The artist does not make copies, he must display the truth. (c) Van Gogh is an artist whose attention and interest have only increased over the years. There are so many films dedicated to his life and work. And in my opinion, “Yellow House” with John Simm as Van Gogh is one of the best.
In the film, the artist is shown sloppy, hot-tempered, completely immersed in his own world and, as I thought, somewhat naive. This is how he appears against the background of Paul Gauguin, the relationship with whom the film is devoted. Gauguin, who looks after Van Gogh, who came to Arles to paint, tries to improve Vincent’s life, which turns into attempts to make her look like her own. Their approaches to art, to life, to themselves do not coincide, which leads to disaster.
There are two periods in the film, before and after the artist’s death. The story is told by Gauguin himself, sitting in the living room of his brother Vincent. Interestingly, after talking to Paul about his brother, Theo says he's happy. His death will come in six months.
The image of Van Gogh in the film is largely romantic. He would be less attractive if Gauguin were not put in opposition to him.
Their relationship is based on the desire to crush under themselves, to force to follow their ideas about life, the rejection of someone else’s position, but at the same time friendly attachment to each other. Here, by the way, Van Gogh is a great egoist, completely immersed in his work, painfully loving him. His selfishness manifests itself in those moments when he asks for an apology, begs Gauguin to stay. He asks for himself not to remain in the usual loneliness. He is genuinely happy with his friend, prepares a room for him, but expects something different from him.
Paul Gauguin, who has appeared in the “temple of art,” as Van Gogh calls his house, brings changes that Vincent does not like. He does this at the request of his brother Vincent, firstly because he is more comfortable with it. This causes conflict, and therefore it is so surprising that in the end Gauguin gives in and leaves. Says it's for Vincent's good.
For me, the main theme of this film was friendships, their perception and what can destroy them. The lonely Van Gogh, magnificently played by Symm, is even more selfish than the rude and calculating Gauguin, who sincerely regrets his friend, who tried to get along with him, no matter what.
Then I read an article debunking the romantic myth of the lonely artist, talking about the prudence of Van Gogh, about his letters to his brother (the more interesting to see how the same lines sound in the film with Cumberbatch). The words of the artist were quoted:
“The great is created not only by impulsive action, but also by the participation of many things which have been brought to a single whole.” With art, as with everything else: the great is not something accidental, but must be created by persistent volition.
In the film, they are conveyed not as his thoughts, but as one of the concessions made to Gauguin. Vincent writes to his brother about the need for a more restrained approach, he tries to believe in them. This does not give results, perseverance and confidence in their own work, concentration on it is much stronger than the beliefs and threats of a friend.
8 out of 10 Original