Nothing here is as bracing as the wild-eyed fervor of “Lust for Life,” or as alive as the bit in Kurosawa’s “Dreams” in which van Gogh is played by a cuddly Martin Scorsese, but the best stretches of “Loving Vincent” make a convincing case that great artists are better understood through their work than through the facts of their life. “We cannot speak other than by our paintings,” reads the opening quote (even the credits are painstakingly hand painted), and this project comes closest to realizing its potential during the quiet moments when it feels like we’re seeing the world through van Gogh’s eyes.
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The style of the film is its substance, and Kobiela and Welchman seem to recognize how oppressive and backward it is to impose logic on an artist whose so vividly defied it, even if that knowledge couldn’t stop them from tilting at windmills. Of course, nobody is going to watch “Loving Vincent” for its plot.
As a result, most of the scenes are written and structured in order to accommodate as many of these reference points as possible - even Lars von Trier would chafe at such a ridiculous obstruction. The film isn’t just presented in the style of van Gogh’s paintings on the contrary, it fulfills Albinus’ dream by seamlessly stitching 94 of the paintings into the action. A generous assessment might conclude that the narrative resolves into a parable about the void that brilliance leaves behind, and the process through which even a pitiable person can be transmuted into legend, but there’s no getting around the fact that “Loving Vincent” is inextricably hamstrung to its conceit. Plodding and pockmarked with conflicting black-and-white flashbacks, the plot here is little more than a means to an end. After speaking to a wide cast of characters that includes van Gogh’s paint supplier, his doctor, and the doctor’s daughter (Saoirse Ronan), Armand eventually arrives at a posthumous appreciation for the immortal Post-Impressionist. When the sullen Armand Roulin (Douglas Booth) discovers that Theo van Gogh is dead as well, he embarks on a quest to better understand what led to the artist’s suicide (or murder!?), slowly opening himself up to the idea that there might have been more to the self-mutilating village lunatic than met the eye.
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The story, such as it is, frames itself around a young man’s quest to deliver one of van Gogh’s final letters to the painter’s brother in Paris during the summer of 1891. Ostensibly something of a second-hand biopic, Kobiela and Welchman’s singular film unfolds like an awkward blend of “Citizen Kane” and “Waking Life,” exploring the mystery of Vincent van Gogh’s death - and awing at the inflammable genius that defined the final years of his life - through the recollections of those who knew him best. Given the amount of work involved, and the stilted effect of the finished product, it will most likely also be the last.Īn extraordinary (and entirely demented) labor of love that makes for a wan and uneven viewing experience, “Loving Vincent” takes the phrase “every frame a painting” to very literal new levels. It took 125 painters, 62,450 paintings (yep), and the better part of a decade for writer-directors Dorota Kobiela and Hugh Welchman to get it done, but “ Loving Vincent” is the first feature-length animated film to be made entirely of oil paintings on canvas.
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'Men' Review: Alex Garland's Nightmarish Horror Movie Puts a Surreal New Spin on Toxic Masculinity “It would entail a delicacy of work calling for novel improvements in the method of animation, and would cost a whole lot of money… And the designer would not only have to possess a thorough knowledge of the given painter and his period, but be blessed with talent enough to avoid any clash between the movements produced and those fixed by the old master: he would have to work them out from the picture - oh, it could be done.” And now it has, for better or worse. What if someone could use it to breathe new life into a static canvas, adding new dimensions to the artist’s vision and illustrating what might have happened in the moments before and after the one that was immortalized in oil?Īlbinus, to his credit, recognized the unique challenges that might be involved in such an endeavor. Film technology was still in its infancy, and it made anything seem possible. A retired art critic with cinematic aspirations, old Albinus is struck by the idea of taking a famous painter, “preferably of the Dutch School,” and animating one of his signature works into the stuff of motion pictures. Vladimir Nakobov’s 1938 novel “Laughter in the Dark” begins with its rich and horny (but happily married) hero arriving at the vision that will ultimately ruin his life.