsuccessful, and his relationship with Rodin was completely cut off, and he was alienated from his brother, poet and diplomat paul claudel. She lives alone, poor and almost crazy. On March 1th, 1913, it became the dividing point of Camier Claudet's life: she was sent to a mental hospital. In 1914, after living in a mental hospital for one year, Camier was transferred to a shelter near Avignon, where she stayed until her death on October 19, 1943, and spent the last 3 years of her life in obscurity tied in a tights tied with a madman.

Actor

As a screenwriter and director, Bruno Nuytten can't give the film more artistic reverie. The narrative technique and lens language of this 1988 film are far from being able to shake off the shadows after the success of Jean de Florette (1986) and Manon of the Spring (1986), in which Nutan took photos. And it was isabelle adjani who successfully injected a strong female soul into the film.

This actress with the same pure blue eyes, delicate red lips and flowing long hair, the classical melancholy is mixed with a kind of passion and nervousness that is difficult to describe. Ajani's father is an Algerian of Turkish descent, and her mother is a German. She is endowed with an "illegal beauty", which makes her an ideal actress to interpret "hysteria, aristocratic nervousness and charming disorder" by directors all over the world. She plays Adele Hugo and camille claudel, as well as Queen Margot.

Camier, who plays the film's passionate love for sculpture and perfect persistent attitude towards love, gives full play to Ajani's acting skills in this film. Except for Ajiani, I'm afraid no one can portray camille claudel, who is crazy about love, so vividly, with a quiet and elegant appearance but a fiery heart.

Ajani, who is 3 years old, convincingly interpreted the life of this female artist, and correctly grasped every stage of her life. This is a heroic performance full of spirit. Her eyes are full of wild breath. She devoted herself to the role of Camier as much as she devoted herself to the role of Adele Hugo. In the film, at the last exhibition of Camier's works, she was luxuriantly decorated, with a thick face of powder, and her helpless and desperate eyes passed through the crowd, only to find consternation and loss. At this moment, Ajiani's vivid performance almost made people mistake her for Camier herself. As one critic said, "The camera lens that has endured the gaze of Ajani may be broken."

De Padieu shows Rodin's exuberant energy well, and captures the declining spirit of this character-he urgently needs a spark from Camier to promote inspiration.

I have to mention Gabriel Yared, the soundtrack of this film. The ups and downs and the conclusion of historical atmosphere, and the movement mixed with mysticism tendency perfectly set off the development of the plot.