Summary
The son of an aristocrat, Henri de Toulouse-Lautrec would never live up to his parents’
expectations. Handicapped by a genetic condition that stunted his growth, he willingly
swaps his life of privilege for that of a humble artist in Paris. Having been accepted
at the Beaux-Arts, Henri pursues a career as a commercial artist, painting posters for
such venues as the newly opened Moulin-Rouge. His work brings him into contact with
fellow painter Suzanne Valadon, with whom he has a passionate love affair, and the notorious
cabaret performer and dancer, La Goulue. When Suzanne leaves him, Henri’s
life falls apart, and he drifts inexorably towards alcoholism and insanity…
Review
Roger Planchon’s film biography of the life of Henri de Toulouse-Lautrec is very
nearly as colourful and as vibrant as the great man’s most famous works. It
is clear that a great deal of effort has been made to capture the style of Lautrec’s
paintings, as well as that of his impressionist contemporaries. Daytime
scenes are bathed in a natural light redolent of that seen in the works of Monet and Seraut
whilst the interior night scenes at the Moulin-Rouge (lit by the newly invented electric
lighting) immediately evoke Lautrec’s posters. The pace of the film, with
its constant bustle and movement, also conveys the turbulence of Lautrec’s life,
which is again reflected in his paintings.
Whilst visually impressive
with its stunning recreation of Paris at the height of la Belle époque,
the film is lacking in depth and characterisation and does not stand up well to a second
viewing. This is despite an admirable performance from Régis Royer who, in
the demanding role of Lautrec, brings a great deal of humanity and fun to the film.
The film is so preoccupied with its fleeting surface impressions that it offers little
time for the drama to develop or to allow the audience to latch on to the characters.
Other historical figures, like Auguste Renoir and Van Gogh, appear as ridiculous two-dimensional
stereotypes rather than as believable human beings, and there is scarcely a line of dialogue
in the film which feels genuine. The film’s sombre ending is also badly handled,
showing very little in the way of sympathy or respect for the artist’s tragic last
few years. As a tribute to Lautec’s style of painting, the film has
a great deal to commend it, but it can scarcely be regarded as an honest and credible
depiction of his extraordinary life.
© James Travers 2002
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