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 »
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Erik L. Christensen
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, the film also flashes back to the death from consumption of his mother, when he was five, his sister's death, and his near death at 13 from pulmonary disease. The film finds enduring significance in Munch's brief affair with "Mrs. Heiberg" and his participation in the café society of anarchist Hans Jaeger in Christiania and later in Berlin with Strindberg. Through it all comes Munch's melancholy and his desire to render on canvas, cardboard, paper, stone, and wood his innermost feelings. Written by
I felt as if there were invisible threads between us. I felt as if invisible threads from her hair still twisted themselves around me. And, when she completely disappeared there, over the ocean, then I felt still how it hurt, where my heart bled, because the threads could not be broken.
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Probably the most powerful biography of a painter on film with Tarkovski's "Andrei Rublev" and Pialat's "Van Gogh". The way Watkins handles the narration of his film and of Munch's life and art is simply amazing. A perfect example of life as art and art as life. The commentary is never redundant with what is seen on the screen and like the works of Munch, the shape of the movie is like a spiral, where scenes come back over and over, in a repetitive manner, like the paintings/carvings of Munch, who often drew the same subjects. It makes you want to see more of Munch's works as well as other movies by Watkins. Definitely worth being seen more than once.
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