In the film, the sense of morality is suspended. The great achievement and greed of the master are what men should achieve and greed. In any version of love story, women are born for love and must be prepared to sacrifice their own happiness at any time for the selfishness of men. Both sides of the balance of love require different efforts and deeds from both men and women. Don’t think that such tragic stories are to provoke people to accuse men of selfishness and hypocrisy, because the more unbalanced the story unfolds, the more the audience enjoys it, the more cruel and embarrassing the story. The more unforgettable. Giving and selfishness are not a one-in-one-out relationship, but are only related to people's understanding of the role and weight of men and women in this world.
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In the film, Camille was portrayed in a dramatic way by Isabella Adjani. The audience witnessed Camille and Rodin's acquaintance, falling into emotion, love each other, the gap between birth, and the separation of hatred until the former completely collapsed. The fate of these 30 years. Accompanied by it, Camille's image has gone from youthful impulsive, energetic to mature and full-fledged, charming, and ultimately stunning self-destruction. Through the transformation of the visual image of the character, the film has the flexibility to construct a body rhetoric of "from beauty to lunatic". People only associate beautiful women with vases, but they are happy to believe that there is a mystery between lunatics and artistic creation. Therefore, the process of Camille's image change from "beauty to madman" in the film is, to some extent, the process by which the creator gives her an aura as an artist.
