Van Gogh

If you haven't seen this movie yet, set aside a few hours and treat yourself to this gem of a film.

Jacques Dutronc is great as the Von Gogh, but Alexandra London is fantastic stealing almost every scene she is in with Dutronc. Bernard Le Coq as big brother, Theo, turns in a good controlled performance as well.

The supporting cast is also first rate.

The movie covers the last two months of Van Gogh's life from his arrival in Auvers sur Oise ( then a sleepy suburb 17 miles from Paris) until his death from apparently self-inflicted wounds. He is buried there by the way, next to his brother Theo, and the inn where he stayed is still standing. (Google "Auvers-Sur-Oise") The sad part is that Van Gogh appeared to suffered from a form of depression, if it were today it could have been treated with proper medication. If he had lived 110 years later he might have been fine.

I loved the research they appeared to do on everything from period trains, blacksmiths, inn keepers, farmers, day laborers, other artists and family members. It has an authentic feel to it.

Another good part is the lack of a sappy soundtrack to detract from the story at hand. The lack of a soundtrack renders it almost as if you are standing in the same town watching what is going on. "Excuse me, are you Vincent Van Gogh?" The picture is beautifully photographed and as one IMDb'er from France pointed out in his comments "some sequences along the river look like Renoirs's paintings" It's true.

Don't miss this.

I have been an admirer of Vincent Van Gogh for many years and have ready many books about him, so I picked up a copy of this movie with high hopes. I also, like the first reviewer, liked the authentic period look of the movie. The actor that played Dr. Gachet, was very convincing and looked very much like him. Jocques Dutronc looks nothing like Vincent and I didn't really understand why the film makers wouldn't at least have him grow a beard? I have also never seen any photos of Theo with out either a mustache or a goatee but never a beard. Kinda like they got the characters mixed up. Theo was only 33 during the period this movie is supposed to portray. The actor that played him looked 50. I have never really figured out why film makers cannot do a more accurate movie of Vincent. Most of this movie depicts his "affair" with Margurite Gachet and there is little or no evidence to support any this nonsense. There is a lot of very strange and irrelevant dialog in this movie and many of the scenes don't seem to have much purpose or even flow together...Its a very odd film. Could have been much much better with little effort...

The idea of Jacques Dutronc as Van Gogh didn't sit well with me at first. I didn't think they looked much alike and Jacques just seemed too cool and French and rock star like to pull it off. It took a few minutes to get used to, but I quickly became engrossed in the tale and the acting and was no longer wary. This film focuses on Van Gogh's last few months of life, while he went to Auvers to seek treatment from Dr. Gachet for his headaches.

Always the recluse, the daughter of Dr. Gachet is drawn to him, falls in love and follows him about, although Van Gogh seems mostly indifferent to her attention and feelings. His mental state becomes worse and worse and in his case it makes him a short-tempered, angry, difficult person. He insults his brother, his brother's wife, his girlfriend, Dr. Gachet and about everyone he knows until he finally shoots himself. The film spends an inordinate amount of time on Vincent suffering in bed with a bullet in his gut, being downright cruel to those who attempt to help or console him. How many scenes of him laying angry and in pain in his soon to be death bed do we really need.

This movie is like an avocado and bacon and watercress salad that Tyler Florence created. First you take 3 avocados (which I have come to love since I went to Chile last March) cut them in half and remove the pit. Then fry up a couple of slices of bacon and crumble them over the avocado halves. Then strew some watercress artistically across the plate. Then drizzle the whole thing with olive oil and season with salt and pepper. I find the salad great when I'm eating bites of avocado and bacon, which I generally eat first. Then I have some watercress with a few bits of bacon leftover. This is bitter and not that pleasant, so it finishes of rather poorly for me. When I'm done I mostly remember the good bites from the beginning with the creamy avocados and the salty, delicious bacon. I should just leave the watercress out and it would be excellent. 6/10 http://blog.myspace.com/locoformovies

I loved every golden minute of this film. It was honest, sensitive and respectful of the artist and anyone who loves Van Gogh's paintings and wants the fly-on-the-wall glimpse of his last days on earth will be in for a wonderful experience.

Unlike such films as "Lust for Life" with the Academy Awards so visibly in mind, this one doesn't offer any mad scenes, or pulpitizing or self-mutilation. In other words, if you are looking for Kirk Douglas chewing up the scenery or Stanley Kramer, bullhorn in hand, preaching one of his messages, or, heaven forbid, "Mondo Cane", this will be a disappointment. Unlike so many biopics of artists' lives, this one doesn't sell out to the mass audience with cheap histrionics. It dares to respect its subject and treat it humanely and humbly.

Every object, every face, every scene evokes what Van Gogh would have witnessed himself before his death. Just walking through a field evokes the thrill of recognizing the scene from one of his paintings! As undramatic as it may seem to some, it's really quite exciting for those of us who revere the artist and his work. In fact, I was actually angry at the end of the film that the beauty finally had to stop.

I would recommend this with all my heart to those viewers who love Van Gogh's paintings and are in search of a film that respects the artist in his dying days. It is moving and honest.

Curtis Stotlar

I had the joy of living another one of those events that give beauty to the life of a cinephile. My first encounter with Jacques Dutronc dates about half a century ago when I was listening to the shows on Radio Luxembourg behind the Iron Curtain. He was and remains perhaps the best French rocker. (Sorry, Johnny Hallyday!) Vincent Van Gogh is a huge artist, one of those who changed the course of art history. But I didn't know that Dutronc played Vincent in a biopic. But most of all, I didn't know Maurice Pialat. Many biographical films have been made about Van Gogh and will probably be made more. 'Van Gogh' made in 1991 by Pialat is a film different from all the others. I even wonder if it should be considered a biopic. Maybe it would be more appropriate to call it an anti-biopic. I have not seen other films by Maurice Pialat, and I intend to recover this unforgivable ignorance of mine as soon as I can find other films of his. In this movie, Pialat seems to desire to make cinema as Vincent created. The painter did not resume to replicate the world around him as the academics had done, nor to observe and reinterpret it through his eyes and vision as an artist as the Impressionists did. Instead, he started from reality and created something new. Likewise, Maurice Pialat starts from the ultra-well-known biography of the painter and the well-documented period of the last months of his life to create on screen his own vision of the man and of the artist Van Gogh and of the people and the world around him.

The trivially known details are missing. There is no cut ear or grotesque bandage around the head. There is no insistence on the mystery of the fatal shooting. But the essence is present. With his physique and especially his shaken psyche, the artist crushed by the lack of understanding and recognition of his art by the surrounding society took refuge in the last months of his life in Auvers-sur-Oise, being treated by Dr. Gachet (Gérard Séty) . The connection with his brother Theo (Bernard Le Coq), as reflected in their correspondence, goes through a stormy period, with ups and downs, as in his brother's life we witness the appearance of his wife and of his first and only child. Refused, perhaps feeling exiled from the bourgeois world, Vincent Van Gogh finds dialogue partners in women and in the simple people in the village whose portraits he paints. It is a period of feverish creation, as the end approaches the intensity of his artistic burning increases. The closer he gets to the end the more exuberant his works. Landscapes are on fire, nature is in convulsion, reflecting the storms inside. Pialat adds here another dimension, undocumented but human and credible. Van Gogh may be a depressed person, but not a passive one, he is very much alive. He lives intensely, eats, drinks, and has relationships with several women. Some are prostitutes, but not only, and at least one of the connections, the one with Dr. Gachet's young daughter (Alexandra London) could promise a chance to regain his balance. But it is too late, and perhaps the awareness of this impossible situation is what precipitates his end.

True to his conception of creating something new and not of just putting on screen the biography, Maurice Pialat made no effort to make Jacques Dutronc look like Van Gogh, nor did he force him to grow the iconic red beard. Dutronc's role is far from what other actors have imagined, from Kirk Douglas to Willem Dafoe. It is actually the refusal of conformist adaptation, the simplicity of human relationships, the thirst for life and creation, the power to love that bring him closer to what Vincent Van Gogh may have been in reality. Among the other actors (all very good) in the film I would mention Gérard Séty with a complex and ambiguous portrait of Dr. Gachet and Elsa Zylberstein in the role of a beautiful and sensual prostitute. The scenes of the parties in the brothels of Paris and of the meetings between Vincent and Theo, either in Dr. Gachet's house or on the banks of the Oise, are also very well directed. The frames seem to be taken from Manet's paintings. Women's costumes, dresses and hairstyles descend from Monet's paintings. The figures and bodies of the women come from Renoir. Visually Maurice Pialat quotes the masters of Impressionism and not Vincent. In fact, from his art, we see from time to time only glimpses when a painting appears in the frame. We see the art in character instead. Vincent's substance can found in his behavior. This unique film reconstructs the man Van Gogh from the essence of his art.