Vincent & Theo

1990

Biography / Drama

188
Rotten Tomatoes Critics - Certified Fresh 88%
Rotten Tomatoes Audience - Upright 71%
IMDb Rating 7 10 3,265

Synopsis


Downloaded 48,033 times
April 10, 2019

Director

Cast

Jean-Pierre Cassel as Georges Lelievre
Paul Rhys as Theodore 'Theo' Van Gogh
Tim Roth as Novecento
720p.BLU 1080p.BLU
932.46 MB
1280*720
English
NR
23.976 fps
138 min
P/S N/A / N/A
2.06 GB
1920×1080
English
NR
23.976 fps
138 min
P/S N/A / N/A

Movie Reviews

Reviewed by smatysia 7 / 10 / 10

Roth shines

I knew something of Vincent van Gogh, and Theo for that matter, from reading Irving Stone's book about them (Titled "Lust for Life", I think). They were both copious letter writers, which is where most of the knowledge of them today comes from. I can't say enough about Tim Roth's performance in this film. As someone earlier remarked, Roth passed up the chance to ham it up, as many actors would do to portray van Gogh's madness. It's a much more realistic quiet desperation. I had barely heard of Roth, and didn't recognize him in "Pulp Fiction". Coincidentally, I had just seen him in "Little Odessa", another well done, but somewhat low-key performance. That one is worth checking out, too. The other actors, the direction, the photography were all first rate. The only reason I didn't give it a higher score is that the subject matter is sometimes unpleasant to watch. But if you are interested enough to read this comment, then you should see the film.

Reviewed by hs-star 9 / 10 / 10

worst ever!!!

I like Tim Robinson, but his acting as 'Vincent' ? The worst eeeeeeeeeeeever!!!! Tim can act as a pshyco serial killer wonderfully, but 'Vincent' was not that kind of mad man. This movie can even ruin your other 'Vincent' movie. If you do not like Vincent Van Gogh? Well, go ahead and waste your money and time. However, if you love Van Gogh and Starry Night? Please, don't ruin your IMPRESSION!!!!!

Reviewed by Christian-Doig 9 / 10 / 10

Robert Altman, Tim Roth and Vincent

In Altman's eyes, Van Gogh painted with his own blood. His film itself is a revelation: of the saint-like brother, of the cut-off ear. In Tim Roth, Van Gogh is that cypher of the great artist, living his present as a sacrifice for a future he would never see. Theodore, the brother, had faith in Vincent when nobody did. Consumed by a diversity of personal and domestic problems, the most important thing in his existence was the legacy of a mad genius, that breathing stereotype of the lunatic jumping to your bed and threatening to kill you and/or himself if things don't go his way -- just ask Gauguin. Suicide is painless... While, always according to Altman, the martyr who supported the painter down to his last penny was no saint in conventional terms, Van Gogh's infamous ear wasn't entirely separated from the red home of his nightmares, either. Just two years later, Roth would be a major player in a different, more completist, bloody film reminiscent of the tormented artist's auditive wounds, though not self-inflicted in that case --Mr. Blonde was a non-creative evil sociopath. Screenplay and production design are, beside the acting, what provide some answers to the questions posed by Altman, in one of his most subtly mysterious works. The master filmmaker had ever be prone to a certain impressionistic style, and here he has the ideal subject. For instance, his groundbreaking overlapping dialogue -- although seldom used in this essentially dual portrait, told mostly in parallel sequences-- serves very well the confusion and desperation that cloud Theo's life. Apart from that legendary technique, the anti-melodic music soundtrack is a sort of anachronistic and utterly intimate reflection of the individual suffering inside Vincent. Body and soul, heart and mind, Roth becomes the centre of the frame as Altman, take after take, seems to be draining the actor. His ever- homeless-looking raggedy countenance constantly reminds the audience of his own saint-like, martyr mission. Art was his religion, and Roth, small yet dangerous, makes the most of that lonely crusade. For his part, the Welsh Paul Rhys is first-rate as well, as the lesser figure with a less interesting biography, both of which Altman imbues with a fascination pertaining to the unsung heroes. An effect the director gets through because is based on a sense of reality that goes beyond the surface of commonplaces. Vincent & Theo tells a story that would be unbelievably ridiculous if it wasn't for the enormous tragedy it actually contains. Arguably the most picturesque Altman film, for evident reasons, it is a multilayered, contrasted and rich account of a brotherly love that changed art as we know it. The stuff of myth recedes and discovers the not so simple truth of life and death. Altman's oblique approach creates a tapestry of colourful suggestions in the same league with another Post-Impressionist tale, John Huston's Moulin Rouge. Its Gauguin doesn't compare to Anthony Quinn's in Lust for Life, but this 1990 version attacks all the senses in the best possible ways, and Roth is everything.

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