Here’s one I missed at the cinema, but – as is increasingly the case these days – it’s right there on Netflix for anyone to see at the click of a button. While this would definitely benefit from the immersive qualities of a big screen, beggars can’t be choosers.
Julian Schnabel’s film of Vincent Van Gogh concentrates on his years in Arles and, later, at Auvers Sur Oise. Willem Dafoe stars in what is possibly the role he was born to play, so convincingly does he settle into the great man’s persona, and he greatly deserved his Oscar nomination.
This is far from a straightforward biopic, however. Indeed, anybody who prefers a clear narrative arc will probably have a tough time with this. There’s a lot of footage of the artist, easel strapped to his back, wandering for miles across the French countryside in search of the elusive ‘perfect light’ and the film takes its own sweet time over those sections. But there’s no doubting the power of the sumptuous cinematography of Benoit Delhomme, which really does capture the unique look of Van Gogh’s paintings.
A lot of big names pop up in cameo roles. Oscar Isaac is a suitably swashbuckling Paul Gaugin, Rupert Friend is Vincent’s endlessly patient brother, Theo, and Mads Mikkelsen gets the dubious honour of portraying the priest at an asylum, who unashamedly informs the artist that his work is ‘ugly and without merit.’ Dafoe, meanwhile, suffers for his art in utterly convincing style and generates pity for Vincent as well as anger at the horrible treatment he receives on an almost daily basis.
There’s a powerful payoff when, after his mysterious death (which is frustratingly skipped over), we witness Vincent lying in his coffin, surrounded by his paintings and we cannot help but see that the mourners are already taking more interest in his work than they ever did when he was alive.
An interesting effort, then, and – while it lacks the jaw-dropping power of Finding Vincent – it’s still essential viewing for fans of one of history’s greatest artists.