[CRITICAL] GAUGUIN – TRAVEL TO TAHITI

“Chronicle of a defeat “, it is as well asEdouard Deluc defined himself, his latest feature film looks like a biopic : GAUGUIN – TRIP TO TAHITI.

The mass is said, by choosing this episode to be both rich and painful of the life of Paul Gauguin, the developer commits to a tone of melancholy which will result both in the colors, the music and the message of the film. Freely adapted from Noa Noa – the travelogue of painter – GAUGUIN – VOYAGE FROM TAHITI to drown, unfortunately, in his lyricism and dilutes its qualities instead of letting us just enjoy them.

Deep and intense, landscapes are breathtaking, the soft light as sublime as unexpected, and offer a décor incredibly credible this adventure exotic, which begins of course in Paris, but takes place primarily on the island of Tahiti. Account of the two years during which the painter lived there (from 1891 to 1893) before being repatriated as ” an artist in trouble,” GAUGUIN – VOYAGE FROM TAHITI portrays the man more than his work, and it is still a bit of a shame. So there is no need, for the beginner, expect to learn anything apart from the brief mention of the search of his Eve wild. Of course the painting is inseparable from the artist, it is its engine, and even its drug is one tempted to say at the end of this film, but these are the traits of his character much more than those of his drawings that are highlighted.

“A story as little informative as pleasing that, in spite of aestheticism licked and actors of choice, will we be fitted by the slowness of his pace.”

This fishing is that, beyond the good intentions of the filmmaker to show at what point the painter was guided, or even forced by his ideals, what are the slopes negative that take up widely the above. What we retain of her starting solitary of Paris, its beliefs, its lifestyle choice – it emits a deep-wild – it is above all his selfishness, his inability to take care or protect those he loves, his complete lack of a limit in the accomplishment of his passion, which led to the bottom, etc… Too many little things let the viewer catch a glimpse of the talent, modernity and integrity that reflect its part Of these images and the artist as it is presented to us are the result as well as bitterness and disappointment, and even a certain arrogance, and one can’t help but wonder if it really reflects the intention of the director when his casting was drifting without his knowledge over the shooting.

According to Edouard Deluc, Vincent Cassel has established itself as a highlight to embody Gauguin. A choice as wise as risky with regard to the incontestable talent of the actor, his charisma is undeniable, but also his impressive personality, because this is exactly what emerges in its delivery. More dazzling than in any of his roles, Cassel burst onto the screen, but provides a Gauguin, who reflect it, and not the reverse. Impossible to know really what was the personality of the painter but here, in spite of the work that can be sensed, it is hard to see someone other than Vincent Cassel that phagocyte in spite of himself his character. This being the case, the presence at its sides of Tahuei Adams (Tahura, his muse), and Puas-Tai Hikutini (Jotépha), perfectly unknown but no less talented, can hold us back to fiction. Beside the harshness of Gauguin (real or imagined by Cassel ?) and his fate, it is the character of Tahura balances through his gentleness, his dignity, and the wonderful smile of the actress that interprets it.

GAUGUIN – VOYAGE FROM TAHITI recounts the story of the slow descent to hell of the painter we will gradually wither away, cut himself off more from the world and sacrifice everything to persevere in his art without the slightest recognition. A narrative that is as little informative as pleasing that, in spite of aestheticism licked and actors of choice, will we be fitted by the slowness of its pace.

Stephanie Ayache

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