At Eternity's Gate (2018)

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At Eternity's Gate (2018)

Willem Dafoe’s Vincent Van Gogh was the performance of 2018. The film itself was modest in scope, almost boutique in feel, which, added to the fact that there were no social justice or fashionable causes advocated, may have caused the Academy members to pass over this unique and striking performance.


There have been several good screen portrayals of the fascinating painter, making it all the trickier to develop a character about whom so much has been written, and displayed so thoroughly. It’s hard to say whether the director, artist Julian Schnabel, had any input on the characterization. The screenplay was co-written by Schnabel, his girlfriend Louise Kugelberg, and the veteran Jean-Claude Carriere. We would guess that Mr. Carriere did most of the heavy lifting on the treatment.


The sound palette and photography were very important. The music of the wind, rustling wheat fields, and Van Gogh’s firm brush strokes blended with the beautiful scenes captured by cinematographer Benoit Delhomme. To his credit they didn’t attempt to mimic the essence of the paintings with film technique, but rather offered them both as a duet and a nod to Van Gogh’s inspiration.


Likewise they resisted the use of art film techniques to accompany the subject’s well known mental decline. Tatiana Lisovskaya’s score was adequate, but at times the unaccompanied piano portions didn’t seem to want to commit either to dissonance or tonality, instead providing sophomoric chords or intervals that were confusing in their ambiguity. Yet at other times the music perfectly matched the mood.

Oscar Isaac’s portrayal of Paul Gaugin seemed off the mark. The treatment seemed too conservative for such an opinionated and assertive character. On the other hand Mads Mikkelsen gave a powerful and nuanced cameo performance of the priest who ultimately decided to allow Van Gogh to be released from his last asylum stay. All the other character parts were first rate.

In a masterful decision the producers did not dwell on the infamous ear cutting event. In fact it was not even shown, but left only to the imagination. One wonders if Dafoe exhibits more resemblance to Van Gogh from his right side, since in the film they incorrectly chose the left ear for excision, whereas in real life it was the right.

The movie title took its name from one of Van Gogh’s works completed two months before his death, Sorrowing Old Man (At Eternity’s Gate), painted from memory of an earlier pencil drawing. The time frame is the last few years of his life in France, first at Arles, and finally at Auvers-sur-Oise. His death has long been thought to have been a suicide, but more recent evidence has emerged that suggested accidental death. This is the route taken by the film.

He desired "not to see a landscape but only the eternity behind it". This is an excellent study of Van Gogh’s final years, and a memorable portrayal of the afflicted artist by Willem Dafoe that should not be missed.


Doc’s rating: 9/10



I loved this film Good write-up, Doc.

I was totally mesmerized by it and the world of Van Gogh of which it created before my eyes. It was a beautifully fragile and personal experience to be a part of. A very interesting way too, to capture what the essence of Van Gogh's creativity is and how he seeked it. The visualization of this works very well.



I loved this film @GulfportDoc and glad I made a point to watch it after reading your review. You caught every nuance, so I won't add too many of my own observations. The praise you had for this movie was justly earned.

I rarely see a movie that so eloquently captures the experience of how it feels to be a driven artist. Even films I've enjoyed on this subject , such as Final Portrait, spend as much time on the drama of the artist 's life- their marriage, the affairs, their familial ties, the money - as the creative process itself.

But in this movie, we can fully grasp who Van Gogh was as an artist , not (just) as an impoverished, at times unbalanced, lonely man who could not earn a living at his art. I enjoyed the conversations Van Gogh had about art, especially with Gauguin. And it was Gauguin's pithy insights that seemed( to me ) to define the dilemma of Van Gogh 's life. Seeing that the salon artists were an insular self- congratulatory circle who would do no good for any unique and gifted talent. Van Gogh seems to have a naive trust in the spiritual bounty of the landscape , while being oblivious to the character of the villagers around him. It is Gauguin who observes - "Why do you want to be here? You are surrounded by people who are stupid, wicked, and ignorant." He sees the menace that, according to this film, had a profond impact on Vincent's final years.

Also of interest was this new interpretation of how his life ended; and I have since read that there have been recent new assessments that contest the traditional view of suicide. Without spoiling the ending, this new way of telling how his life ends adds fodder for thought.

I also felt the movie seemed to convey a subtlety about brother Theo that had not occurred to me before- as supportive as he was to Vincent monetarily and brotherly- one wonders if Vincent's drive to create was (at least partially)promoted, engineered and /or harnessed by his brother. Who was, after all, an art dealer. For me, it adds a nuance to the altruistic reputation of his brother.

So much in this film to enjoy. I also liked that no one tried to 'match' Vincent's peerless hand and the film showed paintings that were only similar to the masterpieces. I loved seeing the paintings 'spring to life' from the most casual moments- throwing his shoes on the floor, in conversation with his doctor. Then suddenly - there 's a painting. These are the moments that the average person ignores- that the artist renders striking and indelible.

All through the film we see a conflicted man of strong drive, almost childlike vulnerability and unmovable faith in his hand - ignoring even his admired friend Gauguin's criticism of his use of 'thick ' paint. And in a humorous moment, not allowing himself to be overpowerd by Gauguin's blanket criticism of other famed artists. "I still think Monet's pretty good" asserts Vincent, mildly but surely.

It's hard to believe Schnabel got the essence of the artist 'so right' in this movie. as neither I nor the Doc hold his work in very high esteem. But who knows, maybe he was meant to be a (collaborative ) film maker - as this movie certainly ' got it right.'

And I see that my initial promise of me writing a short addendum to the Doc's excellent review has been undermined by my own rambling. Ah well, it was a wonderful movie.

My final note is that I felt that the essence of what it is to have a creative soul was portrayed best in the scene when Van Gogh is running into the landscape to paint. The jangling footsteps are captured with the handheld camera, and it is then we know that even a man so challenged in the everyday routines of life as Van Gogh - has found his purpose, his excitement, his communion with the world, his gift, his higher calling - his joy.

And in the centuries ensuring - ours.






Very insightful commentary, LL!! I have been around artists for a good chunk of my life, and around one of the near-great painters, Don Van Vliet, for years. So I can appreciate what polar emotions, anguish, and drive an artist experiences. It's not an admirable existence, but it is nonetheless fascinating.

~Doc



Thank you @GulfportDoc. I believe you have mentioned Don aka Captain Beefheart before, but as a musician . I don' t think I knew he was an artist. Just took a quick look at his online portfolio and I see he was indeed a talent . My initial impression is that he was an abstract expressionist. And his dynamic paintings were well received in places like the San Francisco Museum of Art.

It is not all that unusual for an artist to be known for one 'category' but be gifted in another. I do hope your friend Don's life was a little easier than Vincent's. Not an admirable way of living , true, but what may be admired is that nothing deters a true artist from following their passion -and creating something that lives on, and touches others in a meaningful way.



Thank you @GulfportDoc. I believe you have mentioned Don aka Captain Beefheart before, but as a musician . I don' t think I knew he was an artist. Just took a quick look at his online portfolio and I see he was indeed a talent . My initial impression is that he was an abstract expressionist. And his dynamic paintings were well received in places like the San Francisco Museum of Art.

It is not all that unusual for an artist to be known for one 'category' but be gifted in another. I do hope your friend Don's life was a little easier than Vincent's. Not an admirable way of living , true, but what may be admired is that nothing deters a true artist from following their passion -and creating something that lives on, and touches others in a meaningful way.
Ironically, Don Vliet (he later added the "van") was promoted to the big art scene by Julian Schnabel.. He was able to get him some influential gallery shows in NYC and elsewhere.

Sadly Don died in 2010 of multiple sclerosis-- the bad kind. He was 69. If Don had stuck with painting exclusively I think he would have been one of the most notable American painters. Of course having some celebrity in music didn't hurt his art career; it's just that he would have had a longer art career had he avoided music.



The artist played just fine. Willem Dafoe is a terrific actor! Especially the music with the image!
After watching this film, I felt real inspiration and inspiration! Maybe even start to draw pictures.