Paula

Paula Modersohn-Becker seems to have lived several lives. The first was, of course, her life on this planet, between 1876 and 1907 - a short, tumultuous life, a constant struggle with the world around her, but primarily with herself, as a woman and as an artist. She left behind more than 700 paintings and 1000 drawings. The German Expressionists gave her a second life, considering her as one of the representative artists of the current and dedicating to her, in 1927, the first museum of a female artist in the history of art. The Nazi regime removed her works from museums and declared them to belong to 'degenerate art'. The third life seems to be happening in the last few decades. Paula Modersohn-Becker is reconsidered not only as one of the important artists of the beginning of the 20th century, but also as a model of struggle for female affirmation and breaking of artistic and social conventions and prejudices. The film 'Paula' (2016) by the German director Christian Schwochow is part of this revival of interest and artistic and media recovery of the painter, along with important exhibitions and documentary films.

'Paula' is a fairly detailed biopic, that focuses on the last seven years of the artist's life. We find her at the beginning of the film attending the (segregated, for women) painting lessons at the artists' colony at Worpswede. Her artistic talent and ambitions exceed the artistic and ideological limits imposed by the realism and naturalism promoted by the school and the social conventions that wanted to reduce her to the role of wife and mother, prohibiting her career as a professional artist, considered suitable only for men. Paula will quickly get into conflict with her teachers, but it is here that she will meet Paul Modersohn, a less talented painter who, however, enjoyed success and financial stability, and the poet Rainer Maria Rilke, who opens her horizons and a encourages her to continue her path as an artist. The film's script offers a slightly different point of view than other biographies regarding Paula and Albert's marriage and relationship. The man, it is claimed, did not understand modern art or his wife's talent, at least at first, but he financially supported her trip and stay in Paris. The crisis of the marriage and the absence of children during the first five years of marriage are resolved by the script in a dramatic manner with the scenes that take place in 1906, when Albert arrives in Paris. It seems to be, for a short time, a happy love story. The man's fears, due to the loss of his first wife, will be however confirmed by the death of Paula, a year later, a few weeks after the birth of their only daughter.

The fate of Paula Modersohn-Becker can be compared to that of several other contemporary artists, who could hardly survive in the environment of the late 19th and early 20th centuries, which was as revolutionary in art as it was misogynistic in the attitude of most artists, collectors and art critics towards women. Like Camille Claudel in sculpture, Paula Modersohn-Becker had a short active life, but left a significant body of work. In Christian Schwochow's film, Paula's struggle with the artistic and social environment is well highlighted, although the atmosphere is not gloomy. This is largely due to the acting creation of Carla Juri, an actress I do not remember having seen before, who brings to the screen a luminous and optimistic character, sure of her talent, determined to realize herself both as an artist and as a woman. Her belief that it is possible for a woman to fulfill both roles - in art and in society - captivates viewers, even if the ending is not a happy one. Visually, the film is very well designed, with many excellently filmed studio or nature painting scenes. The image of the painter carrying her easel like a cross in the fields or on the streets of the village will remain in the memory of those who saw the film. Art history recovered Paula Modersohn-Becker with her pioneering talent, courage and ability to understand people and represent their humanity in her portraits. 'Paula' - the film pays her a fitting tribute.

Being a woman has never been a matter of course, being a woman and an artist even less so, particularly when like Paula Becker, you try to impose a personal, unconventional, "un-womanly" style in a narrow-minded environment.

It therefore comes therefore as no surprise that Christian Schwochow, a director who loves women, grasped the subject and dealt with it with gusto. Remember the insecure actress of 'Die Unsichtbare' (2007) as well as the two female defectors from the GDR of 'Novemberkind' ('08) and 'Westen" ('13). To these sensitive portraits of sensitive women is now added that of Paula Mendersohn-Becker (1876-1907), a German painter and one of the most important representatives of early expressionism.

Simply entitled 'Paula', the film is quite worth seeing for several reasons, the first being its documenting the life of a major artist little known outside Germany, at least until 2016, when a significant part of her 750 paintings and 1,000 drawings was displayed at the Paris Museum of Modern Art and a biography by Marie Darrieusecq published. Let us say that with this well-made and well-written movie, a new stone is added to the edifice of her memory. Plotwise, we are invited to follow the final seven years (1900-1907) of Mendersohn-Becker's life, from the time of her reluctant studies of neo-academic art at the Worpswede colony of artists to her untimely death at age 31 nineteen days after giving birth to her daughter.

'Paula' is a biopic indeed and as such reports the events in the painter's life faithfully (or nearly so as a few facts have been changed for the sake of narration): her friendship with sculptress Clara Westhoff and poet Rilke, her long unconsummated marriage with painter Otto Mendersohn and playing stepmother to his daughter Elsbeth, her running away to Paris, having an affair there with a French drawing master, her returning to Worpswede, her painful delivery and unbearable death. But what really lifts the movie above the standard life story is Swochow's constant effort to understand and make us understand Paula's artistic approach while at the same time making an artistic object of his tribute film. The director indeed manages as well to show Paula creating her work under our eyes (she strikes the canvas, spreads the painting with her thumb, scratches it with a knife, sometimes even splits and cuts it) as to capture the beauty of the Worpswede region of flat plains, swamps and forests of birches. Kudos, in passing, to cinematographer Frank Lamm who finds cinematic equivalents to famous paintings of the time (Otto Modersohn's : 'Birches in the Moor' , Hans am Ende's 'Autumn in the Moor', etc.).

Psycholologically speaking, 'Paula' proves equally satisfying. This 'Portrait of a Lady' met with narrow-mindedness, prejudices, machismo... actually does not lack edge. All the less as Schwochow has found the actress ideal for the role, the Italian-Swiss Carla Juri. Not only is her physical appearance close enough to her model but she immerses herself in her role so intensely that she manages to replicate with stunning accuracy Paula's personality and feelings (known from the letters and journals she left behind): she can be in turns youthfully spontaneous, impish, coquettish, abandoned to love, idealistic, sweet, tough, brooding, furious, unjust...

She is well supported by a competent cast, especially by Albrecht Schuch in par with her in another complex role, that of her husband Otto, evolving throughout the story: he too is convincing in the various stages of his life with Paula; as a lover, a husband with a problem, a victim and finally an admirer of his wife's work. Also notable is the performance of Roxane Duran ('The White Ribbon') as Clara, Paula's best friend.

To make a long story short, if you have nothing against a beautiful, documented, intelligent, moving work about an engaging woman ahead of her time, do not hesitate, 'Paula' is for you.

The movie "Paula" succesfully portraits the life of german artist Paula Modersohn Becker. At the same time it gives you an idea of how female artists were mistreated and mocked in the very beginning of 1900. The movie keeps up close to the reality of the artists life and can be used as a documentary.

The personality of the artist couldn't be performed better. Carla Juri perfectly plays both Paulas playful character and her headstrong side.

The movie creates a mood, which catches the viewer. It includes some very intense scenes and won't leave you untouched.

Carla Juri plays the famous german painter, Paula, who is living in the late 18th century where women painters - to say it the least - are unheard of.

Strong-willed Paula has to go her own way and overcome many obstacles to pursue her dream of becoming a famous painter. Soon not only her friendships (among others with the famous poet Rainer Maria Rilke) and marrige are at stake - her very own personal freedom soon seems to be too.

I saw Carla Juri for the first time in the wird and bizar movie, Wetlands (2013). Already then it was clear to me that she had an unique talent for acting. In paula her talent truely unfolds, and Carla Juri dilevers a performance of and international accting star.

German movies was reborn with the brilliant "Downfall" (2004) soon to be followed by "The lifes of the others" (2006). Since then a number of great german movies was made and Paula more than confirms Germanys position when it comes to make movies in the top of the international leauge.

As you soon will come to see for yourself Paula is not only yet antother great German movie - Paula is "a true masterpiece"