Through the interlacing of imitation photography and the virtual reality of the archives, with the mouth of his son, he unveils the life of Mucha.
First, he painted for the sake of his lover; then he painted for himself; again, he painted for the motherland; and finally, he painted for the sake of mankind.
He was ambitious, a workaholic, a patriot, a popular decorative artist, a master of the Shibuya street tide men and women's pilgrimage, and an idol of another Japanese art master, Kitaka Amano. Just from amano Kitaka's expression when he talks about this man, it is not difficult to see the status of this painter in his heart, and we also understand a little bit why Amano Kitaka's works are always so elegant and beautiful.
The origin of the two is really inextricable, and the ukiyo-e from Japan influenced him, and he also influenced Japan, such as the White Horse Society, and even the world. He is the Czech artist Alphonse Mucha, and this film will be accompanied by several contemporary artists influenced by Mucha through the mouth of his son, taking us to know the life of this contemporary artist who still has a strong influence, and discovering the charm of The combination of Musha's people and his works.
The film "Mucha Frenzy: From Rise to Eternity" was filmed by Roman Vavra, who is also a Czech, through the interlacing of imitation and the virtual reality of the archives, allowing the audience to return to the past from today, adapted from the memoirs of Mucha's son Illemusha to his father, so the voice reproduction of the first person tone in the book.
As a son with a nearly sixty-year age gap with his father, Ilimusha himself has a pretty good story, not just the inheritor and administrator of his father's estate. In order to uphold the values of freedom, he served in the British Air Force, was imprisoned for fighting against the Czech regime, and was targeted for his family being too rich, which is undoubtedly ironic for much of Mucha's son. Because Mucha always remembered the Czech Republic in his heart, and even spent his life wandering and raising funds for the "Slavic Epic" dedicated to the Czech Republic, but his family was treated so coldly in the czech republic, but the British treated them as a "foreign family" with more respect and care.
In the film, Illemusha talks about the world and his influence on himself after his father's birth, and his words are full of intricate emotions such as awe, pride, nostalgia, adoration, hatred, etc. Just like every child who grows up under the wings of a too great father, the film allows us to see in this way that Mucha is not only an artist, but also a person's various aspects, and also makes us more and more able to understand why Mucha's works were so modern at the time, and so classical in modern times. Because his works are aimed at those high-end consumers from the beginning, but at the same time they must be oriented to life, he started from decoration and gradually found his own artistic way.
Some artists either die too early or care too little, but in Mucha we see the best side of globalization and capital, allowing the best people to be seen by the world and get the stage they deserve, rather than starving to death in the dark alleys. Mucha's start was never smooth, as early as the student age was rejected by the school, and even difficult to get the first job, but because of the political situation at that time led to economic decline and unemployment again, but he did not give up, if he gave up, there would be no today's world-famous, even printed on the black tea packaging that is close to the public.
Finally, Lady Luck smiled at him, and it was Gismonda starring the big star Sarah Bernhardt, which was the first time Mucha had painted a poster for an opera star, and he was ordered to use his own style to the fullest, but almost made the boss faint, because his style was too bold and unruly.
However, when Mucha trembled and walked to Sarah Bernhardt's lounge, to everyone's surprise, the lounge did not emit angry scolding, but Mucha also received hugs and praise from the goddess, which made him frightened.
Mucha was one such person, he created these posters for business, even if people didn't think of it as a kind of art at the time, but it was clear that he was using his own artistic way to create work. We can also see the grateful expression of contemporary artist Bob Marsey when he talks about how deeply he was influenced by Mucha when he created a classic poster for a generation of singers, Janice Japlin. He even thought he would never reach much of Mucha, even if he was lucky enough to be born in an era when posters were seen as a part of art.
But perhaps whether it is decorating the castle or painting posters, for Mucha is a creative art that must be taken seriously.
"My dad once told me that being an artist is the number one priority."
Different from his contemporaries such as his friend Gauguin (Gauguin also introduced Van Gogh to him, of course, it is obvious that Mucha and Gauguin have a good relationship) as a sailor to travel the world, and in the local customs and customs to draw inspiration from the way, the models of Mucha who have not practiced this travel experience come from the beautiful women and families around them, but neither the beautiful women nor the family he uses them as people, it does not matter who they are, what is important is what kind of posture their bodies can pose. Mucha, like many majestic men, fears the beauty of women under her grim exterior. The more he praised women's beauty, the more he feared that he would be so caught up in them that he would sometimes even cover the faces of others, especially women, when painting.
From this, we may also be able to glimpse Mucha's desires and fears.
Mucha made his name, but Mucha did not want to become a "citizen of the world", which is the most touching point, the great artist Mucha who has made a name for himself abroad and has made a big splash in first-class countries such as France and the United States, is eager to contribute to the small czech republic and contribute to the Slavic nation. However, he offended domestic artists by pointing out that domestic art styles were copying foreign styles, which led to the "anti-Mucha wave", and then he was troubled by his praise for the Slavic people, which indirectly led to his subsequent death.
He had no need to insist on it, but he kept it in mind, as if it were part of Mucha's faith. Because if it were not for this belief, we would not be able to understand why Mucha would have planned and searched for resources from a young age for such a thankless giant work as the Slavic Epic, which even the recipient Czechs were worried about whether to receive or not.
Speaking of faith, in addition to the nourishment of church life from childhood to the present, such as hymns, such as rituals, such as beautiful stained glass... Those nutrients from Celtic mythology provide the vitality of Mucha's works, and another American contemporary art master in the film, Mill Onn, continues this appearance, his works imply modern society and conspiracy theories, mysticism and Mannerism, and the film will also mention Mucha's secret identity as a freemason, and this organization that plans the world also needs Mucha's fame and talent.
So later, Mucha even created works about all mankind such as the age of love, the age of reason, and the age of wisdom. Looking back briefly at Mucha's life, we can see that the cross he carried for himself became heavier and heavier, he dared to bear rather than desire liberation, he was a genuine artist, even a real person, and the weight he carried enabled him to leave traces in history.