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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (May 4, 1990)
Arts & Entertainment French film tells true story of love and art By Julie Naughton Senior Reporter “Camille Claudel,” a dramatiza tion of the true story of the love affair between French sculptor Auguste Rodin and his young apprentice, out lines the tortured paths love some times can take. Camille (Isabelle Adjani) is a tal ented young French sculptor, apprcn moafewi— ticed to the famous Rodin (Gerard Depardieu). She is a woman of 20, a sheltered, naive young woman from a wealthy and well-connected family. For the most part, Camille’s fam ily is supportive. She has a close relationship with her brother, Paul (Laurent Grcvill), who later becomes one of France’s most famous poets. Her father, Louis-Prospcr (Alain Cuny), is completely supportive of her goals. But her mother, Louise Alhanaisc (Madeleine Robinson), is extremely jealous of Louis-Prospcr’ s support of Camille’s talent. Louise Athanaisc docs her best to discourage Camille’s “calling.” Camille, a stubborn young woman, does not care about her mother’s feel ings about her art. She wants to be come famous, and knows that study ing with a talented artist like Rodin will assist her in that goal. Rodin is 44, and is well-traveled, sophisticated and witty. He also is endowed with a reputation for seduc ing his assistants and models. Despite Rodin’s reputation, Camille almost immediately falls in love with him. Rodin also falls for Camille, but at the same lime, he is involved with a mistress, Rose Bcurel (Danicle LcBrun). She is a woman most out siders believe to be his wife, and is the mother of his illegitimate son. Although Rodin remains involved with Rose, he gains most of his inspi ration from Camille. He is tender toward her, and realizes her talent. He attempts to nurture that talent. Camille’s wild jealousy about Rodin’s mistress and about his ac tions toward her, coupled with her abortion of Rodin’s child, begins her descent into madness and leads to this film’s shocking, tragic ending. Adjani is astounding as Camille Claudel. Although she is not an expe rienced actress, she is believable as Camille. When Camille still is young and excited, her Camille is focused. When Camille begins to lose her sanity, she becomes unfocused and almost See CAMILLE on 10 Courtesy of Sheldon Isabelle Adjani as Camille Claudel in “Camille Claudel,” Bruno Nuytten’s drama about the life and work of the talented and troubled sculptress. " KFMQ: 1. Heart - “Brigade” 2. Robert Plant - “Manic Nir vana” 3. “Pretty Woman” Soundtrack 4. Fleetwood Mac - “Behind the Mask” 5. Little Feat -- ‘ ‘Representing the Mambo” 6. Slaughter — “Stick it to Ya” 7. Damn Yankees - “Damn Yan kees” 8. Midnight Oil - “Blue Sky Mining” 9. Eric Johnson -- “Ah Via Musi com” 10. Faster Pussycat — “Wake Me When It’s Over” KRNU: 1. Peter Murphy - “Deep” 2. Midnight Oil — “Blue Sky Mining” 3. They Might Be Giants - “Flood” 4. The Church - “Gold Afternoon 5. The Cramps - “Stay Sick” 6. Mission U.K. - “Deliverance” 7. Plan B - “Discontentment” 8. Oingo Boingo -- “Dark at the End of the Tunnel” 9. The Wedding Present - “Bi zarre” 10. The Beloved -- “Happiness” TWISTERS 1. Public Enemy - “Fear of a Black Planet” 2. Sinead O’Connor - “1 Do Not Want What I Haven’t Got” 3. Robert Plant - “Manic Nir vana” 4. London Quarry Boys -- “A Bit of What You Fancy” 5. M.C. Hammer -- “Please Ham mer, Don’t Hurt ’Em” 6. “Prettv Woman” Soundtrack 7. Depeche Mode -- “Violator” 8. Bell Biv Devoe - “Poison” 9. Faster Pussycat — “Wake Me When It’s Over” 10. Janet Jackson - “Rhythm Nation 1814” PROJECT IMPORT: 1. Ride - “Play” 2. Godbullics - “Dog Show” 3. Cows -- “Effctte and Impudent Slobs” 4. Mind Over Four - “The God dess” 5. Grunting Plowman ~ “I Play Ju piter” 6. Tad - “Salt Lick” 7. Pale Saints - “Comforts of Mad ness” 8. Lush ~ “Mad Love” 9. Screaming Trees - “Changes Come” 10. Loop - “A Gilded Eternity” Local rap groups host summer farewell party By Robert Richardson Staff Reporter Local rap acts II Del" and ROM will perform tonight with several other bands at “Hyped For Summer,” a farewell parly for Paul Miles, UNL’s special assistant vice chancellor for student affairs. Miles was active on campus with minority affairs, but recently decided Concert to accept a job in Atlanta. Grant Kauffman and Kcvan Griffin, mem bers of II Dcf, decided to hold a concert in his honor in the Ballroom of the Nebraska Union. “Paul’s leaving to go to Atlanta, and he’s done a lot for us. We wanted to perform one time before we leave for the summer,” Kauffman said. II Dcf cut a demo tape over Christ mas Break in Minneapolis that may be put on 12-inch record this summer. “That’s why we’re moving up to Minneapolis this summer, trying to get some more connections, because I mean we’ve got a lot of talent in our group and Lincoln isn’t the place to be for it,” Kauffman said. Other groups performing tonight arc The Source, Gyrl/ Posse, Mid west Rhyme Connection, ROM and Wendy Mocdc. “With the exception of Midwest Rhyme Connection, we’re all just a big family,” Kauffman said. The Source used to be with II Dcf but there was a conflict of interests. The band broke up into two different groups with no hard feelings. See RAP on 10 Live recording jazz at its best Talented Butler a ‘jazz savior’ for the ’90s By Michael Deeds Senior Editor Henry Butler “Orleans Inspiration” Windham Hill Wuh the invention of the Moog synthesizer more than a decade ago, jazz keyboardists finally had a real chance to to show their stuff and progress as bandleaders. Names like Chick Corea and Herbie Hancock started to really bust loose, and others quickly followed. Take Henry Butler, who lakes his third stab at the market with “Or leans Inspiration,” alter his 1986 debut Fivin’ Around” and the follow-up, The Village.” Butler is a frontman doing front stuff — vocals, acouslic piano, and of course, the dominant Korg M-l. But ler’s keyboard improvisations earn him a spot as a top class jazz pianist, and some critics see him as even more. Butler draws on R & B and classi cal influences along with his jazz tones; he was one of the infamous Professor Longhair’s last apprentices. Butler’s compositions arc contem porary ja// at its best, and at its de finitive standard. “Orleans Inspira tion’’ was recorded live over two July nights last year at Tipinna’s in the Crescent City. The compact disc is digital Irom start to finish, no analog stuff, and the production quality is excellent. Ja/./. fusion is best live, and Butler docs it well on tunes like the title cut, “Orleans Inspiration,” and “Dr. James.” His improvised solos arc the height of all his tunes, which can tend to be overpowered by his keyboards during the head parts. But this is Butler’s band, and he shows surpris ing virtuosity not only in his solos, but in his ensemble style on ‘Orleans Inspiration.” Bui Butler's band is hall the fun - well, 49 percent -- with guitarist Leo Noccntelli and bassist Chris Severin really going nuts on “Come Back Jack.” Noccnieih simply blurs through his solos while Severm even gels into a little funky popping at limes. Butler’s band also is refreshing in that it lacks a brass section of any sort; this seems to be a major oddity in many jazz groups today. Nothing personal. Miles. “Goin’ Down Slow” takes an interesting slab at the blues, and But ler seems to know the blues as well as any keyboardist in the business. “Orleans Inspiration” is an excit ing recording in front of an excited audience. The only drawback is that after hearing “Come Back Jack,” you almost want Butler to lake a backseat for a couple of songs to his talented guitarist and bass player. But a couple of quick, choppy keyboard solos cure that ill all too quickly for old jazz lovers and begin ners alike. Henry Butler is a jazz savior for the ’90s. And live, he performs at his best. Courtesy of Wlndhail