Van Gogh
Van Gogh

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- 71/100 based on 3,202 votes

In late spring, 1890, Vincent moves to Auvers-sur-Oise, near Paris, under the care of Dr. Gachet, living in a humble inn. Fewer than 70 days later, Vincent dies from a self-inflicted gunshot wound. We see Vincent at work, painting landscapes and portraits. His brother Theo, wife Johanna, and their baby visit Auvers. Vincent is playful and charming, engaging the attentions of Gachet's daughter Marguerite (who's half Vincent's age), a young maid at the inn, Cathy a Parisian pro... (Full plot summary below)

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Actors in Van Gogh:

Jacques Dutronc
Alexandra London
Bernard Le Coq
Gérard Séty
Corinne Bourdon
Elsa Zylberstein

Full Plot Details

In late spring, 1890, Vincent moves to Auvers-sur-Oise, near Paris, under the care of Dr. Gachet, living in a humble inn. Fewer than 70 days later, Vincent dies from a self-inflicted gunshot wound. We see Vincent at work, painting landscapes and portraits. His brother Theo, wife Johanna, and their baby visit Auvers. Vincent is playful and charming, engaging the attentions of Gachet's daughter Marguerite (who's half Vincent's age), a young maid at the inn, Cathy a Parisian prostitute, and Johanna. Shortly before his death, Vincent visits Paris, quarrels with Theo, disparages his own art and accomplishments, dances at a brothel, and is warm then cold toward Marguerite.

Review & Comments

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Movie Reviews

The Spectator - 7/10 by Vanessa LettsHere is a film that is brave enough not to impose drama on a crisis.
User Review - 10/10 by Gareth DEducational sans melodramatic. Nobody understood the man and his doctor was useless. No wonder he got a smack from Vincent on his deathbed. He was surrounded by a lot of caring people who knew he was a genius but didn't want to buy his art. The film cares too, while similarly doesn't understand or buy into his output. A work of genius in itself. Sublime to the senses. I foregoed (?) my trip to the cinema for this and wasn't disappointed. Not for one second. It's living inside of me and is most welcome. Now I have to see all of Pialat's output...
User Review - 8/10 by Constant DBiographical movie based in the last two months of life of Vincent Van Gogh. This is a film that can be called fairly grand cinema. All of it has been beautifully photographed catching the bright sun light of France. Most of the scenes have been thought as a paintings of the same period, every single frame is a piece of art: the river scenes remind you of Monet, the brothels of Toulouse-Lautrec, the everyday routines of Degas, the agricultural moments of Millet and the cafe scenes of Renoir. In this sense the film is global, it is about Van Goght's life and about late XIX century painting. So, if you love art, you are going to love this movie. If you like action you might get disappointed. It is a french film after all, so expect lots of talking and eating, and in this case lots of dancing and singing as well. The movie is brilliantly directed and acted, besides the costumes and the atmosphere of the homes, the household goods, the furniture are simply fantastic, the whole of it has been thoroghly researched and feels real and truthful. A word of warning, if you like Van Gogh you might want to stay clear of this picture. Towards the end you might reach the conclusion that he was not the kindest person ever, he was a drunk, a craddle snatcher, a rake, a rude person and, in short, a bit of an a*****e. This adjective is also extendable to the other male characters, including Theo and dr. Gatchet. Females get partially excused because they mostly suffer the consequences of the mistakes of the men. In that sense the movie depicts a very grim picture of family life at the time. To me, the weak part of the movie was the information gaps, V. Gogh's illness goes practically unnoticed and it does not explain why he kills himself, the suicide scene is not shown and some characters are introduced whitout explanation of who they are like Katye and her male friend. But, on the whole, this is a very accomplished piece of cinema and a gem for art lovers.
User Review - 8/10 by Yiting SEvery scene in the movie is as if a Van Gogh's painting, so well executed and beautifully arranged from the brothels, Bohemian cafes to the yellow fields... "I've worked harder and got better but nothing I've worked on is important..." The man said he doesn't paint water because it is so fluid and hard to capture the reflection... The story only covers the last few months before his death, a period of great activity, although I missed my favourite Starry Nights :)
User Review - 8/10 by Martin TAn account of the last two months of Van Gogh's life. I love his work, but I don't know much about the man. I'm sure most of this film is fictionalized, but I found it didn't matter to me. It steers clear of all the usual biopic trappings, and thankfully isn't another portrait of an artist as a deranged lunatic. There are some histrionics, and these tend to be the weakest moments of the movie, but fortunately it only happens a couple of times. Instead, Pialat manages to capture the complexity of his character in light, subtle strokes. The word that kept coming to mind was "naturalistic": the pacing, mood, scenarios, lighting and performances. Jacques Dutronc is superb in the lead, and the rest of the cast is splendid as well. Everything just seemed flow naturally, without blatantly steering the narrative towards its foregone conclusion. I really enjoyed it. Between this and L'Enfance Nue, Pialat has made up for the dismal A Nos Amours.
User Review - 8/10 by Mike Pa brilliant Van Gogh movie. Why? Well, it's because this movie (more than any Impressionist period piece I've watched) really captures the easy morality of the time. Far exceeds the over-dramatic and contrived Kirk Douglas effort of Hollywood to capture 'the life of the artist'. Superbly realised and believable.
User Review - 8/10 by Espen NVan Gogh was a man who never got critical or commercial acclaim for his work. He spent his days painting what was in front of him in given situations, and his art express empathy and exuberance over life. The artistâ??s last months before suicide was his most productive, even though he was institutionalized in the country side for lunacy. Maurice Pialat is more interested in Vincent Van Gogh as a human being than as an artist. As a man, Van Gogh is fragile, reserved, but he know what he wants and he is not shy. Women are more in focus than men. A teenage daughter of Van Goghâ??s doctor, his brother Theoâ??s wife and a prostitute wants a piece of him, and I like how their curiosity to find out who this mystic Dutch painter is, reflected my own during the film's extended length. The summer settings, the Seine river and rays of sunshine makes the film beautiful to experience (and it had me thinking about â??Le Genaou de Claireâ?? by Eric Rohmer several times because of the climate). Everything around Van Gogh is inspirational. The film is slow, and Maurice Pialatâ??s long takes gives me the time to devour 19th century time and spirit. Another thing I noticed about style, is Pialatâ??s interest in a narrative where we are set in the consequences, rather than tagging along the progress. Each time Van Gogh is painting, we see him finishing the painting rather than starting one from scratch. I guess Pialat wants to be rational, in order to tell his story efficiently, and in my eyes he succeeds. This is truly a wonderful film.
User Review - 8/10 by Tony DTaken as an ahistorical piece, this is very accomplished. Taken as a factual account of Van Gogh's final days, this probably lacks accuracy and leaves quite a bit to dramatic interpretation.
User Review - 8/10 by Adam SAlthough I think the essence of this film is great, for me it paints him as a bit of an abrupt ladies' man, and there seem to be many inaccuracies throughout the film. Did he really have a relationship with Gachet's daughter? I've researched for years and have never read it anywhere!
User Review - 8/10 by Cameron JNow, I'm not saying that European artists are kind of crazy, but Hitler was known to paint from time to time, and while that isn't to say that Vincent van Gogh was as crazy as Hitler, it is to say that he has mutilated himself for some girl he had a crush on, and that's all that needs to be said. Well, I don't know about any other kind of European artist, but the French appear to be insane when it comes to the art filmmaking, what with all of their weird and melodramatic experiments with storytelling, which is why this film's writer and director, Maurice Pialat, is trying something different by keeping things realist and, by extension, kind of dull. No, people, this film isn't really all that bland, or at least it isn't up until an admittedly kind of dull final act, and not just because you can't help but wonder just how slow the final product would have been if it was yet another overly arty French filmmaking mess, but the fact of the matter is that real life isn't too terribly exciting, even when the real life you're meditating upon is that of a somewhat disturbed... Dutch painter of the 19th century. Well, shoot, now that I think about it, this film's subject matter doesn't even sound all that exciting on paper, so I reckon that's why Pialat got Jacques Dutronc, a French pop-rock star, to play van Gogh, as he hoped that Dutronc would get people to think of delightful French diddies to keep them from getting too bored, which would be great and all if it wasn't for the fact that I kept expecting van Gogh to bust out an acoustic guitar and start singing "Et Moi, Et Moi, Et Moi". I wonder whose facial expression is the most hilarious: that of the few people who think that I'm serious about expecting a van Gogh musical number, or that of the countless people who have absolutely no idea who in the world I'm talking about. So yeah, Dutronc was essentially the French Bob Dylan, and then he moved into being the French Syd Barrett-era Pink Floyd, then your regular old traditional French pop-rock star, then a French crooner, then, I don't know, the prime minister of France or something, and now, well, I don't know what he's up to. Quite frankly, I don't carry, just as long as he's still a good actor, because he sure could carry a film as sure as he can carry a note, and yet, with that said, it's not like this film can fully paint over its problems. Don't let this film's fairly broad title fool you, as this film chronicles, not the full life and times of the late, great Vincent van Go, but the painter's notorious last 67 days, during which an enging story is found, though, in this film, not quite as fleshed out as it probably should be, for although we're all hopefully aware of Vincent van Gogh, and although I'm not asking that this film crowbar more material into its already overlong two-and-a-half-hour runtime to give more flesh-out to our characters, the film feels underdeveloped. Sure, eventual exposition does a decent job of getting you used to the happenings and humans who drive this drama, while Maurice Pialat's realist atmosphere further bonds you with the film's humanity, but more immediate flesh-out stands to be more abundant, because as things stand, development shortcomings in this film do damage to engagement value, which further suffers at the hands of the very realist approach that helps in compensating for exposition issues. There's only so much dramatic kick to this dramatization of a dramatic period (Drama, drama, drama and more drama), as Pialat wishes to not water down subjet matter of this type with histrionics and articifial emotional resonance, and more often than not this dramatic formula works, but it's not without its problems, including an atmosphere that isn't as dry as I feared, - thanks to reasonably spirited writing and acting keeping entertainment value up, at least to a certain extent - but not exactly frantic, being just restrained enough to, after a while, lose you, at least momentarily. If this film's atmospheric slow spells do nothing else, they call more to attention the film's biggest issue: padding, because at 158 minutes of only one segment out of a story that is undoubtedly rich with dramatic potential, this film outstays its welcome a bit, reinforcing realism with the occasional needless moment of nothingness, if not more than a few moments in which material gets to be a bit too fatty around the edges, typically of a somewhat familiar nature. It's not monotonous, but this film's excessive formula gets to be repetitious, leaving the film to wander along, seemingly in circles, with enough intrigue to keep you compelled through and through, though not with enough dynamic kick to keep you really locked in. This film is a very human one, and I commend it for having such humanity, and spicing it all up with an active attention to genuineness over melodrama, but much too often, this film's realist meandering goes a bit too far, slowing down the momentum of the film, both in atmospheric pacing and plot structure, but still not taking as much time as it probably should to really flesh things out, and that does a number on the final product. Of course, when it's all said and done, the film's issues, while undeniable, aren't quite as considerable as they could have been, so it's not like you should go into this film expecting the usual underwhelming misfire you can find on a list of Cannes Film Festival highlights, but rather, a genuinely rewarding film, with effectiveness than can be found even within the smallest of aspects. Actively resistent against overly cinematic sensibilities, this film very rarely plays up musiciality, which, upon actually coming up, outside of a nice little jingle at the credits, is found, not in post-production, but in first-party audio, something that is, as you can imagine, rarely accompanied by the piano and occasional band that drive what musical aspects there are in this film, so it's not like this film is driven by its soundtrack, but when music is, in fact, played up, it makes its limited time with us count by livening up atmosphere, though not so much so that Pialat contradicts his noable realist intentions. These musical moments, as well as all too limited occasions in which cinematographers Gilles Henry and Emmanuel Machuel find an attractive visual to play up, are rather rarely explored in this opus whose artistic value is most driven by storytelling artistry, but they are here, punching up the engagement value behind a story that is strong enough to carry itself on its own, as reflected by the fact that it, well, mostly has to carry itself on its own. There's not a whole lot of build-up to this particularly intriguing final chapter to an intriguing life, yet that doesn't stop the chapter in question for running a touch too long, but no matter how underdeveloped or overlong this film's story is, it is intriguing on paper, alone, with plenty of dramatic potential that isn't too extensively played up, but played up just enough within Maurice Pialat's clever script for you to gain an adequate understanding of this film's characterization and progression. Pialat's writing isn't outstanding, but it is commendable in its wit and realism, which helps in bringing the intriguing behind this film's worthy subject matter to life, and is itself brought to life by inspiration with Pialat's direction, whose restraint all too often does damage to pacing and atmospheric bite, but all but works wonders when heavier material falls into play and is not overplayed, but rather presented with enough inimtate genuineness for you to bond with the film's happenings and dramatic aspects, no matter how realistically restrained they are. No, people, the film won't exactly be jamming on your heartstrings, as this is not that kind of film that would play up cinematic dramatic touches, going driven by a very realist genuineness that could have been executed all wrong and left you utterly distanced from the final product, but is ultimately backed by enough inspiration for you to be sold on this world. What further sells you on the humanity behind this very human drama is, of course, the acting, which is strong in most everyone, but arguably at its strongest within leading man Jacques Dutronc, who, even then, isn't given a whole lot to work with, thanks to this film's being relatively held back in its portrayal of Vincent van Gogh's infamous mental and emotional health issues, but convinces consistently as the legendary artist, and when material is, in fact, called in, Dutronc plays with effective emotional range to further convince you of the layers and depths behind this brilliant and unstable soul. The film isn't thoroughly enthralling, nor is it even as powerful as it probably would have been if it was tighter, more fleshed out and - dare I say it? - more celebratory of dramatic aspects, rather than entirely realist, but where this effort could have fallen flat as underwhelming and too carried away with its uniqueness, like so many other meditative dramas you find at Cannes, inspiration behind restrained artistry proves to be compelling enough to make this film a reward one. When the final stroke comes, you're left with a portrait of Vincent van Gogh that stands to take more time with immediate development, and less time meditating on excess material that is made all the worse by a somewhat dryly slow atmospheric pacing, and sparks the repetition that could have driven the final product into underwhelmingness, but is ultimately battled back enough to keep you compelled, because whether it be spawned from such ever so rare atmospheric compliments as lovely music, or spawned from inspired writing, direction and writing that bring an intriguingly worthy story to life, there is enough kick to engagement value to make Maurice Pialat's "Van Gogh" a surprisingly consistently engaging realist drama that may have its natural shortcomings, but ultimately stands as worth watching. 3/5 - Good

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