By midlandsmovies, Mar 29 2019 02:54PM
At Eternity’s Gate (2019) Dir. Julian Schnabel
Enigmatic and underappreciated in his own lifetime, Vincent Van Gogh’s life – especially the last dramatic few years – have been ripe for television and film adaptation and we get one more here in this new biographical feature.
As a self-confessed Van Gogh “superfan”, I’ve enjoyed many of the takes on his passions, especially 2017’s Loving Vincent – the animated painting of a film – which ended being my favourite film of that year. So what can Willem Defoe as Vincent bring to this new film? Well, it covers a similar period following Vincent as he spends his days painting in the South of France before his infamous ear-cutting, sectioning and finally mysterious death just outside Paris at Auvers-sur-Oise.
Covered in dirt and wandering through wild landscapes, the film has echoes of Terence Malick as an all-seeing spinning camera dwells longingly around our protagonist as her pursues his dream of capturing pure nature in his canvases.
Thematically, static paintings contrast nicely with Schnabel’s cinema verité floating camera and the film, like Vincent’s work, is glorious to look at. The fantastic photography captures candlelit conversations and wild fields of dead sunflowers and the excellent colour grading echoes Van Gogh’s artwork to perfection. Blues, greens and yellows pop from the screen at times.
But for all its pretty sunflowers and sunsets, the film is beautiful but boring. The conversations are kept to a minimum with the (very unnatural) dialogue cribbed from Vincent’s infamous letters but these sequences are spread so thinly. We instead get scene-after-scene of long wordless walks in the wilderness. Definitely a “mood” piece, the high-art meditation on Van Gogh’s life is simply like watching paint dry. And at times it literally is.
The conversations though – when they do eventually occur – are the film’s real highlight. Dafoe’s expressive facial lines have all the worry, stress and doubts that encapsulated Vincent and are excellently filmed in close-up making his wrinkles seem like an expressionistic set of brush strokes. A key aspect for a man famous for his portraits.
Oscar Isaac showing up as Paul Gauguin to discuss the artist’s goals, dreams and plans is perhaps where the film should have focused its lens. Their discussions and disagreements had the most vibrancy and I longed for more drama during the movie’s infuriating slow pace. So, whilst At Eternity’s Gate does get somewhat under the skin of the troubled artist at times, it ended being a film I so wanted to love but it’s simply too slow a watch to be gripping despite Dafoe’s dedication to the role.