VAN GOGH
A film review by James Berardinelli
Copyright 1993 James Berardinelli
Date Released: varies Running Length: 2:37 Rated: NR (Nudity, sexual situations, language)
Starring: Jacques Dutronc, Bernard Le Coq, Alexandra London, Gerard Sety, Corinne Bourdon Director: Maurice Pialat Producer: Daniel Toscer du Plantier Screenplay: Maurice Pialat Released by Sony Pictures Classics French with English subtitles
VAN GOGH is the story of the last sixty days of the famous painter's life, focusing not only on van Gogh himself (Jacques Dutronc), but on the people around him. Special care is taken to portray van Gogh's relationships and mental state, as well as the events which led to his death.
I walked out of VAN GOGH wondering where the rest of the movie was. At one-hundred fifty-seven minutes, some might argue that the film was long enough, but there are at least three key connecting scenes missing. Whether these were filmed and edited out, scripted but never filmed, or never written, I have no idea, but their absence gives VAN GOGH a decidedly unfinished feel.
The choice for included scenes is almost as curious as the choice for excluded ones. There are several scenes, perhaps totalling about ten minutes, that serve no obvious purpose in this movie. They neither advance the plot nor show anything significant about any of the characters. They simply are there, taking up screen time.
Most of VAN GOGH, however, is relevant, and there are several moments of rare and heartfelt power. While not the equal of Robert Altman's VINCENT AND THEO, VAN GOGH presents a credible study of the final days in the life of a great talent whose ability was ignored until after his death. By not making the mistake of CHAPLIN and seeking to chronicle the artist's entire life, the final product is neither rushed nor condensed.
The best-portrayed relationship in the movie is that between Vincent and his model-turned-lover Margerite Gachet (Alexandra London). Although intelligent writing and adept directing play a part, most of the strength of these scenes must be attributed to the performances of the actors. Ms. London gives a striking portrayal of a character who is given a too-limited treatment by the script.
The relationship between Vincent and his brother Theo could have been better developed. Some of the scenes between the two don't work particularly well, and the inclusion of Theo's wife Jo (Corinne Bourdon) in so many scenes is difficult to fathom. Rather than defining the relationship of the two van Gogh brothers, she serves to dilute it.
Another problem with VAN GOGH is an unwillingness to properly introduce characters. At times, it can take entire scenes to figure out who someone is. Perhaps those intimately knowledgeable about van Gogh's life wouldn't have this problem, but the average movie-goer is likely to be confused from time-to-time.
In any biography, equally the most difficult and the most important thing to get across is the motivation of the main character. HOFFA and MALCOLM X succeeded at this; CHAPLIN did not. VAN GOGH lies somewhere in between. While we are made aware of the forces that drive the painter, too often the manifestations of these inner demons appear more suddenly than is desirable. The final and most critical of those moments, where Vincent shoots himself, is not even shown.
Ultimately, the biggest fault in VAN GOGH is its pacing. Many of the scenes are engrossing, but the film is unable to sustain the magic throughout. The presence and absence of certain events creates a sense of incompleteness. As a biography, VAN GOGH is insightful and interesting, but as a piece of entertainment, it is imperfect.
Rating: 8.1 (B, **1/2)
- James Berardinelli (blake7@cc.bellcore.com)
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