The familiar tragic story of Vincent van Gogh is broadened by focusing as well on his brother Theodore, who helped support Vincent. The movie also provides a nice view of the locations which Vincent painted.
An immigrant Nevada rancher brings a woman from Italy to be his second wife but when he neglects her, she becomes involved with his trusted assistant. Nominated for 3 Academy Awards including Best Actor.
After the disastrous months spent with Gauguin in the yellow house in Arles, Vincent van Gogh, in desperate search for a cure from attacks that increasingly plague him, voluntarily enters an insane asylum.
Following a rough chronology from 1884 to 1894, when Norwegian artist Edvard Munch began expressionism and established himself as northern Europe's most maligned and controversial artist, ... See full summary »
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 <firstname.lastname@example.org>
The color process used for the film (Ansco color, but labeled in the credits as Metrocolor) is supposedly unsuitable for long term color preservation. As a result, many prints have lost the extraordinary brightness of the movie's images. See more »
A painting of Roulin is shown displayed in Theo's house before Van Gogh has met him. See more »
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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