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Lust for Life (1956)

7.4
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Ratings: 7.4/10 from 5,994 users  
Reviews: 61 user | 33 critic

The life of brilliant but tortured artist Vincent van Gogh.

Directors:

, (uncredited)

Writers:

(screen play), (based on the novel by)
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Title: Lust for Life (1956)

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Won 1 Oscar. Another 3 wins & 6 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
Pamela Brown ...
Christine
...
Niall MacGinnis ...
Roulin
Noel Purcell ...
Anton Mauve
...
Madge Kennedy ...
Jill Bennett ...
Willemien
...
Dr. Peyron
Laurence Naismith ...
Dr. Bosman
...
Jeanette Sterke ...
Kay
Toni Gerry ...
Johanna
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Storyline

Vincent Van Gogh is the archetypical tortured artistic genius. His obsession with painting, combined with mental illness, propels him through an unhappy life full of failures and unrewarding relationships. He fails at being a preacher to coal miners. He fails in his relationships with women. He earns some respect among his fellow painters, especially Paul Gauguin, but he does not get along with them. He only manages to sell one painting in his lifetime. The one constant good in his life is his brother Theo, who is unwavering in his moral and financial support. Written by John Oswalt <jao@jao.com>

Plot Summary | Add Synopsis

Taglines:

The best-seller comes to the screen...the drama of a man who lived with insatiable passion. See more »

Genres:

Biography | Drama

Certificate:

TV-PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

15 September 1956 (USA)  »

Also Known As:

La vie passionnée de Vincent van Gogh  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Perspecta Sound® encoding) (35 mm optical prints) (Westrex Recording System)| (35 mm magnetic prints) (Westrex Recording System)

Color:

(Metrocolor)

Aspect Ratio:

2.55 : 1
See  »
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Did You Know?

Trivia

Parts of the film were shot in Auvers-sur-Oise, where Vincent van Gogh lived and died. Kirk Douglas had his hair cut specially in the style of the artist and had it dyed to a similar reddish tint. This was enough to make some of the older inhabitants of the town believe that Van Gogh had returned. See more »

Goofs

Camera shadow falls across Ducrucq as Van Gogh finds him dead. See more »

Quotes

Paul Gauguin: If it's one thing I despise, it's emotionalism in painting.
See more »

Connections

Referenced in Interview with Chris Petit and Keith Griffiths (2008) See more »

Soundtracks

Polka des poulettes
(uncredited)
Music by Aman Comès
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Passion for life
18 March 2001 | by (Denmark) – See all my reviews

When I hear the name Vincente Minnelli certain scenes pop up on my inner screeningroom: A tracking shot at the fair (Some came running), the low tracking zoom towards Douglas and Turner at the pool (Bad and the Beautiful), snowmen (Meet me in St Louis) and the agony in Douglas's face in "Lust for life"; in fact as soon as his redbearded agonized face pops up, all the other movies fade away and "Lust for life" takes over my inner screening room.

But apart from being my favorite Minnelli movie, its a movie that more than any other shows his genius in use of colors; every scene is composed in breathtaking technicolor with the deepest respect for Van Gogh's own use of color, and Douglas's acting is filled with the same agony and passion as the strokes of Van Gogh's brush. As the other great movies who uses color to its fullest (Wizard of Oz, Black Narcissus, Ten Commandments), the simularities between the director and the painter is obvious. Hence, Minnelli's struggle for "painting" the scenes with the richness of technicolor becomes an echo of Van Gogh. It also reads as a textbook in composition from Steinberg's Dead Space to Eisenstein's juxtapositions. In all, Minnelli is of great skill and uses it to the fullest.

The story, which focuses on the struggle for a new way of expression, is tame at times and the acting (apart from Douglas) seems static most of the times, but the tortured face and body of Douglas and the use of color makes this one of the greatest achievements in MGM's history and one of the best movies Minnelli ever made.


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