(2017) Animated Feature (Good Deed) Featuring the voices of Douglas Booth, Saoirse Ronan, Helen McCrory, Chris O’Dowd, Robert Gulaczyk, Jerome Flynn, Cezary Lukaszewicz, Eleanor Tomlinson, Aidan Turner, James Green, Bill Thomas, Martin Herdman, Robin Hodges, Josh Burdett, John Sessions, Joe Stuckey, Piotr Pamula, Kamila Dyoubari . Directed by Dorota Kobiela and Hugh Welchman
As a painter, Vincent Van Gogh was one of the world’s most influential, creating works that remain iconic to this day – most of us have seen at least pictures of some of his work. As a person, Vincent Van Gogh was an enigma; beset by mental and emotional issues throughout his life (there are some experts who believe he was bipolar) that led to him shooting himself fatally at age 30 in 1890. He remains a mystery to many, producing over 800 paintings in the last 10 years of his life and then abruptly choosing suicide.
Armand Roulin (Booth) is a roustabout, a ne’er do well who is the son of Joseph Roulin (O’Dowd), the postmaster of Arles where Van Gogh lived and a friend to the Dutch painter. Joseph has come into possession of a letter that Vincent (Gulaczyk) wrote to his beloved brother Theo (Pamula) near the end of his life. It is 1891 and Van Gogh has been dead for a year. Joseph has tasked his son with the job of delivering the letter from the late master to his brother in Paris, only when Armand gets there he is unable to locate Theo. He goes to Vincent’s art supply dealer Pere Tanguy (Sessions) who informs him that Theo has followed Vincent into the hereafter. Armand then decides that in lieu of delivering the letter to Theo he will deliver it instead to Theo’s wife Johanna. Tanguy doesn’t know where she is living but suggests contacting Dr. Gachet (Flynn) in Auvers who treated Vincent in the last months of his life and was with him when he died.
Roulin travels to Auvers only to find that the good Doctor is out of town. He decides to stay at the same inn and pub where Vincent stayed; the kindly innkeeper’s daughter Adeline Ravoux (Tomlinson) who remembered the painter quite fondly puts him up in the very room where Vincent lived and died. Armand sets out while he waits for the doctor to return with talking with various townspeople about the painter, from the doctor’s daughter Marguerite (Ronan), his housekeeper (McCrory), a boatman (Flynn) and the local policeman (Herdman). The more Armand interviews the people who knew Van Gogh the more murky his death becomes. Was it really suicide, as the painter himself confessed to on his deathbed? Or was it something else?
First off, this movie is a remarkable achievement in animation. The filmmakers started by filming the actors against green screen, then utilized more than 100 artists to create each frame as an oil painting in the style of Van Gogh (inserting actual paintings of the master in various places more than 40 of them – see if you can spot them all) which came out to about approximately 65,000 paintings all told. In a way, we’re getting a view inside Van Gogh’s head and coming about as close as we will ever get to seeing the world through Van Gogh’s eyes.
The voice acting can be stiff and stuffy at times, but unlike a lot of reviewers I found the story compelling. There is a bit of a mystery to the death of Van Gogh, particularly in light of a 2011 biography that questions the official account of his death and hints that he may have been the victim of an accidental shooting and that he insisted it was suicide to protect the person who shot him. There are certainly some compelling reasons to think it, mainly based on the angle of the shot that mortally wounded the painter. Most suicides put the gun to their head; most don’t kill themselves by shooting themselves in the stomach which is an exceedingly painful way to go. The angle of the wound also suggests a trajectory that would have made it physically unlikely that Van Gogh shot himself although it was possible.
That said, most scholars today agree that this new theory is less likely than suicide and while the filmmakers here seem to lean in the direction of homicide, it at least gives us a bit of a gateway into examining the painter’s works, particularly in the last months of his life. While the movie seems preoccupied with Van Gogh’s death more than his life – something in which Adeline Ravoux actually scolds Armand about during the film – there is no doubt that the filmmakers hold his work in great reverence.
And that’s really the beauty of the film. It brings the world of Van Gogh to life, gives it depth and meaning in ways that most of us could never do on our own. It will hopefully give some folks the impetus to take a closer look at his work and his life; it did me for sure. Spending so much time trying to make sense of his death may give the movie a bit of a morbid tinge but that doesn’t detract at all from the overall beauty that Van Gogh created – and the filmmakers re-created with such obvious love. I wouldn’t be surprised if this ended up on the shortlist for the Best Animated Feature Oscar for next year.
REASONS TO GO: The technique is startling and brilliant. The use of Van Gogh’s paintings is clever. The story is compelling. The end credits are extremely well done. The film will likely motivate you to explore Van Gogh, his life and his work.
REASONS TO STAY: The film seems more concerned with Van Gogh’s death than with his life. Some of the voice acting is a little stiff.
FAMILY VALUES: The themes here are fairly mature; there’s also some violence, a bit of sexuality and plenty of smoking.
TRIVIAL PURSUIT: Each one of the film’s more than 65,000 frames were hand-painted using similar techniques to what Van Gogh actually used. It took a team of more than 125 artists more than seven years to complete the massive task.
CRITICAL MASS: As of 10/11/17: Rotten Tomatoes: 79% positive reviews. Metacritic: 61/100.
COMPARISON SHOPPING: The Painting (Le tableau)
FINAL RATING: 8..5/10