Loving Vincent

It's my first review for a movie, and I'll keep it short. The movie is heart warming, exquisitely done and, if you stay for the ending soundtrack, you will be treated to a wonderful song which summarizes the movie through music. His story is dramatic and a very good reminder of how we, as humans, don't know how to appreciate valuable people during their lifetime. This movie will enrich your life.

Cinema has always been a gloried artwork and we have much more authentic proof in astounding Loving Vincent.

An animated construction entirely brought to life by oil paintings, is  quintessential proof that cinema has still barely scratched the surface of its reaches. Loving Vincent is landmark event for animation and even biographical storytelling through its majestic vision at the last days of Vincent Van Gogh.

Set a after the death of fabled painter, Armand Roulin (Douglas Booth) is possessed with a letter from Van Gogh to his brother Theo before his death, and begins the journey to deliver it. While on call, Roulin encounters all the people close to Vincent before is death gradually trying to put the pieces of what cause his sudden suicide. From this we are taken back to key moments of Van Gogh's life mesmerizingly displayed through the living oil paintings.

Generated by 65,000 paintings by over a 100 artist, Loving Vincent is living work of art. First shot as a live action depiction then adapted into paintings, the immersive gallery of scenes is a first in new format of animation. Directors: Dorota Kobiela, and Hugh Welchman take Van Gogh's own artistry into his own biography (almost), from Citizen Kane style narrative, assessing and celebrating the life of one of the worlds if not the most famous painter. From this production becomes transporting cinema experience into the world of Van Gogh and an enchanting watch of magnificent painting and animation.

Of course what is the fundamental strength of Loving Vincent is its captivating artwork which for every moment is spectacular, and then you have the real narrative of Van Gogh's last days which on its own is an affectionate journey. Even if you don't not much about the life of Van Gogh this is an enthralling experience.

The monumental presence of the paintings is consistently exceptional with wonderful detail and creation put into it. One of the sensational efforts for the film is its sketch of the real actors, making them instantly recognisable on screen, bringing their performance into the art. Although our eyes are set on visual presence, Clint Mansell's score is also a tear-jerking atmosphere throughout the film, capturing the melancholy as well as joy of Van Gogh.

Loving Vincent is a visual sensation, proving the amazing talent that animation brings to the screen. This is by far one of the most significant films of the year and is must see experience, especially for art students.

As a Van Gogh fan, I was waiting for so long to see this movie. I thought it would be about his life but it came out to be something different. A postman was asking his son, Armand, to deliver the last letter of Van Gogh written to his brother, Theo. As first I thought it was a piece of the ending such as a flashforward and the story would recommence but it didn't. During the movie I discovered how the death of Van Gogh is as exciting as his life. Although I knew how unfortunate his life was, I didn't know the real reason behind his suicide. We were told he was just a crazy artist. I felt utterly sad to learn that he cared much about his brother and vice versa. The movie, at the beginning, comes very strange as it was taken using paintings of his own impressionist style. However the story comes attractive and you find yourself questioning his death. I would like to congratulate all the artists who contributed to this movie. Great piece of art and nice ending song!

This beautiful work has made history in the genre of Animation cinema - a precious gift from devoted film-makers. The story is well known - a matter of history. Vincent painted the portrait of Joseph Roulin, Postmaster of Arles. The film tells us the story of Vincent's life and last months before his death on 29 July, 1890 (aged 37) from a self-inflicted gun-shot wound, via the device of the postmaster's son being sent on a mission to deliver a letter from Vincent to his brother, which has been returned. Vincent and his brother Theo were very close, and Theo supported Vincent with regular gifts of money, and painting canvas and tubes of paint. The postmaster Roulin knew and loved Vincent, because these two loving brothers kept up a very frequent correspondence. These letters have been published elsewhere and make very moving reading. The son of Roulin goes to Paris, and to Auvers-sur-Oise where Vincent had been in care after he had an emotional breakdown, and talks to people who knew him. He is at first unwilling, but becomes interested, then passionate to find out the truth of the man whom he is now starting to fully appreciate. The remarkable aspect of this film is that the entire story, 95 minutes of it, is told in hand-painted oil paintings, done in the style of Vincent's own work. Scenes begin with an image that Vincent himself painted and if viewers are familiar with all his works, they will recognize the people and the places. But now they are moving, they are speaking, they are telling their stories, and their impressions of Vincent, the man. Some were fond of him, some ridiculed him. There are various points of view.

Technically the film "Loving Vincent" is a wonder of animation. One hundred artists in two countries, (Poland and Greece) working in Vincent's own style contributed full colour paintings for "the present" and black and white paintings for "the past" as the story is being told by the people who knew Vincent.

The film is made up of 853 'shots', and each one began with a first frame of a full painting on canvas board. As the animation photography was done in 12 frames per second, the first painting, would then be photographed, then painted over, with each gradual change to certain details or all of it, until the last frame of the shot. (This is in place of the use of animation cels, which could not be applied in this style of work.) At the end of the 'shot' the film-makers were left with an oil-painting on canvas board, of the last frame. So at the end of filming 853 paintings remained, and 200 are being auctioned off, and many have already sold, (as can be seen from the films own website) although at the time of writing the film has not yet premiered in the USA. The size of the works was usually 67cm by 49cm. Bear in mind that for one hour of film, 43,200 paintings were required, and you will begin to see the extraordinary ambition of this project. Additionally 90 design paintings were created in the planning stages during the year before shooting started. The purpose of these was to define the style in which the artists would all re-create Vincent's style of painting and make it move, live and breathe. 65,000 painted frames in oils were made for the whole film. The story moves along briskly and is full of wonderful characters (the people in Vincent's life). The dialogue of the characters is full of expression, as are the faces, and the characters have been created to really "live" for us. This was done by casting well known and excellent actors in the main roles, and filming them in live-action, then using those 'normal' cinematic images for a basis of the key paintings for each 'shot'. As the film went on, I recognized (from other films) certain of the painted faces of the real actors, who are also giving voice to the painted characters on the soundtrack. This type of animation has never been done before, and as it took seven years to make the film, it might never be done again. The ingenious planning of how to actually do it is brilliant and has been a great success.

Vincent, who suffered, from what we now call bi-polar disease, was an intelligent, deeply sensitive man, who had a sad childhood in a strict bourgeouis family, and was something of a misfit. He showed immense natural art talent. This can be seen clearly and unmistakably by looking at his early drawing. Later he used brush techniques that imitated the 'signature marks' in his pen and ink works. He was understood and saw visual texture.

From Paris Vincent went to Provence, and lived in Arles. He begged his friend Gaugin to come and join him. Vincent was over-joyed but after a few months, things went wrong between them, and Vincent seemed to become very distressed. When Gaugin departed, he was inconsolable. After the famous incident of cutting of his own ear in his distress, he went into care of Dr Gachet in Auvers, where he found a kindred spirit in Gachet, who loved art, and recovered. There he did quite a few more strong drawings and paintings. Vincent saw the world in a kind of almost violent motion and most of his works, drawings and paintings show this. It's as if the wind was visible to him in the air itself, not only in the resulting movements of trees, and fields of grain, or the moving sea.

He never sold a painting in his own lifetime, but gave away some, and sent many to his brother Theo who attempted to sell them in his Paris art gallery. And yet now his works hold the record as being the most expensive ever sold – which happened in modern times.

Absolutely beautiful, a total sensory experience! Over the years I have seen various movies about Vincent and read about his close relationship with his brother Theo. What I found amazing about this movie was the imaginative approach that was taken to unravel his life and work. So many details were revealed that I had no idea of, and put into such interesting context. The choice of actors was brilliant and we see how close they resemble the actual people during the credit roll at the end of the film - also highly imaginative. I love the rich colours, the Cerulean blue and bright yellows. Truly a starry night! Don't miss.