WILLEM DAFOE AND VINCENT VAN GOGH

     Last week's blog characterized the Academy Awards  and not too kindly at that. Missing was a critique of the nominated actors which is now about to be modified with an analysis  of Willem Dafoe's film, AT ETERNITY'S GATE by director Julian Schnabel. Dafoe seemed like a likely candidate to play Vincent van Gogh, at least on a physical level with the actor's natural skin coloring and our perception of his demeanor. Yet Dafoe's personality, as expressed by his diverse movie roles, also suited what we think of van Gogh: his talent, passion, provocative nature and risk-taking. Other aspects of van Gogh's character we can not compare with Dafoe's, naturally, unless we know him well. We can only assume what some of those comparisons are based on his films.

     Foremost, both van Gogh and Dafoe's characters are not afraid to engage in amazing journeys, to fail if necessary ( although this was extremely difficult for the painter), to express themselves with the utmost courage no matter what it took. And most essential, at least to this critic, was the ambiguity of their thoughts, beliefs and art. Of course, Dafoe does not always play characters emphasizing any of these particular qualities mentioned, but his roles were still selected with taste and oddness in mind ( specifically regarding a film's director ). Consider John Water's CRY BABY ( a cameo role ), Michael Cimino's HEAVEN'S GATE (another cameo part), Oliver Stone's PLATOON, Tony Scott's THE HUNGER and Lars von Trier's THE ANTICHRIST.

     Other movies where Dafoe had significant parts were also exceptional works about exceptional, real people, like Abel Ferrara's PASOLINI and Martin Scorsese's THE LAST TEMPTATION OF CHRIST. In the latter film, Dafoe played Christ, a man who was both the son of God and the son of a mortal being. While that was probably his most challenging role, we somehow believed him to be two parts of a whole entity.  Such an undertaking also proved the character's ambiguity that he never could quite mirror in other movies. 

      AT ETERNITY's GATE shows van  Gogh's ambiguity as well, although not as strongly. On one hand, the artist expressed his wish  to be like other people, a desire that continued throughout his life. His passion to connect with other painters (like Gauguin) and various women is obvious. Why this is true is perhaps not always obvious, but certainly companionship and acceptance play a part. Yet van Gogh forged a stronger bond with nature that provided a counterbalance to the world around him. van Gogh's comment, "I like a mystery," defines his inability to understand his life and art. Yet  he still savors the process of that understanding and accepts the fact he may never solve any of his mysteries.

     Director Schnabel's camera movement is a physical manifestation of  van Gogh's instability  and thus ambiguity: the hand-held camera and pans of various speeds convey energy, diverse objects and a feeling of unsteadiness as the images's intentions overtake the viewer. And van Gogh as well.