Camille Claudel 1915 (2013) Reviews

• Uncomfortable but gratifying watch

  franked182013-07-21

  I wanted to leave this screening about halfway through, but not because it was a terrible film. On the contrary, it was because Dumont's impeccably observed production evokes the same sense of claustrophobia experienced by its titular character, who is yearning for release from the asylum to which she had been committed by her family. For most of the film's duration, neither Camille nor the audience are entirely clear about why she was incarcerated, or at least, why she remains so. What little back story we are given is relayed principally by Camille herself, and in a manner that suggests more eccentricity than madness. I had not read up on Claudel prior to seeing this film, but having done so since, I absolutely endorse Dumont's rendering. The direction is unhurried and the dialogue minimal. Long takes abound, soundtracked by repetitive noises like echoing footsteps, the crunching of gravel, and, most disconcertingly, the infantile howling of the asylum's residents. The sense of place and aesthetic is intelligently realised, and for all its oppressive qualities, this film is a beautiful thing to look at. As Camille, Binoche shines like the genuine star she is - a genius artist playing a genius artist. The occasional closeup (and there are many) may reveal a composure running one or two shades too deep for this character, however whenever our heroine cracks, Binoche exemplifies her mastery at bridling and channeling female psychology. The other figure in the narrative equation - Camille's brother Paul - is played by Vincent in turns both tender and oblique. Thematically, Dumont does not preach, but tantalisingly throws juxtaposition after juxtaposition before us, inviting manifold readings. Rather than write a critical analysis here, it will suffice to say that there is much to be gleaned from this film, notwithstanding biography. 8.5/10

• Juliette Binoche and a cast of mental patients. What could possibly go wrong?

  rooprect2014-10-12

  Juliette Binoche and a cast of mental patients. What could possibly go wrong? And the answer is: nothing. This film is practically flawless from start to finish. I'll forewarn you by saying you mustn't expect a biographical story relating the turbulent life of sculptor Camille Claudel. For that, you might want to check out the 1988 film "Camille Claudel" starring Isabelle Adjani. "Camille Claudel 1915" is, as director Bruno Dumont says, "a film about someone who spends her time doing not much". In other words, this won't give you the saucy, dramatic story of Camille's affair with her mentor Rodin, nor will it attempt to explain what her "mental illness" was, and very few clues are given as to why she ends up at a mental asylum to begin with. Perhaps even more noticeable is the fact that none of Camille's art is shown or alluded to. This movie, quiet but moving, is simply about 3 days in the life of Camille as she copes with an artist's worst torture: boredom. Camille is excellently played by Juliette Binoche who describes this film as "mostly silent with only two or three moments with a lot of speaking, as if all the words she hadn't been able to say come out in a rush, all at once." Indeed, she doesn't say a word for almost the first 10 minutes. But through the use of extreme, unsettling closeups, and some painfully telling facial expressions, the film conveys almost everything we need to know without words. When Juliette does open her mouth to deliver her monologues, they are absolutely riveting, emotional and affecting. It should be noted that many of her lines were improvised, having only 4 pages of script to work with. Dumont simply asked her to fill in the blanks. Similarly improvised were all the roles of the mental patients around her. These were actual mental patients (attended by actual nurses dressed as nuns). The patients were never told what to do or how to "act". Instead Dumont wanted to capture the true environment of a mental institution which he felt is the same story 100 years ago as it is today. If Dumont needed a certain reaction or expression from a patient, for example an intense look of pensiveness, he would give the patient a piece of scotch tape to play with and film the patient's reaction. This all makes for very genuine cinema, the kind you could never get from SAG card-carrying actors. Thus, don't expect a lot of dramatic scenes of patients being tortured by their sadistic keepers à la "One Flew Over the Cuckoo's Nest". Here instead is a very realistic image of a mental institution where people are cared for, and it's simply their condition of idleness and lassitude which is the torture. That itself conveys more hopelessness than if we were to see Nurse Ratched administering shock therapy. Excellent cinematography and stunningly gorgeous locations round out this film. I don't recall hearing any music, and there are certainly no car chases and shootouts. No fancy camera tricks; in fact most of the takes are very long and still, allowing the images and actors to tell the story. I would compare this movie to other laconic, beautifully-shot films like "The Spirit of the Beehive" (1973) or some of Herzog's early work.

• Juliet Binoche delivers a masterful performance

  howard.schumann2013-10-01

  Nominated for the Golden Bear at Berlin, Camille Claudel, 1915, the latest film by French auteur Bruno Dumont, is arguably his best realized and most accessible work since La Vie de Jesus and L'humanité in the late 1990s. Juliet Binoche delivers a masterful performance as sculptor and graphic artist Camille Claudel, mistress of Auguste Rodin, who was confined to an asylum at Montdevergues near Avignon in 1914 after an emotional collapse. Derived from Camille's medical records and private letters to her brother, poet and staunch Catholic Paul Claudel (Jean-Luc Vincent), the film takes place over a period of three days in the asylum where we experience the oppressive nature of Camille's routines, lightened only by the inmates attempt at performing the play Don Juan. Although Dumont uses mentally-disabled patients and their nurses as actors, there is no hint of exploitation and they are only used to draw a sharp contrast between Camille and the seriously ill. Considered to be a great but unrecognized feminist artist (usually only discussed in relation to Rodin), Camille is filled with despair and depression at her confinement but looks forward with anticipation to the impending visit from Paul. Though much of the film has a strong impact, the sequences in which Camille pleads with her doctor (Robert Leroy) and with Paul for her release reach the heights of Dumont's consummate artistry. In spite of the fact, however, that the head doctor feels she could be re-integrated into society, her mother and self-absorbed brother ignore her pleas and refuse to relinquish their tight control. Though Camille's paranoia is evident in these scenes (she insists on preparing her own food for fear of being poisoned), the power of Ms. Binoche's performance allows Camille's intelligence and true stature as an artist to shine through. Austere and unforgiving in the mold of Alain Cavalier's Therese, Camille Claudel, 1915 can be compared to the films of Robert Bresson in its long silences, spiritual depth, and uncompromising integrity. Viewing can be a harrowing and uncomfortable experience, but the same can also be said about many great works of art.

• The boredom of insanity.

  paulcreeden2014-12-26

  My high respect for Juliette Binoche's technique and talent has been bolstered by watching her performance as Camille Claudel in this film. The film itself presents a stunning vision of mental illness and its treatment in the age prior to advanced psychotropic drugs. I am a registered nurse and worked for ten years with very symptomatic psychiatric patients in hospital. Ms. Binoche's subtle performance captures the painful boredom of confinement, both physical and mental. Confined mentally by her anxiety and paranoia, Camille is sealed off from satisfying human contact with the sane, while being tortured by the attentions and needs of those more disabled than herself. The well-meant attempts of nuns to engage her with those whom she fears come across as nearly sadistic. This subtlety marks the film as exceptional in my opinion. The appearance of the religiously fanatic and equally disturbed brother, Paul Claudel, who functions as her jailer, adds a feminist sensitivity to the film. Camille's powerlessness is largely feminine in her sexist world. The interplay between religion and confinement, physical and mental, is also brought to light through Paul Claudel's obsessive grandiosity as he converses with his god. Who are sane or insane? The depressed nuns? The grinning abbot? The pompously righteous brother? Camille hoping for release? No answers are given, in typically French fashion. But this film is well worth the time and reflection.

• You'll demand of yourself to know more about brother and sister.

  jdesando2014-01-25

  "There is something sadder to lose than life – the reason for living." Paul Claudel, poet, playwright, diplomat and younger brother of Camille. Camille Claudel 1915 is not The King of Hearts, a lyrical 1966 drama about a WWII French asylum in a town about to be invaded by Nazis. Claudel is decidedly not lyrical except for its exceptionally artistic cinematography dominated by trees that look like sculptures and buildings ancient with secrets. It's a somber but fascinating three-day narrative about artist Camille Claudel's confinement in a madhouse while she is awaiting her famous mystic-poet brother, Paul, to visit her. Previous to 1915, Camille had been the student and lover of Auguste Rodin, the most famous French sculptor of his time and one of the greatest in the history of civilization. Her incarceration was due to her paranoia in general about his alleged plot to poison her and her schizophrenia, both reflected after breaking up with Rodin in her smashing her sculptures in her own studio. This film deals little with Rodin but much with her brother, who refused her entreaties, and those of the mental hospital staff, to release her. His chilling visitation to her is redolent of his reliance on a mystical relation with God and certainty that she not be released to go home. The introductory quote suggests he may not have adhered to his own philosophy by ignoring the signs that she was sane and the reality of denying her a reason to live. This stark film concentrates mostly on her lonely struggle to protect herself from the plot to poison her and her loss of her sculptures and tools. Her artistry is supplanted by boiling potatoes and avoiding crazed fellow inmates. She says in one of her letters, "Madhouses are houses made on purpose to cause suffering….I cannot stand any longer the screams of these creatures." The movie is static but intensely suggestive through the brilliant Binoche's expressions of wisdom and isolation. It's not hard to sympathize with an artist robbed of her livelihood and family. That she may truly be schizophrenic and paranoid is always possible; however Binoche's humanity tips the scale in favor of Camille's sanity and the world's indifference. As a woman and an artist in the shadow of Rodin, she is doomed to second-class citizenship. Camille will spend almost three decades without hope: "Sadder than to lose one's possessions is to lose one's hope." Paul Claudel