1
VINCENT:
I just want to be one of them.
I would like to sit down
with them and have a drink,
and talk about anything.
I'd like for them
to give me some tobacco,
a glass of wine,
or even just ask me,
"How are you today?"
And I would answer,
and we would talk.
And from time to time,
I'd make a sketch
of one of them as a gift.
They would accept it maybe,
and keep it somewhere.
And a woman
would smile at me and ask,
"Are you hungry? Would you
like something to eat?
"A piece of ham, some
cheese, or maybe a fruit?"
(FOOTSTEPS APPROACHING)
VINCENT: Look at me.
Please.
(CONVERSING IN FRENCH)
VINCENT: Oui.
(INDISTINCT CHATTER)
(CAFE OWNER SPEAKING FRENCH)
(BELL TOLLING)
(ARTIST 1 SPEAKING)
(ARTIST 2 SPEAKING)
(ARTIST 1 SPEAKING)
(ARTIST 2 SPEAKING)
(ARTIST 1 SPEAKING)
- (ARTIST 3 SPEAKING)
- (ARTIST 1 SPEAKING)
going to be in my group show.
They let me down.
(CONVERSATION CONTINUES
IN FRENCH)
- (LAUGHTER)
- (ARTIST 1 SPEAKING)
(ARTIST 4 SPEAKING)
(ARTIST 1 SPEAKING)
(ARTIST 2 SPEAKING)
(ARTIST 2 SPEAKING)
(ARTIST 5 SPEAKING)
(ALL LAUGHING)
(ARTIST 5 SPEAKING)
(ARTIST 6 SPEAKING)
- (ARTIST 1 SPEAKING)
- (ARTIST 2 SPEAKING)
(ARTIST 1 SPEAKING)
(ARTIST 7 SPEAKING)
(SLAMS TABLE)
You know him, don't you?
Yes, I have some of
his paintings in the gallery.
(SPEAKS FRENCH)
(SPEAKING FRENCH)
Gauguin, by the way.
I know.
- You're Vincent.
- Yes.
Theo's brother.
I saw your paintings
at the cafeteria.
You did? You must've
been the only one.
But if you did,
it was worth it.
There were a couple
good ones in there,
but it was hard to see.
It was a difficult space.
And too many works.
My idea was a group show.
I thought it could be
a community of artists,
like a family.
When the other artists
didn't participate,
I had to do it by myself.
I filled it with everything
I had in my studio.
Yeah, it looked like it.
Those people, you don't
want them to be your family.
Who needs a family like that?
You can't pick your family,
but you can pick your friends.
I love my brother.
Then you're lucky.
But more importantly,
he loves you.
I know
he's very good to you.
I want to get as far away
from these people as possible.
I'm going to Madagascar.
Madagascar?
But what about Japan?
No, no, Madagascar.
It's an island. Big one.
In between Africa and India.
Or even further,
some remote island
where they've never
heard about painting,
about Paris or schools.
Somewhere where I can
create a new vision,
a new way of painting,
far away from all systems
and theories.
Real freedom.
(SIGHS) I'd like to be calm
and take my time,
alone, forget about the rest
of the world, and just...
Paint this.
Here.
Slowly.
What comes to me,
nothing else.
That sounds good.
I hate the fog. I'm tired
of this gray light.
I'd like to find
a new light.
For paintings
that we haven't yet seen.
Bright paintings,
painted in sunlight.
Go south, Vincent.
- (WIND BLOWING)
- (WINDOW FRAME RATTLING)
(LOCK CLICKING)
(EXHALES)
(BLOWING)
(WIND CONTINUES BLOWING)
(FURNITURE CREAKING)
(LATCH CLICKS)
(EXHALES)
(WIND BLOWING)
(WIND HOWLING)
(SOMBER PIANO MUSIC PLAYING)
(RUSTLING)
(SOMBER PIANO MUSIC
CONTINUES)
(BIRDS CHIRPING)
(INSECTS AND BIRDS CHIRPING)
(MELLOW PIANO MUSIC PLAYING)
(INSECTS CHIRPING)
(MELLOW PIANO MUSIC
CONTINUES)
MADAME GINOUX:
What are you reading today?
The Bible?
VINCENT: Uh, no, Shakespeare.
How did you say?
Shakespeare.
William Shakespeare.
He's an English writer.
Do you know him?
No, he lived a long time ago.
- Is he any good?
- Oh, yes.
What does he write about?
(HUFFS) About everything.
About men and women,
gods and kings,
about love and hate.
What are you
reading right now?
It's a, uh, theater play
called Richard III.
- Who is that, Richard?
- A king, a king of England.
A good king?
Oh, no, he was
considered a real bastard.
- Did he kill people?
- Oh, yes, a lot.
You shouldn't read
a bastard's story.
Why not?
- Does he write well at least?
- Oh, yes, very well.
Some of the lines
aren't very clear, but...
- I like that.
- Why?
Because I like mystery,
and Shakespeare
is more mysterious
than any other writer.
Well, when I read a book,
I like to understand
what's written.
What kind of books
do you read?
Mmm...
Mostly novels. Modern novels.
And short stories
in the papers.
Sad stories.
I don't know why,
I like a story to be sad.
If I had more free time,
I would...
Wait a minute.
I'll be right back.
(DISHES CLANKING)
(DOOR OPENS)
- I have a book for you.
- Thank you.
There's nothing written in
it. In fact, it's blank.
But I thought
you could use the paper.
Thank you.
Excuse me, I've been
meaning to ask you...
Is there a place,
or do you have a storeroom,
or a room where I could paint?
It's...
It's sometimes difficult with
this weather, the mistral.
The yellow house next door
has been empty for months.
Maybe he could use it?
Yes...
Perhaps we could make an
arrangement with your brother?
It is a bit rundown,
but Gaby can help you
clean it up.
That would be
perfect for me.
Maybe I can,
uh, make a painting of
you someday.
POSTMAN: Me?
Yes.
If you want, sir, thank you.
GABY: Have you received
the money for this month?
You still owe me
for last month.
VINCENT: When it arrives,
I'll pay you.
GABY: Your brother,
he must be rich.
Well, he... He's not.
He's a merchant.
He sells paintings.
Your paintings?
Not yet.
You should
wash yourself sometimes.
At least once a week.
Do I look dirty?
You smell terrible.
You're not bad looking.
If you just
cleaned up a little,
you might even be handsome.
If I was clean, would
you find me attractive?
Maybe.
Would you stay with me here
if I gave you 50 Francs?
You don't have 50 Francs.
See you tomorrow, Vincent.
(RAIN PATTERING)
(THUNDER RUMBLING)
(TOOL SCRATCHING)
GABY: Why do you paint this?
VINCENT: What?
GABY: These flowers.
Why do you paint them?
VINCENT: Don't you
find them beautiful?
Well, they are
beautiful flowers, no doubt.
More beautiful
than what you paint.
- You think so?
- Oh, yes.
Maybe you're right.
But these flowers will wither
and fade. All flowers do.
I know, everybody knows that.
But mine will resist.
GABY: Are you sure?
(VINCENT SIGHS)
At least
they'll have a chance.
You should
make a painting of me.
Why not?
If you paint me,
I would stay young
forever, maybe.
I can even
make you look younger.
No, it wouldn't be fair.
(UP-TEMPO PIANO MUSIC PLAYING)
(RUSTLING)
(UP-TEMPO PIANO MUSIC
CONTINUES)
(MELANCHOLY CLASSICAL
MUSIC PLAYING)
(MELANCHOLY CLASSICAL MUSIC
CONTINUES)
(SLOW PIANO MUSIC PLAYING)
VINCENT:
When facing a flat landscape,
I see nothing but eternity.
Am I the only one to see it?
Existence can't be
without reason.
(SLOW PIANO MUSIC RESUMES)
(KIDS AND TEACHER
SINGING IN FRENCH)
(SPEAKING FRENCH)
(TEACHER SPEAKING)
- (GIRL SPEAKING)
- (TEACHER SPEAKING)
- (TEACHER SPEAKING)
- (KIDS SPEAKING)
(TEACHER SPEAKING)
(KIDS SPEAKING)
(ALL CLAMORING)
(TEACHER SPEAKING)
(KIDS SQUEALING PLAYFULLY)
(BOY 1 SPEAKING)
- (GIRL 1 SPEAKING)
- (KIDS GIGGLE)
- (GIRL 2 SPEAKING)
- (GIRL 1 SPEAKING)
- BOY 2: Oh.
- (KIDS YELLING, GIGGLING)
(VINCENT SHOUTS)
(KIDS SCREAMING)
Go away! Go away!
Go away! Leave me alone!
Leave me alone!
(SHOUTING IN FRENCH)
Go away!
(VINCENT SHOUTS INDISTINCTLY)
(BOY SPEAKING FRENCH)
(MAN SPEAKING FRENCH)
(DOGS BARKING NEARBY)
(MEN CLAMORING)
(SOMBER PIANO MUSIC PLAYING)
- (PATIENT 1 COUGHS)
- (HUSHED CHATTER)
(PATIENT 2 WEEPING)
(WOMAN SOBBING)
Theo.
Theo, come here.
(VINCENT SIGHS)
They told me what happened.
Please,
tell me,
how do you feel?
I feel so well
with you next to me.
So well...
I'd like to die like this.
(THEO SIGHS)
When we were little,
I used to climb into bed
with you, remember?
Yes, you did.
When it was getting cold.
How long will you stay?
Just today, I'm sorry.
I have to get back to Paris.
So many things to do...
And they told me you were in
a hospital,
and I took the first train.
Can't you stay any longer?
I can't, I'm sorry.
(SIGHS)
It took one day
and a night to get here.
And I'm a married man now.
I know you are.
I'm very happy
for Jo and you.
Vincent,
why did they put you here?
I have no idea, Theo.
I swear to you.
(EXHALES)
There must be a reason.
From time to time,
I feel like
I'm losing my mind.
Yes, my mind goes out of me,
I'm telling you.
It goes out of me.
What do you mean?
They say that I scream
in the streets, that I cry,
that I put black paint on
my face to scare the children.
But I don't remember
anything.
Anything except
the darkness and anxiety,
so they sent me here.
With really insane people.
Do you drink a lot?
I must tell you,
(WHISPERS) don't tell it
to the doctors...
Theo,
sometimes I have visions.
Who do you see?
It's hard to say.
Ghosts?
I don't know.
Flowers, sometimes,
and also angels, human beings.
It's confusing.
Sometimes they talk to me.
What do they say?
I don't understand them.
But it's frightening. They
aren't always very nice.
I will talk to the doctors
and see what can be done.
When I get like this,
I don't know
what I'm capable of.
Maybe I could kill
and throw myself off a cliff.
(CRIES)
(INDISTINCT CHATTER NEARBY)
THEO: Dear Paul,
I know you've been in correspondence
with my brother Vincent,
and he is very much
looking forward
to your arrival in Arles,
which I know has been postponed
due to financial concerns.
I am prepared and committed to
sending 250 francs each month
in exchange for one painting
a month of yours,
at your discretion.
It would benefit
Vincent greatly
to see you
as soon as possible.
A warm handshake.
Enthusiastically,
Theo van Gogh.
P.S.
Looking forward
to your response
and to seeing
your latest works.
Of all the miseries
that afflict humanity,
nothing maddens me more
than the lack of money.
But not tonight.
(INDISTINCT CHATTER)
Another round, madame.
MADAME GINOUX: Gaby.
(SPEAKS FRENCH)
like a beggar, but not today.
It's so good to see you,
Vincent,
and this fine group.
I'm happy to see you, Paul.
But really, no one around
here really likes me,
except Madame
and Monsieur Ginoux.
Sometimes it's days
before I speak to someone.
I've been waiting
for this moment.
But you were so indecisive.
I'm glad
you made up your mind.
Is your brother
still sending you money?
250 francs a month.
(CHUCKLES) Not much.
He does what he can.
Did you make
an arrangement with him?
Yeah.
He pays my expenses here,
and I send him
a canvas a month.
- And you're happy with that?
- It's all right.
It's acceptable.
You have
such a compelling face.
Maybe you'd come over
to the yellow house
and, uh, pose for me.
Maybe.
I'll take that as a yes.
(VINCENT CHUCKLES)
(INSECTS TRILLING)
Why do you always
have to paint from nature?
I feel lost if I don't have
something to look at.
I need something to see.
There's so much to see.
Every time I look,
I see something
I've never seen before.
Yes, but what you paint,
what you do belongs to you.
You don't need to
copy anything.
I don't copy.
I know,
but why don't you paint
just what's in your mind?
What your brain sees?
Because the essence
of nature is beauty.
GAUGUIN: What do you mean?
What do you mean
what do I mean?
Why did you want to
go to Madagascar?
To get away from society,
from people.
That may have
been part of it,
but you went there
in search of beauty,
and nature
was definitely there.
And it was different
than what you knew before,
and it made your paintings
look different.
When I look at nature,
I see more clearly,
the tie that unites us all.
A vibrating energy,
speaking in God's voice.
Sometimes it's so intense,
I lose consciousness.
- (SCOFFS) Come on.
- I swear to you.
After a while,
I wake up and I don't know
where I am or what I'm doing.
It takes me some minutes
to even remember my name.
Listen, Vincent,
the time is coming
when painters
won't need anymore
to look at models and sit down
in front of nature.
You know why?
Because nature is what
we see here in our heads.
Nothing else!
Without our eyes,
there's no nature.
And none of us sees the world
around us the same way.
We sit, you and I,
in front of
the same landscape,
we don't see the same
mountains, the same trees.
VINCENT: Well, that's
what I'm saying.
The trees that I paint
are mine.
Even the faces you paint
are yours.
And they'll stay
because of you.
People will be known
because you painted them
and how you painted them,
not because of who they are.
That's good.
And people will go to museums
to see paintings of people,
not to see people
who were painted.
You know,
people don't always like
the way they look
in my paintings.
We have to start a revolution.
Do you understand?
Yes, we do.
Us, our generation.
We have to change entirely
the relation between painting
and what you call nature.
Between painting and reality
because painted reality
is its own reality.
VINCENT:
You're right about that.
- (BOTH URINATING)
- GAUGUIN: The impressionists,
they're out of it,
do you agree?
- VINCENT: (CLICKS TONGUE) Uh...
- GAUGUIN: Come on.
They only paint their
babies in their gardens.
They'll never
go any further.
Seurat confounds
painting with science.
He's lost himself
in optical experiments.
There's nothing more
to expect
from Renoir, Degas, Monet...
They repeat themselves.
They've given everything
they could give.
VINCENT:
You don't mean that.
You like Degas.
You have to say thank you
for the paintings you like.
Monet's pretty good.
GAUGUIN: It's our turn.
We have a huge responsibility.
VINCENT: I still think
Monet's pretty good.
You want to go to Martinique?
(BREATHING HEAVILY)
VINCENT:
It's good to have you here.
(FLAPPING)
(DOOR SHUTS)
(FOOTSTEPS APPROACHING)
(DOOR OPENS)
Could you put your hand
back how it was?
Thank you.
- Can I go?
- GAUGUIN: You can go.
You have to plan
your paintings slowly.
What's the rush?
Work calmly, slowly.
You're indoors, you're not
outside in the wind and the noise.
Paintings have to be done
in one clear gesture.
Think about the surface
that you're painting on
and how the paint
will sit on it.
You're changing things
so fast,
you can't even see
what you've done.
Paintings have to be
painted fast.
(UP-TEMPO PIANO MUSIC PLAYING)
VINCENT: Painters I look at...
Frans Hals,
Goya,
Velazquez,
Veronese,
Delacroix.
The painters I like all paint
fast in one clear gesture,
each stroke.
You've heard of
"a stroke of genius"?
Well, that's what it means.
You don't even
paint that way.
You paint fast
and you overpaint.
Your surface looks
like it's made out of clay.
It's more like sculpture
than painting.
GAUGUIN: You don't even
paint like that.
You paint fast
and then you overpaint.
Your surface looks
like it's made out of clay.
It's more like sculpture
than painting.
(INSECTS CHIRPING)
(INSECTS CHIRPING)
I'm telling you,
you have to look inside.
You keep saying "look
inside." I get it, I do.
You keep repeating yourself.
What do you think
I'm doing?
I don't invent the picture.
I don't need
to invent the picture.
I find it already in nature.
I just have to free it.
All right, I'm just saying,
first think about your surface
and how the paint
will sit on it.
Get control
over what you're doing.
Maybe you should
work inside more.
I've spent all my life
alone, in a room.
I need to go out
and work to forget myself.
I want to be out of control.
- I need to be in a feverish state.
- (WINGS FLAPPING)
It's called the act
of painting for a reason.
GAUGUIN: All right, calm down.
I don't want to calm down.
The faster I paint,
the better I feel.
GAUGUIN: I can't stay here,
Vincent.
What are you saying?
I can't stay in Arles.
I'll go soon.
What?
I've sold
some paintings lately.
Maybe your brother told you?
And I have to
get back to Paris.
Where are you going?
Vincent!
(PANTING)
(GROANING)
VINCENT: I've spent
all my life alone, in a room.
- I need to go out and work...
- GAUGUIN: What are you doing?
VINCENT: ...to forget myself.
- I want to be out of control.
- GAUGUIN: What?
VINCENT: I need to be
in a feverish state.
It's called the act
of painting for a reason.
GAUGUIN: All right, calm down.
VINCENT:
I don't want to calm down.
The faster I paint,
the better I feel.
(CRYING)
Why are you crying?
VINCENT: What did I do?
Where did I go wrong?
Nothing.
You have nothing to do
with this decision.
Vincent,
we can't live side by side.
Our temperaments
are incompatible,
you must admit that.
And you have to understand
my reputation
is established now.
I can't live
in a country town anymore.
I have to be around people,
for now.
(VINCENT PANTING)
Besides,
I don't like it here.
You're surrounded by
stupid, wicked, ignorant people.
Come on, why are you
being so dramatic?
(VINCENT BREATHING HEAVILY)
Please don't go.
It's great having you here.
GAUGUIN: I've sold
some paintings lately.
Maybe your brother told you?
Don't do it to me!
I beg you.
- No!
- GAUGUIN: Nothing.
You have nothing to do
with this decision.
- Where are you going?
- (DOOR OPENS)
Vincent, we can't live
side by side.
Vincent!
Our temperaments
are incompatible,
you must admit that.
(VINCENT GROANING)
And you have to understand
my reputation
is established now.
I can't live
in a country town anymore.
I have to be around people,
for now.
What?
Besides,
I don't like it here.
You're surrounded by stupid,
wicked, ignorant people.
(VINCENT CRYING)
Come on,
why are you being so dramatic?
(CRIES)
VINCENT: What are you saying?
GAUGUIN:
I can't stay in Arles.
(VINCENT EXHALES DEEPLY)
VINCENT: There's something
strange about me.
Sometimes I don't know
what I've done
or what I've said.
About Gauguin, for instance,
what happened
right before he left.
We had some fights...
I...
Maybe I hurt him.
I don't know how.
I do know
that I took a razor
and I cut off
one of my ears, yes.
I cut it off, one of my ears.
Blood all over the place.
No one else did it, I did it.
I wanted to give it to Gauguin
with my apologies.
Why?
God knows.
And I thought,
she would know where Paul was,
so I gave my ear to the girl
at the bar, to Gaby.
She was scared,
all the blood...
I think she thought
I was going to kill her.
So, she called the police
and they put me here.
And what would you have done,
as a police officer?
You can leave. It's all right.
(DOOR CLOSES)
I...
This is a small town, Vincent.
Everybody's watching
what you're doing,
even more in a small town.
You're a stranger here.
You drink too much.
Much too much.
Then you get hysterical,
out of control,
and yes, one night you cut off
one of your ears.
Can you tell me why?
My friend was
about to leave me.
He was about to leave.
And cutting one
of your ears
was a way to keep him
next to you?
That doesn't make sense.
Was it a kind of gift
or a sacrifice or what?
What were you trying
to achieve?
VINCENT: I don't know.
It might help
to talk about it.
Try to tell me. I...
I've never seen
anything like this before.
But I'd like to help you.
There's something inside me.
I don't know what it is.
What I see, nobody else sees
and sometimes it frightens me.
I think I'm losing my mind.
But then I say to myself,
"I'll show what I see
"to my human brothers
who can't see it."
It's a privilege.
I can give them hope
and consolation.
You're confusing people.
You're confusing yourself
with your paintings.
I am my paintings.
What do you mean
by consolation and hope?
You might be asking
too much of people.
VINCENT: I'd like to share
my vision with people
who can't see what I see
the way I see.
Yes, but why?
Because my vision is closer
to the reality of the world.
I can make people feel
what it's like to be alive.
Do you feel like
they don't feel alive?
VINCENT: Yes, I do.
And you think
you can make them
feel that through painting?
Yes. Yes, absolutely.
Yes.
Gaby said your ear
was wrapped in this,
and she was supposed to
give it to Paul.
"Remember me,"
what did you mean by that?
(SIGHS DEEPLY)
Maybe you were trying
to show him
what he meant to you
through that act,
but that was something
you couldn't see.
I didn't want him to leave.
It was a way to get him back.
Jesus said, "If thy hand
offend thee, cut it off."
So you cut off your ear
because you couldn't bear
to hear what Paul was saying?
I believe I have
a menacing spirit around me.
An invisible being.
I feel it, I don't see it.
He speaks to me
and threatens me.
And all he wants to do is
plunge a knife into my heart.
I saw him and I tried to
cut him out of myself.
So that's the reason
why you cut off your ear.
(BREATHES SHAKILY)
Your vision of the world,
as you say,
is quite frightening.
Isn't it?
Yes.
I'm terrified he'll
come back.
I see.
(SIGHS DEEPLY)
So, listen to me.
We'll send you to
Saint-Remy.
- Where?
- Saint-Remy.
A very nice place.
The best we have around here.
You'll be very well-treated.
- Is it a jail?
- No, not at all.
It's a voluntary asylum.
It's your choice,
but you'll be subjected
to their rules
and methods of care.
I do think you can find
some peace there.
And when you're
less overexcited,
you can even paint there.
Without painting,
I can't live.
I believe you.
Will you come and see me?
Of course.
At least once a week.
And you're sure that, um,
I'll be allowed to paint
there? You're sure?
Yes.
But first, when you get there,
you'll have to stop drinking
and take some medicine.
For how long?
That will depend on you.
Will you do as I say?
May I count on you?
Can you stay for a minute?
I promised your brother
I'd send him a drawing
of what you've done.
Don't move, please. I'm going
to take your bandage off.
VINCENT: No, I can do it.
(MELANCHOLY CLASSICAL MUSIC
PLAYING)
(INDISTINCT CHATTER)
ALBERT: Beneath skies
that sometimes dazzle
like faceted sapphires
or turquoises,
beneath the incessant
and formidable streaming
of every conceivable effect
of light.
In heavy, flaming,
burning atmospheres,
there is the disquieting
and disturbing display
of strange nature
that is
at once entirely realistic
and yet almost supernatural.
Often excessive nature
where everything,
beings and things, shadows
and lights, forms and colors,
rears and rises up
with a raging will
to howl its own essential song
in the most intense
and fiercely
high-pitched timbre.
It is matter
and all of nature,
frenetically contorted.
It is form becoming nightmare,
color becoming flames,
light turning
into conflagration,
life into burning fever.
Such is the impression
left upon the retina
when it first views
the strange, intense
and feverish work
of Vincent van Gogh.
How far are we, are we not,
from the beautiful,
great tradition of art?
Never has there been a painter
whose art appeals so directly
to the senses,
from the indefinable aroma
of his sincerity to flesh
and the matter of his paint.
This robust and true artist,
Vincent van Gogh,
towers above the rest.
MAN: Cafe. Cafe.
(SPUTTERS)
- Cafe.
- Put water on him!
You are the painter?
Uh, yes.
Cafe. Cafe.
- Are all the painters crazy?
- Cafe.
VINCENT: Maybe just the good ones.
I really don't know.
- Hmm.
- MAN: Cafe.
I'm an army man.
I was a soldier.
VINCENT:
Are all soldiers crazy?
Oh, no, soldiers are
not crazy, but officers are.
- (WATER POURING)
- All the officers are insane.
(MAN GROANING)
When they made me a sergeant,
I started to feel different.
MAN: Cafe. Cafe. Cafe.
And when I became secretary
to the general,
I had all the keys.
Can you see it?
The keys.
VINCENT: Yes.
The keys to all the dossiers
of all the officers.
And I can tell you
they are all crazy.
They've all killed,
tortured, mutilated, raped.
MAN: Cafe. Cafe. Cafe.
VINCENT:
Where were you stationed?
Oh, it's a faraway place.
It's called Tonkin.
(WATER POURING)
And years ago, during the war,
(SIGHS IN RELIEF)
there were many,
many tunnels were dug.
And I knew a Tonkinese girl
who was born in a tunnel.
MAN: Cafe. Cafe.
She didn't see the daylight
for the first 12 years
of her life.
Twelve years, gone.
Can you imagine
that you were a painter,
not seeing the snow,
not knowing what it was,
what it meant?
Twelve years.
MAN: Cafe. Cafe. Cafe.
Oh... (SIGHS)
Hey, shut up, shut up.
Shut up!
What do you paint?
Sunlight.
(UP-TEMPO PIANO MUSIC PLAYING)
(UP-TEMPO PIANO
MUSIC CONTINUES)
(UP-TEMPO PIANO
MUSIC CONTINUES)
(GOATS BLEATING)
(FOOTSTEPS APPROACHING)
VINCENT: Look at me.
Please.
(CONVERSING IN FRENCH)
VINCENT: Oui.
VINCENT: Oui.
(GRUNTING)
No...
(WOMAN STUTTERING)
(CONTINUES SHOUTING IN FRENCH)
- (DOG BARKING)
- (GOAT BLEATING)
(MELANCHOLY PIANO
MUSIC PLAYING)
(CARRIAGE RATTLING)
GAUGUIN: My dear Vincent,
I've looked most
attentively
at your works
since we parted.
First at your
brother's place
and then
at Independence Exhibition.
It's above all
at this latter place
that one can properly judge
what you do.
Either because of things
positioned beside each other,
or because of
neighboring works.
I offer you
my sincere compliments.
And for many artists,
you are the most remarkable
in the exhibition.
With things from nature,
you're the only one there
who thinks.
I've talked about it
with your brother,
and there's one that I would
like to exchange with you
for one thing of your choice.
I hesitated greatly
to write to you
knowing that you had just had
a rather long crisis.
So, please don't reply
to me
until you feel
completely strong.
Let's hope that, with the
warm weather that will return,
you're going to get well
at last.
"The winter
is always dangerous to you.
"Cordially, ever yours,
Paul Gauguin."
(MELANCHOLY CLASSICAL
MUSIC PLAYING)
(INAUDIBLE)
GUARD: Van Gogh!
Van Gogh!
Not here, there.
There. There.
Follow me.
- Here he is.
- Thank you.
Please help me take it off.
Thank you.
- Better?
- Yes.
Come, sit with me. Talk to me.
Please.
I suppose you know
why you're here.
(SIGHS) Talking to you now?
To get better.
Or because I walked out
of the asylum.
What happened
on the road to Arles?
VINCENT: I don't remember.
You did walk out
of the asylum.
I wanted to go out.
The townspeople of Arles have
signed a petition against you.
They don't want you
to come back there.
VINCENT: Yes, I know.
- Did you ever molest a child?
- No. Never.
Did you cut off
one of your ears
to give it to a prostitute?
Is that true?
Yes, I did. But Gaby's
not a prostitute.
Why did you do that?
(SIGHS) I wanted her to
give it to a friend of mine.
And she did?
I don't know.
And that was a strange offer,
wasn't it?
Do you feel angry sometimes?
Yes.
And what do you do then?
I go out,
look at a blade of grass
or a branch of a fig tree
in order to calm down.
And it works?
Yes.
I feel God is nature
and nature is beauty.
I've seen you
in the garden, painting.
And I've heard from others
that you say
you were a painter.
Yes, that's what I am.
Why do you say that?
Do you have a gift
for painting?
Yes.
Where does this gift
come from?
Would you say that
God gave you
the gift of painting?
Yes, He did. It's the only
gift He gave me.
Did you paint this?
VINCENT: Yes, I did.
PRIEST: And you call it
a painting?
VINCENT: Yes, of course.
Tell me frankly because
I'd like to understand.
Why do you say
you're a painter?
Because I paint.
I love painting.
I have to paint.
I've always been a painter.
That, I know.
A born painter?
Yes.
How do you know?
Because I can't do
anything else.
And believe me, I've tried.
PRIEST:
So, God gave you a gift
so you could paint this?
VINCENT: Yes.
But don't you see...
(SWALLOWS)
Now look, carefully. Please.
I don't want to
hurt your feelings,
but don't you see
that this painting is...
How can I say...
(CLEARS THROAT)
Unpleasant.
It's ugly.
Why would God give me a gift
to paint
ugly and disturbing things?
Sometimes I...
Feel so far away
from everything.
Does anybody
buy your paintings?
No.
- So, you're poor?
- Yes, rather poor.
How do you live?
Well, my brother, Theo,
pays for me to be here.
But he's not
a rich man either.
So, you believe
that God gave you this gift
because He wants
to keep you in misery?
Huh.
I never thought about it
that way.
And which way do you think?
Sometimes I think...
Yes?
Maybe, maybe...
Go on.
Maybe He chose the wrong time.
What do you mean
the wrong time?
Maybe God made me a painter
for people
who aren't born yet.
Possibly.
It is said,
"Life is for sowing.
"The harvest
is not here."
I paint with my qualities
and faults.
So, you think
God could've been mistaken?
I think of myself as an exile,
a pilgrim on this earth.
Jesus said, "Turn your
heart away from things visible
"and turn yourself
to things invisible."
- Indeed. But...
- And Jesus also
was totally unknown
when he was alive.
How do you know that?
My father was a pastor.
I've been around religion
all my life.
Really? A pastor?
Yes, and before I realized
I was a painter,
I tried myself
to be a man of God.
So, I learned quite a bit
about the topic.
So you know the gospels?
Not only the gospels,
I can tell you that Jesus
wasn't discovered
until 30 or 40 years
after he died.
When he was alive,
nobody talked about him.
There's not even a letter
from a Roman centurion
to his wife in Rome
saying that a man named Jeshua
was crucified in Jerusalem
with some other criminals.
Not a word, nothing.
You know,
this is my job to decide
if you're well enough
to leave this place.
This reminds me of Jesus
on the terrace.
Which terrace?
Speaking to Pilate,
who definitively, if you
believe what was written,
didn't want to crucify him.
It was the people.
Yes. We could have
a real discussion
about this theory
some other time.
Pilate didn't want
to crucify Jesus,
but everything Christ said
incriminated him, so...
I, too,
have to be careful
with what I say to you.
I can understand that.
Listen,
come see me again
if you feel like.
And share some other ideas
with me.
In the meantime, Dr. Rey
is here waiting for you.
He came to take you home.
I'm free to go?
I think we've done all we
can for you here.
I hope I'm ready.
I hope so, too.
VINCENT:
Please return these things
to Madame and Monsieur Ginoux.
They've been real friends.
DR. REY: Sure, I will.
And give them that book.
Tell them thank you.
(KNOCK ON DOOR, DOOR OPENS)
- Hello.
- DR. REY: Bonjour.
This is very important.
Make sure
Madame Ginoux receives it.
It is from the painter
Vincent van Gogh.
He apologizes for the delay.
A bundle of towels,
a ledger,
and two empty olive boxes.
VINCENT:
My work's all here.
You didn't sell anything.
Not yet, but Aurier's
review
was excellent,
really wonderful.
VINCENT:
That review was absurd.
I don't deserve
anything that man said.
- Far from it.
- Yes, you do.
THEO: The review will help.
VINCENT: I think...
I'm beyond caring
what anyone thinks, but...
I care what you think, Theo.
Tell me,
I want to know the truth.
Am I a good painter?
THEO: (VOICE OVERLAPPING)
You're not a good painter,
Vincent.
You're a great painter.
VINCENT: Are you sure?
Of course, I'm sure.
Why would I lie to you?
I mean, you're my brother.
You're my brother.
Just to please me.
THEO: I wouldn't do that.
JO: No,
Theo would never do that.
VINCENT: People say that
I don't know how to draw,
how to paint.
They say my paintings
are clumsy, ugly.
I used to care
what people thought.
But not anymore.
(VOICES CONTINUE OVERLAPPING)
I have no choice.
If I couldn't paint,
I would murder someone.
THEO: That's why I send you
money for your paintings
because I really believe
you are a great painter.
And I'm a businessman.
I'm a business man
after all.
So, you paint,
and leave the rest to us.
You paint
and let us do the rest.
VINCENT:
Gauguin sent me this letter.
- Yes, I knew he wrote to you.
- Did you see him?
THEO: No.
- Gauguin...
- He hasn't asked for me?
...sent me this letter.
Is he here?
I really don't know.
Yes, I knew he wrote to you.
JO: What about Aurier
or Bernard?
Do you want to see them?
I know they're in town.
VINCENT: He hasn't asked
for me? Is he here?
I...
Anywhere. Out of Paris.
I want to go somewhere.
I can't stand it here.
It's not my place.
I find everything
too complicated.
I can't see anybody.
I can't stand it here.
It's not my place.
It's worse
since Aurier's article.
Anywhere. Out of Paris.
I can't stand it here.
A little village.
There's a lovely little inn
in Auvers-sur-Oise.
Pissarro knows a doctor there
who knows your work, loves art
and maybe he can help you
without getting in the way.
JO: And we could come
and see you.
VINCENT:
I'll go there tomorrow?
Let me look into it.
- THEO: Pissarro...
- I need to go, Theo.
- I need to go.
- I'll take care of it.
(BIRDS CHIRPING)
May I talk?
VINCENT: Yes, but don't
move too much.
Why do you paint?
I paint,
as a matter of fact,
to stop thinking.
A sort of meditation.
When I paint, I stop thinking.
About what?
I stop thinking,
and I feel
that I'm a part of
everything outside
and inside of me.
I wanted
so much to share what I see.
An artist...
DR. GACHET: Yes?
(SIGHS) I thought an artist
had to teach
how to look at the world.
But I don't
think that anymore.
Now I just think about
my relationship to eternity.
What do you call eternity?
VINCENT: Time to come.
DR. GACHET: Hmm.
Maybe what you are
saying is that
your gift to the world
is painting.
(VINCENT CLICKS TONGUE)
(SIGHS) If not,
what good is an artist?
You're happy
when you're painting?
Most of the time,
except when I fail.
You look sad sometimes.
(SIGHS) There's a lot of
destruction and failure
at the door
of a successful picture.
I find joy in sorrow.
And sorrow is greater
than laughter.
You know,
an angel is not far
from those who are sad,
and illness
can sometimes heal us.
It's the normal state
that gives birth to painting.
You feel that way?
Sometimes I hate the idea
of regaining my health.
(LAUGHS) In that case,
you don't need a doctor.
Stop laughing.
Stop smiling.
- Please.
- Excuse me.
Go back to your pose.
Excuse me.
It's all right.
(SIGHS)
Sometimes they say I'm mad,
but a grain of madness
is the best of art.
You're not a mad man.
It's good to have a doctor
as a friend.
VINCENT:
I feel a pain in my stomach.
He was dressed
like Buffalo Bill.
Hey, Vincent!
(PANTING)
(INAUDIBLE)
VINCENT:
One of them was nicer.
(GUNSHOT)
YOUNG MAN: (PANTING) Please!
Don't tell our parents.
(PANTING)
(MELLOW PIANO MUSIC PLAYING)
DR. GACHET: What happened?
What did you do?
(GASPS)
You have a bullet hole
in your stomach.
VINCENT: I don't know.
Did you shoot yourself?
Maybe.
I don't remember.
Don't blame anyone.
Don't blame anyone.
Do you have a gun?
No.
Never.
So how did you do that?
I don't know.
Tell...
Tell my brother to come.
Oh, I did.
He'll be here soon.
(BREATHING HEAVILY)
VINCENT: Oh, God,
will you receive your son?
(SOMBER PIANO MUSIC PLAYING)
(INAUDIBLE CONVERSATIONS)
(SOMBER PIANO MUSIC CONTINUES)
(GENTLE PIANO MUSIC PLAYING)
(GAUGUIN SPEAKING FRENCH)
(MELLOW PIANO MUSIC PLAYING)