Vincent and Theo (1990) Other movies recommended for you
Vincent and Theo(in Hollywood Movies) Vincent and Theo (1990) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Vincent and Theo on your mobile, tablets and ipads
Plot: 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. Runtime: 133 mins Release Date: 27 Apr 1990
This story is one of the most interesting I know. Unfortunately, the script misses the real drama of this important life. But never mind. The real art of the film is in two achievements:--Altman frames and colors his shots through Vincent's eyes. This is the most sensitive use of the cinematic palette I've seen, and makes the experience singular. I saw it on a TV, which I hate to do. I would travel to see this properly projected.--Time Roth gives interprets Vincent wonderfully. If you ignore the lines, which are vapid, and concentrate on his being, it's quite nuanced. He is meek <more>
in body, but passionate in expression. The teeth and pipe are great.
a vibrant, strange, and completely absorbing look at the strife and creation of two brothers (by Quinoa1984)
Robert Altman makes one of the great films about artistic expression, the utter and complete frustration with it, the dregs of having to go through the motions in a capitalistic society where taste is so subjective that it combs over the fact that an artist needs some recognition. We never see Vincent Van Gogh, via equally frustrated though nowhere near as insane brother Theo, sell any of his work, and it doesn't help things that as things get more and more desperate, and funds dry up and mental disintegration kicks in, Vincent just starts to snap or look like he'll snap any minute. <more>
It's a powerful film not because so much of the full-on drive of the plot, as Altman is infamous for making that the secondary characteristic if at all of his films, but for the camaraderie of two brothers, of the very intense push-and-pull between the two of them.It also helps that Altman has three very crucial and, ultimately, exquisitely successful assets. First are his two main actors, Tim Roth and Paul Rhys. Both actors make up the brothers as having a similar temperament: anxiety brushed over by a quiet, isolated mind-set. But as brothers, the two of them act them as two far reaching personalities that somehow come back to the other through some form of need. That, in a way, is a subtext to much of what happens to either brother, of a need of acceptance never reached, either through financial gain or reputation, or just through some semblance of sanity or reason for being with the opposite sex. Rhys is perfect as an uptight, shy, but also very conflicted- sexually and sort of existentially- about what to do with his life, and with his poor brother. He has that look in his eyes like he's a solid individual, but seething underneath is rage and discontent, despite his best efforts. He pulls off this emotive being quite well, even if dipping a little into over-acting at times he might seem to yell every other scene .Roth, meanwhile, gives one of his crowning achievements as an actor, worthy of Pacino. When he's not going totally ape-s*** in throwing stuff on the ground or painting his or another's face or doing the token ear cutting scene it's only a lobe, by the way, sorry to disappoint , he seems to be perfectly still with a calm voice, but eyes darting much of the time around. Roth makes Van Gogh less a caricature and more a full-bodied being, as far as can be in an Altman film this understanding of the nature of an artist of the period. You're never sure when he might suddenly snap back, and its equally tense and compelling to see Roth in the scenes of Van Gogh painting, in a field of flowers giving up or when he's transfixed in the act of creating when drawing the prostitute when she's not paying attention. This leads to the second asset, which is Stephen Altman's production design, where nothing is left to the imagination. This, in a way, allows for an almost surreal feeling underneath the veneer of the straightforward. It looks all as if it's shot on location; even the paintings look like they were on loan from the big galleries of the world.And the third asset is Altman himself, though more over his trust in the material. One might wonder what Altman made his own of the script or what was already there. But it seems very much a move from the director to see how the film opens, which is odd and interesting, as footage from an auction where a Van Gogh fetches tens of millions of dollars goes on, with the audio transposed as if it were on some radio somewhere that doesn't exist in the background during the first scene with the brothers where they argue about money and painting and going to Paris. Throughout Altman is always assured with the lens, allowing his actors total freedom, and in this he evens gets creative as his main subject: watch the scene with Van Gogh in the field of dandelions, as his camera starts to do the small zooms and pans with the surroundings, as opposed to just the actor this also goes for when Vincent and his first lady are in the gallery with the long landscape portrait that at first looks like a shot out of Antonioni . And Altman never goes for easy or cheesy stylizations when it comes to Vincent going off the deep end- we're given a look at it all as if it's so very simple, which makes it even more effective for his intents and purposes.A tale that acts as a slight cautionary tale for aspiring artists, while also probing a mind so delirious and brilliant that it acts as a tale that offers up many interpretations psychologically and historically, Vincent & Theo is ultimately worthwhile for its collection of superlative scenes, of passion running through even in the smaller moments between characters. And the musical score is affecting as well- think a baroque duet with one side a punk rocker.
Vincent and Theo: Brotherly Love of the Intense Kind (by Author_Poet_Aberjhani)
I have one favorite scene in the film VINCENT AND THEO, the late Robert Altman's highly acclaimed masterwork on the life of Dutch painter Vincent Van Gogh. It is a short brutal scene in the first half of the movie when Van Gogh's model and mistress is leaving him: she slaps him witless, and then kisses him hard on the mouth before storming out of the apartment. That double action of pained frustration and loving adoration seems a sad but accurate metaphor for the entire film and possibly for Van Gogh himself. Whereas life bestowed upon him a bliss-filled kiss of exceptional artistic <more>
and spiritual vision, the hand of fate slapped him so hard that he was robbed of any lasting personal joy that might have come from this great gift. Van Gogh in the film played brilliantly by Tim Roth is one of those creative geniuses of history whose life story continues to haunt and inform us from one century to the next. The question is "Why?" Could it be because the beauty and evidence of that genius continues to increase with time and therefore makes us wonder about the cultural values and "personalities" we tend to either champion or malign in modern days? That it definitely does increase can be measured in one sense by the millions of dollars for which this eighteenth century impressionist artist's paintings now sell. The whole point of Altman's film seems to be to illustrate how Vincent's genius found refuge for a while in his brother Theo's love. It is well known that even though Theo who is played with mesmerizing neurotic precision by Paul Rhys was a relatively successful art dealer, he was unable to manipulate the market to his brother's advantage. That did not, however, stop him from financially supporting him throughout his short adult life as a painter. Altman makes that point clear enough when Theo informs his brother that the money Vincent thought their father had been sending him had in fact been provided by Theo. Rather than belaboring this aspect of their relationship, director Altman moves his camera back and forth between scenes that show us how very much alike, and yet simultaneously different, Vincent and Theo were in their thwarted pursuits of a triumphant life. As Theo eagerly courted "respectable ladies," Vincent just as eagerly enjoyed women of a certain profession. Whereas Vincent yearned to prove himself an artist worthy of the name, Theo yearned to prove himself a businessman worthy of prominence and prosperity. Vincent's descent into madness manifests more tangibly because it takes on the more graphically visual qualities associated with art itself: we see him court and then violently alienate the attentions of his equally genius friend Paul Gauguin; watch him stick knives menacingly in his mouth, cut off his earlobe, meekly endure his stay in an asylum, stand in a sunlit field where he has been painting black birds and calmly shoot himself. All the while, some of the most celebrated canvases in art history, depicting a virtual of ecstasy of sunflowers, starry nights, and golden wheat fields, rapidly pile up. Theo is actually able to resist the powerful tug of debilitating madness until after his brother succumbs to it. That he does fall prey to it is tragically ironic because despite the syphilis that mars his happiness, he achieves some measure of the "ideal life" with a wife, new baby, and modest advancement in his career. He therefore appears to have all the motivation necessary to sustain a stable existence. But when he places all of Vincent's work after the artist's death in a suite of rooms for an exhibit, he screams at his wife that "This is the most important thing in my life!" and forces her to leave. It would seem at that point that he not only loved Vincent and believed deeply in his talent, but was in fact a kind of extension of him, and vice versa. The loss of Vincent on July 29, 1890, at the age of only 37, triggered in Theo a mental and physical collapse. He died less than a year later on January 25, 1891, at the age of 33.This 1990 movie released on DVD in 2005 is 138 minutes long so no one can claim it's too short. I only wish Altman had included somewhere in it the story of howafter studying for the ministry and before he became a painterVincent spent forty days nursing back to health a miner who had been injured in an explosion and whom doctors had expected to die. The miner's recovery was described as a miracle and, from the scars left on his face, Van Gogh experienced a vision of the wounds that Christ suffered from the crown of thorns placed on his head. Some allusion to this may have added greater understanding to the intense spiritual impulses that drove Van Gogh's devotion to his art and helped clarify what he hoped to communicate through it. Even so, the film as it stands is itself a remarkable painting of two extraordinary brothers who shared one profound and astonishing destiny. by Author-Poet Aberjhaniauthor of ELEMENTAL, The Power of Illuminated Loveand Encyclopedia of the Harlem Renaissance
"Now I think I know what you tried to say to me.... (by Galina_movie_fan)
...How you suffered for your sanity,How you tried to set them free. They would not listen, they're not listening still. Perhaps they never will... "Don McLean "Vincent Starry, Starry Night Robert Altman's "Vincent & Theo" 1990 , is as beautiful, powerful, and disturbing as the life of a man who could create the richest, most exiting paintings, who could never paint from his imagination but only by what he saw. How he saw the world around him was extraordinary. The life of the artist was not glamorous, it was depressing and self-destructing but as a result of <more>
his Art, we all have became a little richer, happier even if for a moment and better. Based on letters written by Vincent van Gogh to his art-dealer brother Theo, this is a wonderful cinematic biography, perhaps one of the best ever made about the life of a painter. Tim Roth was sensational and Robert Altman IS one of the greatest directors of all times. His film looks at us through Vincent's eyes, and for two hours we are in Vincent's world of madness and genius.
An exploration of the relationship between Vincent van Gogh Tim Roth and his art dealer brother, Theo Paul Rhys , Robert Altman's "Vincent and Theo" begins with real, documentary footage of a Vincent van Gogh painting being sold for fifty four million dollars at a contemporary London auction. Altman then cuts to Vincent, impoverished and black-toothed, lying on a straw mattress in a grimy room, circa 1888. This juxtaposition between art and commerce permeates the entire film."Vincent and Theo" originally ran as a 4 hour television series. Altman then edited this <more>
footage down to a single feature length film. Though not widely seen, it's one of the directors finest works, thanks largely to Roth's rather raw portrayal of the now-famous Dutch post-impressionist. Altman, meanwhile, is preoccupied with impotence. Characters throughout his film suffer from sexual dysfunctions, syphilis, an inability to sell and an inability to paint. These are men who struggle with creation, both sexual and artistic. Elsewhere sexual, financial, social and creative impotence overlap or are linked.Even more grim, Altman paints "serious artists" as wandering monks who have cut themselves off from the world. These men sacrifice health, happiness, financial and personal well-being for the sake of their art. Altman pities these men for their self-imposed torture, but of course admires them for their dedication.Gradually Vincent begins to identify with Japanese monks and samurai he idolises their wood-cuttings and paintings . Like these characters, Vincent believes himself to be living a wandering life dedicated to a specific cause. He initially takes up this lifestyle due to the teachings of Christianity, but eventually revokes the church altogether; it's becomes his mission to find truth in or via paint, rather than within the cold pages of the Bible.The feature length cut of the film never shows precisely what Vincent is attempting to achieve, but we nevertheless sense Vincent's deep desire to capture or tap into something almost imperceptible; a hidden, kind of ontological core. Why Vincent is unhappy with the various artistic movements around him and why he is unhappy with his own work is likewise ignored. Instead, we get an overwhelming sense of both bottled up potential and repressed sexual energy. Vincent gets no satisfaction from his paintings, from his life, or from the prostitutes he hires and paints.An outcast himself, the real Vincent van Gogh understandably developed a deep empathy for the peasant class. He began wearing ragged clothes, did not wash, did not respond to acquaintances on the street, and began painting pictures that conveyed his sympathies for the hard lives of peasants. During this period, his paintings became dark vessels of hopelessness. Through Expressionism, Vincent sought to portray the internal turbulence, the inner feelings, of both himself and his subjects. Of course 19th century European society was not ready for such emotionally morbid works. This resulted in many of Vincent's paintings going unsold, causing the artist to spiral further into depression. It was only after Vincent's suicide that the public was able to connect his personal suffering to his paint on canvas. You might say that suicide made Vincent popular, his audience suddenly able to understand and empathise with those sad brush strokes.Significantly, Altman precedes each of Van Gogh's "mental crises" with a perceived threat to the deep attachments he felt for his loved ones. A sensitive man, Vincent spirals into depression when a prostitute leaves him, when his brother weds, when a friend mocks him etc etc. These emotional highs and lows are ably conveyed by Tim Roth, who is positively riveting in his role. With every gesture and muscle movement, Roth conveys a sense of pain, passion and quiet suffering. Roth's Vincent starts out as a raging bull, a man of both fiery passion and intense frustration, but eventually becomes a broken little boy, weak, quiet, alienated and on the verge of suicide.Meanwhile, Altman ably conveys the love between Theo and Vincent. But their love is complex. Consider the first scene in which we see these two brothers arguing. After the argument, Theo then reveals that it is he, and not his father, who has been mailing Vincent money for the past few months. But rather than apologise for insulting his brother, Vincent simply clenches his pipe in his mouth and smiles. This gesture speaks volumes. Vincent smiles, not only because he is touched that his brother cares enough to support him, but because he is glad that he has brought misery to another human being, glad that his brother has been drawn into his own private suffering. This kernel of truth - not necessarily misery, but of deep, unspoken or unacknowledged emotion - is what Vincent hopes to convey in his art.8.5/10 - Underrated Altman.
The familiar tragic story of Vincent van Gogh Tim Roth is broadened by focusing as well on his brother Theodore Paul Rhys , who helped support Vincent. The movie also provides a nice view of the locations which Vincent painted.There is no overstating the acting talents of Tim Roth. While American audiences may not have really noticed him until "Reservoir Dogs", he had been acting since 1982 and this film may have been his first great role. He makes Vincent his own, fully becoming the character.Robert Altman had a great decade in the 1970s, slumped a bit in the 1980s, but came <more>
back hard in the 1990s with this one. He was a master and utilized Roth to the fullest.
"Vincent & Theo" tells of the later years of the too short lives of painter Vincent Van Gogh and his lesser known brother, Theo. I was surprised, after viewing a Tivo'd version of the film, at how little has been written about and made of this wonderfully crafted period film by Robert Altman. Roth Vincent and Ryhs Theo distinguish themselves with superb performances which make the spectacle of their work on screen as interesting, if not more so, than the lives of their humble characters. The entire cast turns in solid performances, something which must be attributed <more>
largely to Altman, and the film offers excellence in every aspect with the possible exception of sound. Running a tad long for a somewhat less than extraordinary biography, "Vincent & Theo" is recommended for more mature viewers into period films or those with a special interest in Van Gogh and/or classical painting.