It is also a good reason to use controlled colored artificial light. Strobes with or without gels, reflectors, scrims, ...
One way or another, balancing the curves in the camera with filters or lighting helps a lot.
As for color and the eye, your eye is a camera, but it is connected to a huge light, color and exposure computer called your brain. When you look at a scene you think you only look once, but your brain looks several times and each time it takes in different information and then provides you with the image that you "see" by filling in all the information it can from each of several images. Film can not do this, film looks once, and has to be exposed for only one light setting. You can shoot and process for whatever you want to, but you can't get the film to expose for several diffident types of lighting, there will always be some sort of compromise.
FYI: In the late 1800's a photographer who's name I can not remember did experiments with shooting several frames of film then used masking and cutting to produce a photograph of what his eye was seeing at the time. It is a complicated process, but it can be done.
As I see it though, after choosing the film all we have control of are the densities involved.
My thought is simply that for any one given film there is only one color hue available on each layer and that when the three layers are "balanced and processed normally", the sum of the layers will always reach full design saturation.
I guess one way of saying this is that, even a perfect gray caught on color film isn't a monochrome or desaturated color, it's a fully saturated real world color created by a "balance" of density between all 3 layers.
We can manipulate contrast through composition, lighting, choosing the exposure relationships between our subjects and their settings, with polarizing filters....
We can manipulate the exposure relationships (balance) between the layers with colored filters to skew the densities one way or another to manipulate color balance. This is generally global though, with all the hues shifting say warmer or cooler, it may look better/provide better color contrast/be just what we want, but the saturation hasn't changed and our perfect gray subject from the scene is no longer gray.