Edvard Munch

Since the mid-1950's the films of Peter Watkins have utilised a mix of documentary and fiction techniques to question these forms of media construct. From the historical portrayals of real, or imagined "realities" (Colluden (1964), The War Game (1965)), to science fiction dystopian visions of political systems (The Gladiators (1969), Punishment Park (1971)), Watkins has placed his cinematic eye within dramatised verite settings, refusing to conform to fiction narrative structures and the normative styles of documentary cinema. In Watkins' anachronistic cinema the characters (whether fictional or historical figures) are photographed as if the action is actually happening, and he breaks conventions further by interviewing characters, filming them in the talking head format, which eliminates the fourth wall in fiction cinema and television, and involves the viewer with the formal realities of detail. Watkins states on his website (pwatkins.mnsi.net) that Edvard Munch is his most personal film. It is certainly his most emotionally engaging, one that is not necessarily as political or prescient as previous films, but perfectly captures the emotional turmoil and strain that goes into the creative process, and particularly the ways in which events in an artists life effects the evolution of form and style.

The eponymous Munch's (played, like all here by amateur actor Geir Westby) life and career is dealt with in the usual Watkins style, focusing largely on the period between 1884 and 1894, a period in which his painting developed into what would become Expressionism. It shows a young man struggling with shyness and emotional immaturity, one that when confronted with rejection from Fru Heiberg (Gro Fraas), a married woman who has affairs with bohemian types (the film constantly reminds us of the historical realities of women in 19th century Norway, who require men to live), Munch becomes jealous and possessive. The film juxtaposes these emotional moments of anguish and the tragedies of Munch family fatalities that struck the young throughout his early life, with the development of Munch's painting style. Watkins shows throughout the actual painting process. Beginning with the breathtaking picture The Sick Child, Watkins shows the anger and psychological torment that went into it. The ways in which Munch attacked to painting with knives or the non-bristle end of the brush, which created a startlingly bleak image, devoid of unnecessary details.

Of course, as with anything different within an artistic medium, Munch's stripped down aesthetic was not met with praise initially, and Watkins shows the various vitriolic reactions from the art establishment and critics, both through over-heard conversations in gallery spaces, and the filmed interviews with detractors. During these moments, Munch can be seen skulking on the periphery, further exacerbating his deteriorating psychology, but this imbalance and possible fastidiousness influences his further subversion of the classical painting style - and one that would lead to German Expressionism. Periodically the narrator will place historical facts against the period portrayed, and the film is certainly as much about history (sometimes in relation to contemporary politics), as it is about an artist.

The bohemian group that Munch spent time with, headed by anarchist Hans Jaeger, would openly discuss political and social issues. Even women would be part of this group, and along with the formal discussion, the "film crew" interview various female exponents, discussing feminism and the role of the female within society. Placed within this historical context, the present (at least in 1974 when the film was released) was in what appeared to be a new sexual revolution, and the feminist movement was a media convention, but in 19th century Europe, these women see what they are able to achieve living within the constraints of a male dominated society. Whereas prostitution (in the '70's it was pornography) is socially seen as immoral and degrading, these female thinkers see it as motivating, a process of female empowerment. In Edvard Munch the women are self-contained, they are individual and have power over their own lives. But this is not exclusively inclusive of female characters, it is also a film (through its documentary style) that includes the audience.

Munch is the best use that I have seen of Watkins' idiosyncratic documentary style, because it is an emotional exploration, as well as a political one. The emotional aspects are embellished by the characters acknowledgement of the viewer. Throughout the film the characters look directly into the camera, addressing the audience with a glance, at times to question their own actions (should we do this?), or by including the audience in the emotional events that are occurring, you always feel included, even when those moments are incredibly voyeuristic. I at times even felt that I should not be privy to this, such was the effect of this connecting barrier. Like much of Watkins' work (and himself as a figure), Edvard Munch has been marginalised. Watkins' criticism of mass media has clearly left him out of main stream publication, and his work (whilst now gaining distribution and serious praise) is difficult to see commercially. Originally made for a Norwegian/Swedish television co-production, the film lost distribution due to the studios refusal to play it. The film did received an international release in a shortened version, but the 221 minute version is now accessible. It sounds exhausting, but the majesty and emotional connection the film presents makes it a beguiling and moving experience, and it is easily the most in depth exploration of the artistic process.

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At 221 minutes, this film pushes to the outer limits of its material and cinematic technique. Certainly the director's style is fresh and arresting, and the performances (if that's the right word for a 'fly-on-the-wall' directorial style), including the remarkable look-alike actor who plays Munch, are uniformly excellent. The art direction is also particularly impressive, evoking both late 19th century middle class and bohemian Europe with real pungency. The film concentrates on some of the main formative influences on Munch's art: his family relations, circle of friends and lovers. Munch's poor health as a child (you would never guess from this film that he actually lived to the age of 80) is given much prominence. The film, however, could not be described as a biography of the artist. It has nothing to say about his commercial success (which was not insignificant by 1897), what paintings he sold, how he supported himself, or anything about the second half of his life. For me, the last 30 minutes of the film seemed repetitive and, with the accumulation of repeated images and scenes, suffered from the law of diminishing returns. Perhaps the film's greatest strength is its exposition of the circumstances under which several key works in Munch's oeuvre were created. The depictions of the act of painting – often the weakest element in such biopics – are brilliantly handled by Watkins. Worth seeing. But worth owning?

Something about this movie set it apart from every other film I've ver seen. It was, like, a mystical experience in which I felt literally drawn into the reality of the scene that was being portrayed. It was a long time ago that I saw it, and I still remember the feeling I had that I understood what was taking place inside a woman when she screams. Something was happening viscerally, that I've never experienced before or since. I think part of it was the timing of the film---crucial events occurred with those little, momentary pauses that left one sensing that things were different than they ought to be and that there was some unfathomable terror associated with the hidden reality. Was it just me?

Peter Watkins' Edvard Munch is the best film "biography" of an artist I have ever seen. Like Peter Greenaway's THE FALLS (another favorite of mine) it uses non-professionals to great advantage... I'm not quite sure I can say how (other than that I tend to find professional actors distancing, with a few notable exceptions). It also strangely but tantalizingly mixes re-creation with pseudo-interview, creating an emotional tapestry of this lonely man's life which I have never quite been able to

UPDATE: ... Not sure why my comment cut off like that!

I am re-viewing this great film and find it just as astonishing as I did the first time through. The great _layering_ of image and sound (so that we see an oddly-cut sequence of a couple making love mixed with images of bloody sickbeds, all the while hearing Munch's palette knife scraping away or his distraught sobs) is employed to devastating effect, while the performances seem so naturalistic that it all feels less _acted_ than simply _filmed_ ... as if Watkins somehow managed to transport himself and camera back to 19th century Christiania. Absolutely spellbinding.

Peter Watkins' Edvard Munch contains artistic innovations in editing and story that surely would have changed the face of how films are made--if only more people had seen it. Through an inspired stream-of-consciousness editing style, Watkins approximates the workings of the mind with greater success than ever before seen on screen. Because of this achievement, Watkins is able to convey, with vivid strokes, the intensity of Munch's emotions, and how they led to his tortured art. It is tragic that this film has not seen larger distribution, just as it is tragic that Watkins' other films are cloistered by the very companies that produce them. But then again, I cannot imagine going to the cineplex and watching a statement of life through art as soaring and original as Edvard Munch. For now, I'll continue to treasure it alone.