CAMILLE CLAUDEL 1915
France, 2013, 97 minutes, Colour.
Juliette Binoche, Jean- Luc Vincent.
Directed by Bruno Dumont.
An austere film, a bleak film, a sad film.
In her earlier life, Camille Claudel had been a talented sculptor and had been the mistress of sculptor, Auguste Rodin (brought to life in Bruno Nuytten’s 1988 film, Camille Claudel, with Isabelle Adjani as Camille and Gerard Depardieu as Rodin). This film, by stark contrast, takes place over three or four days in 1915 in a mental institution near Avignon where Camille had been placed by her family and where she was to live until 1943, dying at the age of 79.
Juliette Binoche gives a tour-de-force performance as the 51 year old Camille. She is a woman of some exterior calm but rage within. She has become paranoid, fearing that she was being poisoned and having permission to cook her own food. While she has moments of kindness towards fellow-inmates, she has a haughty and superior attitude towards most people.
If writer-director, Bruno Dumont, wanted to intern us with Camille for the length of the film, he has succeeded. He has also used amateurs for his cast and has also worked with some people from institutions to portray the inmates. This works very well. Buffyl of the institution and the behaviour of both men and women makes a powerful impact, especially Mme Lukas, eccentric and inarticulate, but with a deep laugh and an attachment to Camille. There is an entertaining sequence with rehearsals of a short play about Don Juan which makes Camille laugh and then, desperately cry.
Camille is seen cooking, going to her room, being bathed, praying in the chapel, but often just sitting, angry, bored, resenting the people who took her studio and implements from her, and suspecting Rodin being behind her misfortune. The first hour of the film takes us through two days only.
Two bright spots. One is a walk in bright sunlight (not much light otherwise) with a group to the top of a mountain. The other is a visit from her brother, the celebrated writer, Paul Claudel. But, before he sees his sister, there is a substantial section on his conversion experience, his deep Christianity and faith, his devotion. There are scenes with him by himself, quoting and writing excerpts on faith. He walks with a chaplain explaining his religious thinking and fervour.
One should say, it is very French, rather philosophical, some theology, a rather cerebral expression of belief and action. His reflections appeal more to the mind than the heart. And this is true in his short time with his sister. He sums her up as arrogant with a persecution fixation. He agrees with his mother and sister that she should be in the institution whereas her doctor says she is ready to live by herself.
After a long close-up on Juliette Binoche’s face, we are given the information that she remained where she was for almost thirty years more.
Bruno Dumont has made some strong, even hard, films (L’Humanite, Flandres) but he has made an insightful, sad portrait of Camille Claudel and had the courage, in these secular times, to include such explicit language of faith and Christianity.
1. The status of Camille Claudel? In French art and sculpture, her relationship with Rodin? Her internment in the institution? Her relationship with her brother, Paul?
2. Audience knowledge about Camille, her life, her art? Did the screenplay give sufficient information about her and her life?
3. The choice of 1915, Camille at 51, her experience, the hardships, the years past, her mental deterioration? The screenplay based on the correspondence between Camille and Paul and Paul Claudel’s writings?
4. The institution, in winter, cold and harsh, grim interiors, cold grounds, the chapel, the kitchen, the steps, the rooms, the halls? Outside in the courtyards? Bleak? The contrast with the sunny walk up the mountain, moments of joy?
5. The screenplay covering three days, the first hour of the film covering just two days, intensely? The audience feeling interned with Camille?
6. Juliette Binoche and the strength of her performance, the long takes of her gazing, her interior states? Her moments of joy, especially in anticipating the visit of her brother?
7. The visual style, austere, the use of close-ups? Juliet Binoche’s face, scenes with the inmates and their behaviour? Close-ups of the inmates? The
nuns, in the background, their diligent work, the habit, their concerns and sympathy for their patients?
8. A portrait of Camille Claudel, enough time for audiences to get some insight into the character, situation? The sadness of the portrait? The background music, the sacred music?
9. Her appearance, gaunt, her clothes, dirt, the nun’s bathing her, her cooking her meal, her outburst against the intern who did not know she had permission to cook, the doctor advising her about this exception, her praying in the chapel, her devotion, the psalms, her helping the inmates, while irritated by them, like the woman banging the cutlery in the kitchen? Her sitting, walking, watching the play, laughing with delight, her mood and changing to weeping? Her hopes, the doctor’s encouragement that she could leave? Her brother visiting, and her staying for so many years?
10. Paul Claudel, his reputation as a writer, poet, playwright? His arrival, his car? In the convent, his writings, quotations from his poetry, his mysticism? His discussions with the priest about his conversion, his seeming sanctimonious, priggish, superior, a cerebral conversion and theology, devotion? His hard assessment of Camille’s character, likening this to himself? Discussions with his sister, seemingly sympathizing, supporting his family, the decision to leave her there?
11. The doctor, his help, his recommendations?
12. The director using actual inmates from institutions? The suggestion he exploited them? The contrast that he gave them a face and voice, that they are real?
13. The rehearsal for the play, the hero and his repetitions, the actress and her blindness?
14. The film helping audiences to understand mental illness, paranoia, fear of poison, persecution complex? Yet empathy for Camille and her long ordeal?
