Pure classical emotion, like the artist itself
Tatiana Lisovskaya At Eternity’s Gate
Rating: (4,5 / 5)
Filmtrax 16/11/2018
TT: 61:31
Not every day we can talk about artists moving from one genre to another. Although painter-turned-filmmaker Julian Schnabel is already a well-established name already. In his latest film, pays tribute to another fellow artist: legendary Vincent van Gogh. As his final last days are recounted in a very mystical and committed biopic, “At Eternity's Gate”, it easy to observe how everything has been done with such a care and delicate attention to detail. The film tries to go into the mind of artist, and not to show us his life documentary-like. The result is a story marvelously explored and poetically masterful, painting a potent picture through Willem Dafoe's amazing and magnetic turn as the tortured Dutch artist in decline as he rebounds and finds inspiration in the confines of scenic France. And it is easy to observe how aptly captures the contained creativity that is trapped in the weary eyes of the intuitive Dafoe's well-traveled Van Gogh.
But regarding the music, we get a new name that we should keep in the “watch-to” list for future assignments. Tatiana Lisovskaya is a classical Russian composer, which demonstrates his ability for piano and violin throughout the whole score. The music is one more element that tries to define us what emotions Van Gogh go through in mind and paintings. While the film and its wonderful cinematography tries to make the real environments similar to the colors that the painter used in his most famous pictures, the music goes for the throat in regards of how his emotions became part of his work. A complex man both blessed and cursed by his expressive visions on canvas, allows Schnabel--in support of van Gogh's triumph and transgression-- tap into the angst-ridden insights predicated on the unpredictability of the artistic craft. In the end, presenting an intense creator of imagery that may be as analytically fascinating to examine. One that is pure effervescent emotion.
To describe it, through his emotion, Lisovskaya builds a gorgeous main theme for the painter that overwhelms us (and the score) every time that it takes front. That “Van Gogh Theme” is, simply put, perfect for this picture. Although sometimes reinforced with violin, is the piano that becomes the artist voice. And do so in such a way that is really difficult to not feel anything when it happens. The sound of composer Tatiana Lisovkaia’s piano—the high treble—shimmers in quavers, and the camera shakes in that same ecstatic rhythm. The film show us luxurious colours: deep crimsons, cadmium yellows, burnt siennas. Moments later, together with the music, Van Gogh sets his canvas onto the stand, and begins to capture those colors. Alternatively, using a newly carved bamboo pen, Van Gogh lines the slant of a horizon, and at the same time, we hear a high, unwavering note slide keenly along a violin string. In both these instants, the picture and its music clasp together perfectly. It is breathtaking. And there are many more moments like these in both score and film.
There is a secondary theme that has a more active and propulsive emotion in it. “Moving Forward” uses the piano as a force that makes the painter keep on going over any troubles, doubts and angst that he may have. The end result is of such beauty and emotion that I really doubt anybody can stand it without stopping anything that goes through our minds at certain moments and start paying attention. Especially when violin and piano play together with just pure emotion. It is absolutely overwhelming. Sometimes this kind of score, I am not sure why yet, are bashed by critics and fans due to being too manipulative.
In this case, when a film wants so desperately show us what emotions somebody can go through, is what it really needs to be. Moreover, even without a picture, a story and an actor, music is just enough to get to that place where emotions are. This is a perfect example of that, and you should not regret it when you listen to it.