[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:20.12,0:00:23.96,Default,,0000,0000,0000,,{\i1}In the diaries,\Nwhich he is to write later in his life{\i0}
Dialogue: 0,0:00:24.04,0:00:28.60,Default,,0000,0000,0000,,{\i1}Edvard Munch often refers\Nto himself in the third person{\i0}
Dialogue: 0,0:00:28.68,0:00:31.92,Default,,0000,0000,0000,,{\i1}using the names "Brandt", "Nanssen"{\i0}
Dialogue: 0,0:00:32.04,0:00:34.08,Default,,0000,0000,0000,,{\i1}or "Karlemann".{\i0}
Dialogue: 0,0:00:49.40,0:00:52.44,Default,,0000,0000,0000,,You can meet me after dinner.
Dialogue: 0,0:00:59.56,0:01:03.56,Default,,0000,0000,0000,,Consumption is widespread\Nin Kristiania nowadays
Dialogue: 0,0:01:04.80,0:01:07.68,Default,,0000,0000,0000,,especially amongst the poor
Dialogue: 0,0:01:07.80,0:01:09.64,Default,,0000,0000,0000,,and in crowded areas.
Dialogue: 0,0:01:10.00,0:01:12.52,Default,,0000,0000,0000,,How long are your working hours?
Dialogue: 0,0:01:12.60,0:01:17.84,Default,,0000,0000,0000,,From six to six\Nwith an hour's break for lunch.
Dialogue: 0,0:01:19.20,0:01:23.24,Default,,0000,0000,0000,,- How much do you earn?\N- Fifteen crowns a week.
Dialogue: 0,0:01:30.84,0:01:32.80,Default,,0000,0000,0000,,{\i1}The year 1884.{\i0}
Dialogue: 0,0:01:33.48,0:01:36.44,Default,,0000,0000,0000,,{\i1}Kristiania, capital city of Norway{\i0}
Dialogue: 0,0:01:36.84,0:01:40.68,Default,,0000,0000,0000,,{\i1}with beerhalls, cafés,\Nseveral Tivoli music halls{\i0}
Dialogue: 0,0:01:41.00,0:01:45.52,Default,,0000,0000,0000,,{\i1}but with no opera, no ballet\Nand no academy of art.{\i0}
Dialogue: 0,0:01:47.60,0:01:49.40,Default,,0000,0000,0000,,Bless us, O Lord
Dialogue: 0,0:01:49.52,0:01:51.28,Default,,0000,0000,0000,,and these Thy gifts
Dialogue: 0,0:01:51.80,0:01:53.80,Default,,0000,0000,0000,,which of Thy bounty
Dialogue: 0,0:01:53.92,0:01:56.84,Default,,0000,0000,0000,,we are about to receive. Amen.
Dialogue: 0,0:01:59.52,0:02:02.72,Default,,0000,0000,0000,,{\i1}Of Kristiania's 135,000 inhabitants{\i0}
Dialogue: 0,0:02:03.04,0:02:07.04,Default,,0000,0000,0000,,{\i1}the ruling strata is\Nthe middle-class, the borgerskap{\i0}
Dialogue: 0,0:02:07.12,0:02:10.64,Default,,0000,0000,0000,,{\i1}conservative by politics,\NProtestant by religion.{\i0}
Dialogue: 0,0:02:31.52,0:02:33.36,Default,,0000,0000,0000,,{\i1}The Karl Johan Gate{\i0}
Dialogue: 0,0:02:33.44,0:02:36.96,Default,,0000,0000,0000,,{\i1}principle thoroughfare in a city\Nwhose Germanic buildings{\i0}
Dialogue: 0,0:02:37.04,0:02:40.56,Default,,0000,0000,0000,,{\i1}reflect the origins\Nof its main architects.{\i0}
Dialogue: 0,0:02:40.64,0:02:43.36,Default,,0000,0000,0000,,{\i1}Here, in the summer,\Nweather permitting{\i0}
Dialogue: 0,0:02:43.44,0:02:48.04,Default,,0000,0000,0000,,{\i1}the Kristiania middle-class\Ngather for the daily promenade.{\i0}
Dialogue: 0,0:02:53.60,0:02:58.44,Default,,0000,0000,0000,,I work in a factory too.\NI have to be up before five
Dialogue: 0,0:03:00.00,0:03:04.04,Default,,0000,0000,0000,,to make breakfast\Nfor my husband and children.
Dialogue: 0,0:03:08.92,0:03:14.52,Default,,0000,0000,0000,,{\i1}The promenade upon the Karl Johan\Nbegins around two in the afternoon.{\i0}
Dialogue: 0,0:03:15.00,0:03:17.56,Default,,0000,0000,0000,,{\i1}Music is played by a military band.{\i0}
Dialogue: 0,0:03:19.04,0:03:24.36,Default,,0000,0000,0000,,{\i1}The social system supported by\Nthe Kristiania middle-class exists{\i0}
Dialogue: 0,0:03:24.48,0:03:27.76,Default,,0000,0000,0000,,{\i1}with a national budget\Nof 41.6 million Kroner{\i0}
Dialogue: 0,0:03:27.84,0:03:31.72,Default,,0000,0000,0000,,{\i1}under a criminal code,\Nwhich dates from the 1840s.{\i0}
Dialogue: 0,0:03:32.68,0:03:36.56,Default,,0000,0000,0000,,{\i1}It has no sickness benefit,\Nno old age insurance{\i0}
Dialogue: 0,0:03:36.64,0:03:41.56,Default,,0000,0000,0000,,{\i1}state-legalised prostitution organised\Nspecifically for the middle-class{\i0}
Dialogue: 0,0:03:41.64,0:03:47.04,Default,,0000,0000,0000,,{\i1}and still no reform against\Nthe labour of children in factories.{\i0}
Dialogue: 0,0:03:48.04,0:03:52.64,Default,,0000,0000,0000,,{\i1}The promenade upon the Karl Johan\Nlasts approximately for one hour.{\i0}
Dialogue: 0,0:03:52.96,0:03:57.64,Default,,0000,0000,0000,,{\i1}Upon its conclusion the men\Nretire home or to the beer-halls.{\i0}
Dialogue: 0,0:03:58.48,0:04:01.08,Default,,0000,0000,0000,,{\i1}The women retire home.{\i0}
Dialogue: 0,0:04:03.44,0:04:06.36,Default,,0000,0000,0000,,{\i1}Many of the poor children\Nin this city{\i0}
Dialogue: 0,0:04:06.44,0:04:10.68,Default,,0000,0000,0000,,{\i1}work in factories,\Ncraft shops and domestic service.{\i0}
Dialogue: 0,0:04:11.64,0:04:15.84,Default,,0000,0000,0000,,{\i1}The working hours for these children\Nin this year 1884{\i0}
Dialogue: 0,0:04:15.92,0:04:20.48,Default,,0000,0000,0000,,{\i1}are as long as the maximum\Nallowed under Norwegian law{\i0}
Dialogue: 0,0:04:20.56,0:04:24.24,Default,,0000,0000,0000,,{\i1}for people on penal servitude\Nand hard labour{\i0}
Dialogue: 0,0:04:25.04,0:04:29.96,Default,,0000,0000,0000,,{\i1}and over 1/3rd of the industrial\Nlabour force in this capital city{\i0}
Dialogue: 0,0:04:30.44,0:04:33.84,Default,,0000,0000,0000,,{\i1}is made up of boys and girls.{\i0}
Dialogue: 0,0:04:44.12,0:04:49.64,Default,,0000,0000,0000,,- Do the children work?\N- Yes, they're at the factory too.
Dialogue: 0,0:04:51.20,0:04:53.24,Default,,0000,0000,0000,,Eleven hours a day.
Dialogue: 0,0:04:57.20,0:04:59.96,Default,,0000,0000,0000,,- Help yourself.\N- I'm too tired.
Dialogue: 0,0:05:00.04,0:05:05.76,Default,,0000,0000,0000,,{\i1}The death of Laura Cathrine Bjølstad,\Nmother of Edvard Munch{\i0}
Dialogue: 0,0:05:05.84,0:05:09.92,Default,,0000,0000,0000,,{\i1}occurred in 1868,\Nfollowing a pulmonary haemorrhage.{\i0}
Dialogue: 0,0:05:10.00,0:05:12.40,Default,,0000,0000,0000,,Sophie has asked me
Dialogue: 0,0:05:12.52,0:05:15.60,Default,,0000,0000,0000,,to write down\Nmy last will for her.
Dialogue: 0,0:05:16.08,0:05:19.92,Default,,0000,0000,0000,,I've called my testament\NMy Exhortations.
Dialogue: 0,0:05:20.80,0:05:25.92,Default,,0000,0000,0000,,"My dear children.\NI am so afraid that in heaven
Dialogue: 0,0:05:25.100,0:05:31.52,Default,,0000,0000,0000,,"I shall miss you who are so dear\Nto my heart here on earth.
Dialogue: 0,0:05:31.60,0:05:37.64,Default,,0000,0000,0000,,"But, trusting in the Lord,\NI shall beg for your souls
Dialogue: 0,0:05:38.08,0:05:41.04,Default,,0000,0000,0000,,"as long as He grants me life."
Dialogue: 0,0:05:43.84,0:05:49.04,Default,,0000,0000,0000,,{\i1}In 1845, Edvard Munch's grandfather\Nbecame insane{\i0}
Dialogue: 0,0:05:49.44,0:05:52.64,Default,,0000,0000,0000,,{\i1}from a disease of the spinal cord.{\i0}
Dialogue: 0,0:05:55.00,0:05:58.08,Default,,0000,0000,0000,,Father walked to and fro\Nacross the floor.
Dialogue: 0,0:05:58.16,0:06:01.16,Default,,0000,0000,0000,,Then he sat down beside Mother\Non the sofa.
Dialogue: 0,0:06:03.60,0:06:07.84,Default,,0000,0000,0000,,They whispered to each other\Nand leaned against each other.
Dialogue: 0,0:06:10.16,0:06:12.60,Default,,0000,0000,0000,,Karlemann looked at them
Dialogue: 0,0:06:13.100,0:06:18.44,Default,,0000,0000,0000,,and wondered why\Ntears ran down their cheeks.
Dialogue: 0,0:06:29.36,0:06:31.12,Default,,0000,0000,0000,,Mamma's full name
Dialogue: 0,0:06:31.48,0:06:33.72,Default,,0000,0000,0000,,was Laura Cathrine Munch.
Dialogue: 0,0:06:59.60,0:07:01.64,Default,,0000,0000,0000,,Mamma was very weak.
Dialogue: 0,0:07:02.80,0:07:06.24,Default,,0000,0000,0000,,She died a year after I was born.
Dialogue: 0,0:07:06.32,0:07:07.56,Default,,0000,0000,0000,,Isn't it nice to be
Dialogue: 0,0:07:07.68,0:07:10.24,Default,,0000,0000,0000,,together on an evening like this?
Dialogue: 0,0:07:21.48,0:07:26.84,Default,,0000,0000,0000,,"Death and the kingdom of death\Nwere cast in the fiery sea.
Dialogue: 0,0:07:27.40,0:07:31.24,Default,,0000,0000,0000,,"This is another death. If not written\Nin The Book of Life..."
Dialogue: 0,0:07:31.32,0:07:35.76,Default,,0000,0000,0000,,{\i1}The Munch family, following\Nthe medical practice of the father{\i0}
Dialogue: 0,0:07:35.84,0:07:38.60,Default,,0000,0000,0000,,{\i1}have moved from one crowded house\Nto another{\i0}
Dialogue: 0,0:07:38.68,0:07:41.64,Default,,0000,0000,0000,,{\i1}in the poorer districts of Kristiania.{\i0}
Dialogue: 0,0:07:42.20,0:07:44.20,Default,,0000,0000,0000,,How long have you had it?
Dialogue: 0,0:07:45.60,0:07:47.64,Default,,0000,0000,0000,,Three weeks.
Dialogue: 0,0:07:49.00,0:07:53.64,Default,,0000,0000,0000,,- Is your throat sore?\N- Yes, a little.
Dialogue: 0,0:07:56.00,0:07:58.84,Default,,0000,0000,0000,,Open wide and I'll have a look.
Dialogue: 0,0:08:11.100,0:08:17.56,Default,,0000,0000,0000,,The first symptoms are fatigue\Nand poor appetite,
Dialogue: 0,0:08:17.100,0:08:21.84,Default,,0000,0000,0000,,an evening temperature\Nand a hint of a cold.
Dialogue: 0,0:08:22.44,0:08:26.52,Default,,0000,0000,0000,,When the disease develops,\None's temperature rises
Dialogue: 0,0:08:26.60,0:08:28.96,Default,,0000,0000,0000,,and the cold grows worse.
Dialogue: 0,0:08:29.08,0:08:31.92,Default,,0000,0000,0000,,One begins to sweat at night.
Dialogue: 0,0:08:31.100,0:08:37.08,Default,,0000,0000,0000,,Haemorrhage results\Nin more than 50% of the cases.
Dialogue: 0,0:08:40.04,0:08:43.16,Default,,0000,0000,0000,,{\i1}Edvard Munch began painting in 1879.{\i0}
Dialogue: 0,0:08:44.36,0:08:46.92,Default,,0000,0000,0000,,{\i1}During the past four to five years{\i0}
Dialogue: 0,0:08:47.00,0:08:50.56,Default,,0000,0000,0000,,{\i1}he has created\Nabout one dozen canvases,{\i0}
Dialogue: 0,0:08:50.64,0:08:53.24,Default,,0000,0000,0000,,{\i1}mostly views of the country\Nnear his home{\i0}
Dialogue: 0,0:08:53.32,0:08:55.48,Default,,0000,0000,0000,,{\i1}and portraits of his family.{\i0}
Dialogue: 0,0:08:55.56,0:08:57.76,Default,,0000,0000,0000,,What happens to those\Nwho believe in God
Dialogue: 0,0:08:57.88,0:09:01.24,Default,,0000,0000,0000,,if they give way to masturbation?
Dialogue: 0,0:09:01.80,0:09:07.92,Default,,0000,0000,0000,,- The unfortunate wretches go mad.\N- This applies to everyone.
Dialogue: 0,0:09:08.00,0:09:13.52,Default,,0000,0000,0000,,We all have a sexual instinct.\NEveryone masturbates to some degree.
Dialogue: 0,0:09:13.60,0:09:15.84,Default,,0000,0000,0000,,- Women too?\N- Women too.
Dialogue: 0,0:09:23.64,0:09:27.52,Default,,0000,0000,0000,,{\i1}Peter Andreas Munch,\Nstudying to be a doctor{\i0}
Dialogue: 0,0:09:28.56,0:09:32.44,Default,,0000,0000,0000,,{\i1}and Inger Munch,\Nyounger sister of Edvard.{\i0}
Dialogue: 0,0:09:36.00,0:09:39.84,Default,,0000,0000,0000,,What do you do out so late\Nevery night, Edvard?
Dialogue: 0,0:09:40.40,0:09:45.20,Default,,0000,0000,0000,,You weren't home\Nuntil the small hours last night.
Dialogue: 0,0:09:45.32,0:09:47.88,Default,,0000,0000,0000,,So you've been spying on me?
Dialogue: 0,0:09:47.96,0:09:52.80,Default,,0000,0000,0000,,I hear when you come home.\NI also know by the smell.
Dialogue: 0,0:09:55.60,0:09:57.76,Default,,0000,0000,0000,,{\i1}At this time in Kristiania{\i0}
Dialogue: 0,0:09:57.84,0:10:01.64,Default,,0000,0000,0000,,{\i1}a small core of radical writers,\Nartists and students{\i0}
Dialogue: 0,0:10:01.72,0:10:04.80,Default,,0000,0000,0000,,{\i1}are gathering to protest\Nthe existing order.{\i0}
Dialogue: 0,0:10:05.12,0:10:09.44,Default,,0000,0000,0000,,{\i1}Their spokesman, Hans Jæger,\Nwriter and anarchist{\i0}
Dialogue: 0,0:10:09.56,0:10:14.76,Default,,0000,0000,0000,,{\i1}who urges his followers to overthrow\Nbourgeois society with its moral code{\i0}
Dialogue: 0,0:10:14.84,0:10:17.56,Default,,0000,0000,0000,,{\i1}and replace it with\Na decentralised structure{\i0}
Dialogue: 0,0:10:17.64,0:10:22.76,Default,,0000,0000,0000,,{\i1}based entirely upon the\Nhuman capacity for love and feeling.{\i0}
Dialogue: 0,0:10:27.00,0:10:30.44,Default,,0000,0000,0000,,All evil can be traced\Nto Christianity.
Dialogue: 0,0:10:30.56,0:10:34.04,Default,,0000,0000,0000,,Christianity suppresses\Nman's vital desires.
Dialogue: 0,0:10:35.80,0:10:38.24,Default,,0000,0000,0000,,What is a "respectable human being"?
Dialogue: 0,0:10:38.32,0:10:43.16,Default,,0000,0000,0000,,One who is not out at night\Ndrinking with people like that.
Dialogue: 0,0:10:45.28,0:10:49.32,Default,,0000,0000,0000,,Be quiet, so that I may\Nspeak with Edvard.
Dialogue: 0,0:10:50.40,0:10:54.88,Default,,0000,0000,0000,,Have you told your parents\Nyou don't believe in God?
Dialogue: 0,0:10:54.96,0:10:58.00,Default,,0000,0000,0000,,I don't want to say I don't.
Dialogue: 0,0:10:58.08,0:11:02.24,Default,,0000,0000,0000,,Why not? Can't you follow\Nyour free will?
Dialogue: 0,0:11:03.100,0:11:08.100,Default,,0000,0000,0000,,{\i1}When Edvard Munch tells Jæger of\Nhis repeated quarrels with his father{\i0}
Dialogue: 0,0:11:09.48,0:11:12.88,Default,,0000,0000,0000,,{\i1}Jæger tells him\Nto take a pistol, go home{\i0}
Dialogue: 0,0:11:13.32,0:11:14.92,Default,,0000,0000,0000,,{\i1}and shoot him dead.{\i0}
Dialogue: 0,0:11:15.00,0:11:16.92,Default,,0000,0000,0000,,Are you out drinking?
Dialogue: 0,0:11:16.100,0:11:21.44,Default,,0000,0000,0000,,- Drinking? A glass of beer?\N- You smell of spirits, too.
Dialogue: 0,0:11:24.32,0:11:27.20,Default,,0000,0000,0000,,That dreadful Jæger you mix with...
Dialogue: 0,0:11:27.32,0:11:29.32,Default,,0000,0000,0000,,he's the Antichrist incarnate.
Dialogue: 0,0:11:34.84,0:11:36.48,Default,,0000,0000,0000,,{\i1}Jæger's group{\i0}
Dialogue: 0,0:11:36.60,0:11:40.76,Default,,0000,0000,0000,,{\i1}referred to by the Kristiania\Nmiddle-class as the Boheme{\i0}
Dialogue: 0,0:11:41.08,0:11:45.96,Default,,0000,0000,0000,,{\i1}and by Georg Brandes\Nas "that wild gypsy bunch"{\i0}
Dialogue: 0,0:11:46.04,0:11:49.100,Default,,0000,0000,0000,,{\i1}discuss late into the nights\Nnihilism, anarchy{\i0}
Dialogue: 0,0:11:50.32,0:11:52.96,Default,,0000,0000,0000,,{\i1}the works of\NCharles Darwin and Karl Marx{\i0}
Dialogue: 0,0:11:53.04,0:11:55.44,Default,,0000,0000,0000,,{\i1}the role of Art,\Nthe purpose of existence{\i0}
Dialogue: 0,0:11:56.12,0:11:57.92,Default,,0000,0000,0000,,{\i1}and free love.{\i0}
Dialogue: 0,0:11:57.100,0:12:01.04,Default,,0000,0000,0000,,{\i1}Nearly all the group are themselves\Nfrom the middle-class.{\i0}
Dialogue: 0,0:12:01.76,0:12:04.84,Default,,0000,0000,0000,,{\i1}Many, in protest, are women.{\i0}
Dialogue: 0,0:12:14.80,0:12:18.40,Default,,0000,0000,0000,,If there's no evil\Noutside Christianity...
Dialogue: 0,0:12:19.48,0:12:23.92,Default,,0000,0000,0000,,Of course there's evil but\Nit comes from moral concepts.
Dialogue: 0,0:12:24.80,0:12:29.32,Default,,0000,0000,0000,,Today's society would\Nbe happier if people
Dialogue: 0,0:12:30.64,0:12:35.12,Default,,0000,0000,0000,,were allowed to develop\Ntheir lusts and desires.
Dialogue: 0,0:12:35.20,0:12:39.52,Default,,0000,0000,0000,,- I understand you.\N- Do you? You don't seem to.
Dialogue: 0,0:12:40.40,0:12:44.84,Default,,0000,0000,0000,,You never do what I want.\NYou follow your own course.
Dialogue: 0,0:12:46.60,0:12:48.80,Default,,0000,0000,0000,,You don't understand me!
Dialogue: 0,0:12:49.40,0:12:52.12,Default,,0000,0000,0000,,Much better than you think.
Dialogue: 0,0:12:52.20,0:12:53.84,Default,,0000,0000,0000,,No, you don't.
Dialogue: 0,0:12:54.52,0:12:57.52,Default,,0000,0000,0000,,We never seem to understand\Neach other in this house!
Dialogue: 0,0:12:59.04,0:13:01.64,Default,,0000,0000,0000,,{\i1}In many of Munch's family studies{\i0}
Dialogue: 0,0:13:02.04,0:13:04.76,Default,,0000,0000,0000,,{\i1}the faces are turned to the side.{\i0}
Dialogue: 0,0:13:05.44,0:13:08.64,Default,,0000,0000,0000,,{\i1}Human contact with the eyes\Nis avoided.{\i0}
Dialogue: 0,0:13:10.32,0:13:15.72,Default,,0000,0000,0000,,I'll never be done with you,\Nsince you never do what I want.
Dialogue: 0,0:13:15.80,0:13:18.16,Default,,0000,0000,0000,,- I'm tired of this!\N- Now you be quiet!
Dialogue: 0,0:13:19.20,0:13:23.28,Default,,0000,0000,0000,,The children missed school\Na lot because of illness
Dialogue: 0,0:13:23.40,0:13:26.76,Default,,0000,0000,0000,,and I tried to study\Nwith them at home.
Dialogue: 0,0:13:35.08,0:13:38.36,Default,,0000,0000,0000,,{\i1}"Illness, insanity and death{\i0}
Dialogue: 0,0:13:38.44,0:13:42.12,Default,,0000,0000,0000,,{\i1}"were the black angels\Nthat kept watch over my cradle{\i0}
Dialogue: 0,0:13:42.20,0:13:44.52,Default,,0000,0000,0000,,{\i1}"and accompanied me all my life."{\i0}
Dialogue: 0,0:13:44.60,0:13:47.72,Default,,0000,0000,0000,,We can sit by the fire\Nuntil the water gets hot
Dialogue: 0,0:13:47.80,0:13:49.76,Default,,0000,0000,0000,,before you go to bed.
Dialogue: 0,0:14:11.100,0:14:13.44,Default,,0000,0000,0000,,My sister Sophie
Dialogue: 0,0:14:14.44,0:14:17.28,Default,,0000,0000,0000,,also died from tuberculosis.
Dialogue: 0,0:14:18.36,0:14:20.72,Default,,0000,0000,0000,,She was 15 years of age.
Dialogue: 0,0:14:20.80,0:14:25.04,Default,,0000,0000,0000,,"And I saw the dead\Nstand before the throne
Dialogue: 0,0:14:26.40,0:14:30.48,Default,,0000,0000,0000,,"and books were opened.\NThe Book of Life was opened
Dialogue: 0,0:14:30.80,0:14:36.04,Default,,0000,0000,0000,,"and the dead were judged\Nin accordance with their deeds
Dialogue: 0,0:14:38.96,0:14:42.20,Default,,0000,0000,0000,,"and the sea gave up its dead..."
Dialogue: 0,0:14:43.80,0:14:47.04,Default,,0000,0000,0000,,My sister Laura was very talented.
Dialogue: 0,0:14:48.40,0:14:53.04,Default,,0000,0000,0000,,She learned languages\Nand mathematics effortlessly.
Dialogue: 0,0:14:54.20,0:14:57.28,Default,,0000,0000,0000,,She got honours in Latin.
Dialogue: 0,0:14:59.100,0:15:04.08,Default,,0000,0000,0000,,But she was born with a difficult\Nand nervous disposition
Dialogue: 0,0:15:04.16,0:15:05.44,Default,,0000,0000,0000,,so she could never
Dialogue: 0,0:15:05.56,0:15:07.96,Default,,0000,0000,0000,,make use of her education.
Dialogue: 0,0:15:08.04,0:15:13.08,Default,,0000,0000,0000,,It's so dreary at home!\NWhat did you do when you were young?
Dialogue: 0,0:15:13.40,0:15:18.24,Default,,0000,0000,0000,,That doesn't concern you.\NAt any rate I wasn't out and about.
Dialogue: 0,0:15:18.32,0:15:20.68,Default,,0000,0000,0000,,{\i1}Munch is to say later of his father:{\i0}
Dialogue: 0,0:15:21.84,0:15:24.56,Default,,0000,0000,0000,,{\i1}"When anxiety did not possess him...{\i0}
Dialogue: 0,0:15:24.64,0:15:28.12,Default,,0000,0000,0000,,{\i1}"he would joke and play with us\Nlike a child.{\i0}
Dialogue: 0,0:15:29.36,0:15:34.44,Default,,0000,0000,0000,,{\i1}"When he punished us, he could be\Nalmost insane in his violence."{\i0}
Dialogue: 0,0:15:36.40,0:15:40.12,Default,,0000,0000,0000,,You get no inspiration from\Nthose people. And that woman...
Dialogue: 0,0:15:40.20,0:15:43.84,Default,,0000,0000,0000,,It would've turned out better\Nif I hadn't been scolded at home.
Dialogue: 0,0:15:44.56,0:15:46.92,Default,,0000,0000,0000,,Edvard, I want to talk to you.
Dialogue: 0,0:15:46.100,0:15:50.24,Default,,0000,0000,0000,,Your aunt said that a plate\Nwas broken.
Dialogue: 0,0:15:50.36,0:15:51.92,Default,,0000,0000,0000,,Was it Peter Andreas?
Dialogue: 0,0:15:51.100,0:15:54.64,Default,,0000,0000,0000,,- No, it was Laura.\N- No, it was Edvard.
Dialogue: 0,0:15:55.20,0:15:59.08,Default,,0000,0000,0000,,The Bible says that you're punished!\NOnan was punished.
Dialogue: 0,0:15:59.44,0:16:01.56,Default,,0000,0000,0000,,It also says that man
Dialogue: 0,0:16:01.68,0:16:03.44,Default,,0000,0000,0000,,must replenish the earth.
Dialogue: 0,0:16:03.52,0:16:05.80,Default,,0000,0000,0000,,One doesn't do that\Nby masturbating!
Dialogue: 0,0:16:07.24,0:16:10.48,Default,,0000,0000,0000,,That was nice and warm, wasn't it?
Dialogue: 0,0:16:14.04,0:16:16.48,Default,,0000,0000,0000,,Now we'll wash our ears.
Dialogue: 0,0:16:24.60,0:16:27.08,Default,,0000,0000,0000,,{\i1}Two brothers and three sisters{\i0}
Dialogue: 0,0:16:27.60,0:16:30.04,Default,,0000,0000,0000,,{\i1}watching each other\Ngrow into puberty{\i0}
Dialogue: 0,0:16:30.44,0:16:32.84,Default,,0000,0000,0000,,{\i1}tended over by their aunt Karen{\i0}
Dialogue: 0,0:16:32.92,0:16:36.64,Default,,0000,0000,0000,,{\i1}who, remaining unmarried,\Nhas devoted her life{\i0}
Dialogue: 0,0:16:36.72,0:16:40.04,Default,,0000,0000,0000,,{\i1}to raising the children\Nof her dead sister.{\i0}
Dialogue: 0,0:16:41.28,0:16:45.72,Default,,0000,0000,0000,,Half of the adults\Nin this country are women.
Dialogue: 0,0:16:46.84,0:16:51.76,Default,,0000,0000,0000,,They are also citizens but\Nthey are placed under guardianship
Dialogue: 0,0:16:51.88,0:16:55.100,Default,,0000,0000,0000,,and are tyrannised\Nby men and by society
Dialogue: 0,0:16:56.08,0:16:59.72,Default,,0000,0000,0000,,emotionally, legally and economically.
Dialogue: 0,0:17:01.68,0:17:06.48,Default,,0000,0000,0000,,I must make sure that\Nthere aren't too many bills at once.
Dialogue: 0,0:17:07.100,0:17:12.72,Default,,0000,0000,0000,,In the workplaces where we're\Nadmitted, industries and schools,
Dialogue: 0,0:17:12.84,0:17:18.24,Default,,0000,0000,0000,,we get one-third of the wages\Nmen get for the same work.
Dialogue: 0,0:17:30.08,0:17:32.100,Default,,0000,0000,0000,,{\i1}Using his reflection in a mirror{\i0}
Dialogue: 0,0:17:33.08,0:17:37.100,Default,,0000,0000,0000,,{\i1}4 years ago Edvard Munch painted\Nthe first of his self-portraits.{\i0}
Dialogue: 0,0:17:40.36,0:17:44.08,Default,,0000,0000,0000,,{\i1}"These self-trials\Nfrom the difficult years."{\i0}
Dialogue: 0,0:17:52.32,0:17:54.76,Default,,0000,0000,0000,,What sort of work do they do?
Dialogue: 0,0:17:58.80,0:18:02.64,Default,,0000,0000,0000,,They work at putting together\Nmatchboxes.
Dialogue: 0,0:18:09.36,0:18:13.40,Default,,0000,0000,0000,,Their fingers are burned\Nby the phosphorus.
Dialogue: 0,0:18:17.48,0:18:21.36,Default,,0000,0000,0000,,{\i1}Many of Norway's older painters\Nhave now returned from Europe.{\i0}
Dialogue: 0,0:18:21.44,0:18:24.24,Default,,0000,0000,0000,,{\i1}Some have set up informal academies{\i0}
Dialogue: 0,0:18:24.32,0:18:27.92,Default,,0000,0000,0000,,{\i1}such as Christian Krohg, age 32{\i0}
Dialogue: 0,0:18:27.100,0:18:31.84,Default,,0000,0000,0000,,{\i1}whose own canvases,\Nshowing a direct concern for life{\i0}
Dialogue: 0,0:18:31.92,0:18:35.76,Default,,0000,0000,0000,,{\i1}both in his own middle-class milieu\Nand in the poorer class{\i0}
Dialogue: 0,0:18:35.88,0:18:39.68,Default,,0000,0000,0000,,{\i1}have already pioneered "naturalism"\Nin Norwegian art.{\i0}
Dialogue: 0,0:18:40.08,0:18:41.76,Default,,0000,0000,0000,,How much do they earn?
Dialogue: 0,0:18:43.04,0:18:44.72,Default,,0000,0000,0000,,One crown a day.
Dialogue: 0,0:18:47.04,0:18:49.32,Default,,0000,0000,0000,,How old are the children?
Dialogue: 0,0:18:50.04,0:18:53.80,Default,,0000,0000,0000,,The oldest is 14.\NThe youngest girl is 12.
Dialogue: 0,0:18:57.24,0:19:00.08,Default,,0000,0000,0000,,The most important thing in art
Dialogue: 0,0:19:00.20,0:19:02.80,Default,,0000,0000,0000,,is its own means, like colour.
Dialogue: 0,0:19:02.88,0:19:07.12,Default,,0000,0000,0000,,It doesn't matter what you paint.\NYou can paint horse dung.
Dialogue: 0,0:19:07.20,0:19:11.72,Default,,0000,0000,0000,,- Then you paint for yourself?\N- The colour must be a joy to see.
Dialogue: 0,0:19:13.68,0:19:17.08,Default,,0000,0000,0000,,{\i1}Fritz Thaulow,\Nleading Naturalist painter,{\i0}
Dialogue: 0,0:19:17.88,0:19:21.96,Default,,0000,0000,0000,,{\i1}whose work reflects\Nthe opposing Norwegian school of art.{\i0}
Dialogue: 0,0:19:22.04,0:19:25.88,Default,,0000,0000,0000,,{\i1}Such painters as Thaulow, Gerhard Munthe\Nand Christian Skredsvig{\i0}
Dialogue: 0,0:19:26.64,0:19:30.36,Default,,0000,0000,0000,,{\i1}Hans Heyerdahl, Erik Werenskiold\Nand Harriet Backer{\i0}
Dialogue: 0,0:19:30.72,0:19:34.48,Default,,0000,0000,0000,,{\i1}tend to express a feeling for\Nthe countryside and for people{\i0}
Dialogue: 0,0:19:35.36,0:19:39.36,Default,,0000,0000,0000,,{\i1}but often from a less political\Nand more personal viewpoint.{\i0}
Dialogue: 0,0:19:39.48,0:19:43.04,Default,,0000,0000,0000,,Who wants to look at horse dung?
Dialogue: 0,0:19:43.76,0:19:47.40,Default,,0000,0000,0000,,The paint can be\Nan aesthetic pleasure for you.
Dialogue: 0,0:19:49.28,0:19:53.32,Default,,0000,0000,0000,,But the public need not regard it\Nas an aesthetic pleasure.
Dialogue: 0,0:19:55.60,0:19:58.08,Default,,0000,0000,0000,,He must concentrate on art!
Dialogue: 0,0:19:58.16,0:20:01.56,Default,,0000,0000,0000,,People must undergo\Nan experience looking at art.
Dialogue: 0,0:20:03.60,0:20:07.04,Default,,0000,0000,0000,,But which people?\NThe bourgeoisie.
Dialogue: 0,0:20:07.40,0:20:09.04,Default,,0000,0000,0000,,They can afford
Dialogue: 0,0:20:09.40,0:20:11.36,Default,,0000,0000,0000,,to buy works of art.
Dialogue: 0,0:20:11.72,0:20:15.76,Default,,0000,0000,0000,,But what about those\Nwho queue for food?
Dialogue: 0,0:20:20.72,0:20:25.04,Default,,0000,0000,0000,,{\i1}For Edvard Munch\Nthe artistic problem lies deeper:{\i0}
Dialogue: 0,0:20:25.56,0:20:31.84,Default,,0000,0000,0000,,{\i1}somehow to express the tension\Ngrowing in himself and in his family.{\i0}
Dialogue: 0,0:20:38.84,0:20:46.88,Default,,0000,0000,0000,,"To Norway, giants' native land\NLet's drink this toast of honour"
Dialogue: 0,0:20:47.48,0:20:50.96,Default,,0000,0000,0000,,{\i1}In answer to the\N10 commandments of Christianity{\i0}
Dialogue: 0,0:20:51.36,0:20:55.04,Default,,0000,0000,0000,,{\i1}the Boheme, seen here\Nsinging a patriotic song{\i0}
Dialogue: 0,0:20:55.60,0:20:57.88,Default,,0000,0000,0000,,{\i1}has published nine of its own.{\i0}
Dialogue: 0,0:20:58.64,0:21:00.68,Default,,0000,0000,0000,,{\i1}Amongst these, the requirements{\i0}
Dialogue: 0,0:21:00.80,0:21:03.56,Default,,0000,0000,0000,,{\i1}to never borrow less than 5 krone{\i0}
Dialogue: 0,0:21:03.64,0:21:05.84,Default,,0000,0000,0000,,{\i1}to never wear celluloid cuffs{\i0}
Dialogue: 0,0:21:06.36,0:21:09.68,Default,,0000,0000,0000,,{\i1}to never fail to make a scandal\Nin the Kristiania theatre{\i0}
Dialogue: 0,0:21:09.76,0:21:11.52,Default,,0000,0000,0000,,{\i1}to never regret{\i0}
Dialogue: 0,0:21:11.60,0:21:13.92,Default,,0000,0000,0000,,{\i1}to sever all family bonds{\i0}
Dialogue: 0,0:21:14.44,0:21:16.48,Default,,0000,0000,0000,,{\i1}and to take one's own life.{\i0}
Dialogue: 0,0:21:18.80,0:21:20.80,Default,,0000,0000,0000,,There has been a lot of illness
Dialogue: 0,0:21:20.92,0:21:22.08,Default,,0000,0000,0000,,and death in our family.
Dialogue: 0,0:21:24.12,0:21:27.88,Default,,0000,0000,0000,,Mamma died of tuberculosis\Nwhen she was 30 years old
Dialogue: 0,0:21:29.100,0:21:34.88,Default,,0000,0000,0000,,and Granny died of the same disease\Nwhen she was 36.
Dialogue: 0,0:21:37.36,0:21:42.92,Default,,0000,0000,0000,,I have a dream of founding\Na school for young women
Dialogue: 0,0:21:43.04,0:21:45.44,Default,,0000,0000,0000,,who are morally confined.
Dialogue: 0,0:21:46.40,0:21:48.72,Default,,0000,0000,0000,,Just look at the bourgeoisie
Dialogue: 0,0:21:48.80,0:21:52.84,Default,,0000,0000,0000,,and all the middle-class girls\Nthat suffer from anaemia.
Dialogue: 0,0:21:55.12,0:21:59.96,Default,,0000,0000,0000,,It's a good cause. I mean...\Nfounding a school for them
Dialogue: 0,0:22:00.72,0:22:05.84,Default,,0000,0000,0000,,and teaching them to develop\Ntheir feeling for love.
Dialogue: 0,0:22:06.24,0:22:09.08,Default,,0000,0000,0000,,They can become capable of feeling.
Dialogue: 0,0:22:15.04,0:22:19.48,Default,,0000,0000,0000,,{\i1}The Christian names of the woman\Nsitting to the right of Edvard Munch{\i0}
Dialogue: 0,0:22:19.56,0:22:22.68,Default,,0000,0000,0000,,{\i1}are Andrea Fredrikke Emilie.{\i0}
Dialogue: 0,0:22:22.76,0:22:24.96,Default,,0000,0000,0000,,{\i1}She is nicknamed "Millie".{\i0}
Dialogue: 0,0:22:25.04,0:22:27.60,Default,,0000,0000,0000,,{\i1}Her age is 24.{\i0}
Dialogue: 0,0:22:28.12,0:22:31.92,Default,,0000,0000,0000,,{\i1}For 3 years she has been married\Nto a Kristiania city doctor{\i0}
Dialogue: 0,0:22:31.100,0:22:34.80,Default,,0000,0000,0000,,{\i1}who is 9 years her senior in age.{\i0}
Dialogue: 0,0:22:35.68,0:22:37.80,Default,,0000,0000,0000,,{\i1}She has no children.{\i0}
Dialogue: 0,0:22:53.80,0:22:56.28,Default,,0000,0000,0000,,All the virtuous little misses
Dialogue: 0,0:22:56.36,0:22:59.100,Default,,0000,0000,0000,,will trip down the Karl Johan.
Dialogue: 0,0:23:03.44,0:23:05.88,Default,,0000,0000,0000,,{\i1}Jæger's vision is to set up\Na special school{\i0}
Dialogue: 0,0:23:05.96,0:23:09.100,Default,,0000,0000,0000,,{\i1}for the "prim young misses"\Nof middle-class Kristiania{\i0}
Dialogue: 0,0:23:10.08,0:23:12.36,Default,,0000,0000,0000,,{\i1}educate them into proud women{\i0}
Dialogue: 0,0:23:12.44,0:23:15.04,Default,,0000,0000,0000,,{\i1}who might walk freely\Ndown the Karl Johan{\i0}
Dialogue: 0,0:23:15.12,0:23:19.56,Default,,0000,0000,0000,,{\i1}with all the world knowing\Nthat they love and have lovers.{\i0}
Dialogue: 0,0:23:19.64,0:23:22.76,Default,,0000,0000,0000,,{\i1}They would write\NBoheme literature, open and frank{\i0}
Dialogue: 0,0:23:22.84,0:23:25.72,Default,,0000,0000,0000,,{\i1}about their personal experiences.{\i0}
Dialogue: 0,0:23:29.60,0:23:33.76,Default,,0000,0000,0000,,{\i1}Despite the somewhat bleaker reality\Nof the Karl Johan,{\i0}
Dialogue: 0,0:23:33.84,0:23:37.96,Default,,0000,0000,0000,,{\i1}Hans Jæger is also planning to write\Na highly personal account{\i0}
Dialogue: 0,0:23:38.04,0:23:39.80,Default,,0000,0000,0000,,{\i1}of his own love life{\i0}
Dialogue: 0,0:23:39.88,0:23:44.04,Default,,0000,0000,0000,,{\i1}with a frankness hitherto unknown\Nin Norwegian literature.{\i0}
Dialogue: 0,0:23:44.36,0:23:48.08,Default,,0000,0000,0000,,{\i1}He urges Edvard Munch\Nto express himself in his work{\i0}
Dialogue: 0,0:23:48.56,0:23:50.84,Default,,0000,0000,0000,,{\i1}with the same total frankness.{\i0}
Dialogue: 0,0:23:51.72,0:23:56.96,Default,,0000,0000,0000,,His father walked back and forth.\NHe kept his hands clasped.
Dialogue: 0,0:24:04.52,0:24:08.36,Default,,0000,0000,0000,,{\i1}Hans Jæger is himself\Ncurrently and publicly{\i0}
Dialogue: 0,0:24:08.44,0:24:11.24,Default,,0000,0000,0000,,{\i1}having an affair\Nwith a married woman{\i0}
Dialogue: 0,0:24:11.32,0:24:14.60,Default,,0000,0000,0000,,{\i1}Oda Lassen, age 24{\i0}
Dialogue: 0,0:24:15.60,0:24:19.52,Default,,0000,0000,0000,,{\i1}a painter, whose husband\Nis a wood and ice-merchant{\i0}
Dialogue: 0,0:24:19.60,0:24:21.60,Default,,0000,0000,0000,,{\i1}8 years her senior.{\i0}
Dialogue: 0,0:24:32.44,0:24:34.68,Default,,0000,0000,0000,,I consider marriage
Dialogue: 0,0:24:34.80,0:24:39.92,Default,,0000,0000,0000,,to be based on something which\Nis completely impossible for me.
Dialogue: 0,0:24:41.16,0:24:48.04,Default,,0000,0000,0000,,One is obliged to love\Nanother human being all one's life.
Dialogue: 0,0:24:48.100,0:24:53.20,Default,,0000,0000,0000,,It seems utterly absurd.\NNo one can order me
Dialogue: 0,0:24:53.28,0:24:57.32,Default,,0000,0000,0000,,to love someone\NI have grown to hate.
Dialogue: 0,0:25:16.24,0:25:20.20,Default,,0000,0000,0000,,What do you think of\Nthe Bohemians' conduct?
Dialogue: 0,0:25:21.60,0:25:26.04,Default,,0000,0000,0000,,One might characterise\Ntheir conduct as follows:
Dialogue: 0,0:25:27.20,0:25:31.44,Default,,0000,0000,0000,,I consider it to be\Nextremely unprepossessing
Dialogue: 0,0:25:31.52,0:25:40.48,Default,,0000,0000,0000,,and a distinct danger for\Ncertain easily influenced souls.
Dialogue: 0,0:25:42.100,0:25:47.84,Default,,0000,0000,0000,,I'm not talking about prostitutes\Nbut human beings who can love.
Dialogue: 0,0:25:50.100,0:25:56.24,Default,,0000,0000,0000,,The only thing they seem capable of\Nis so-called free love.
Dialogue: 0,0:25:56.100,0:26:00.24,Default,,0000,0000,0000,,But rabbits are capable of that too.
Dialogue: 0,0:26:00.36,0:26:06.48,Default,,0000,0000,0000,,"I love you, love you.\NTake me, kiss me, hold me and then
Dialogue: 0,0:26:07.04,0:26:11.88,Default,,0000,0000,0000,,"embrace me, hug me\Nso that I never breathe again.
Dialogue: 0,0:26:12.20,0:26:14.96,Default,,0000,0000,0000,,"Your kiss is so fiery tonight.
Dialogue: 0,0:26:15.08,0:26:17.48,Default,,0000,0000,0000,,"Fever takes you in command.
Dialogue: 0,0:26:17.56,0:26:22.36,Default,,0000,0000,0000,,"Your tears run slowly down\Nand burn into my hand."
Dialogue: 0,0:26:22.44,0:26:26.28,Default,,0000,0000,0000,,{\i1}Sigurd Bødtker,\Nstudent and poet.{\i0}
Dialogue: 0,0:26:26.36,0:26:29.84,Default,,0000,0000,0000,,"Do you think that\NI've tired of you?
Dialogue: 0,0:26:29.96,0:26:33.100,Default,,0000,0000,0000,,"Oh no! Smile happily\Nas you did before.
Dialogue: 0,0:26:34.40,0:26:36.72,Default,,0000,0000,0000,,"Stay with me tonight.
Dialogue: 0,0:26:36.80,0:26:40.64,Default,,0000,0000,0000,,"Let my arm\Ncurl close about your waist."
Dialogue: 0,0:26:45.52,0:26:47.56,Default,,0000,0000,0000,,How were sexual matters
Dialogue: 0,0:26:47.68,0:26:49.68,Default,,0000,0000,0000,,dealt with in your home?
Dialogue: 0,0:26:49.76,0:26:52.96,Default,,0000,0000,0000,,They weren't dealt with at all.
Dialogue: 0,0:26:53.08,0:26:56.20,Default,,0000,0000,0000,,Everything was kept secret\Naround me.
Dialogue: 0,0:26:56.80,0:27:01.36,Default,,0000,0000,0000,,I understood nothing\Nuntil it was too late.
Dialogue: 0,0:27:16.36,0:27:20.84,Default,,0000,0000,0000,,{\i1}Hans Jæger has told Munch\Nthat the human function of sex{\i0}
Dialogue: 0,0:27:21.64,0:27:25.76,Default,,0000,0000,0000,,{\i1}is the most important\Nsingle process known to man.{\i0}
Dialogue: 0,0:27:25.84,0:27:30.60,Default,,0000,0000,0000,,{\i1}It is a source of pleasure,\Na wave of sweetness and warmth{\i0}
Dialogue: 0,0:27:30.68,0:27:34.56,Default,,0000,0000,0000,,{\i1}through which man is elevated\Nand made less lonely.{\i0}
Dialogue: 0,0:27:35.04,0:27:41.04,Default,,0000,0000,0000,,In her testament, Mamma asked\Nus to be good
Dialogue: 0,0:27:42.84,0:27:45.20,Default,,0000,0000,0000,,and to love Jesus.
Dialogue: 0,0:27:46.20,0:27:49.04,Default,,0000,0000,0000,,I try to obey my lusts.
Dialogue: 0,0:27:49.40,0:27:52.80,Default,,0000,0000,0000,,We have only one life and
Dialogue: 0,0:27:52.92,0:27:57.60,Default,,0000,0000,0000,,we must develop our ability\Nto feel and to love.
Dialogue: 0,0:27:58.08,0:28:03.60,Default,,0000,0000,0000,,{\i1}The final passage of Jæger's book\Ndetails the burial of its hero:{\i0}
Dialogue: 0,0:28:04.92,0:28:09.92,Default,,0000,0000,0000,,{\i1}"Then, they have all vanished\Nand Jarman lies alone again{\i0}
Dialogue: 0,0:28:10.44,0:28:16.40,Default,,0000,0000,0000,,{\i1}"there in the desolate cemetery and\Nrots under his cover of flowers."{\i0}
Dialogue: 0,0:28:16.48,0:28:20.60,Default,,0000,0000,0000,,Sophie, shall we sing\Na Christmas carol?
Dialogue: 0,0:28:36.48,0:28:39.24,Default,,0000,0000,0000,,{\i1}"And suddenly something opened{\i0}
Dialogue: 0,0:28:39.32,0:28:43.48,Default,,0000,0000,0000,,{\i1}"and we could see far,\Nfar into heaven{\i0}
Dialogue: 0,0:28:43.56,0:28:47.76,Default,,0000,0000,0000,,{\i1}"and saw angels float,\Nquietly smiling."{\i0}
Dialogue: 0,0:29:02.56,0:29:09.60,Default,,0000,0000,0000,,Four of Granny's eight children\Ndied before they were 16.
Dialogue: 0,0:29:14.96,0:29:18.84,Default,,0000,0000,0000,,The Kristiania Bohemians say,\N"Thou shalt
Dialogue: 0,0:29:18.96,0:29:21.88,Default,,0000,0000,0000,,take thine own life."\NWhat are your views on that?
Dialogue: 0,0:29:25.36,0:29:27.40,Default,,0000,0000,0000,,I think it is wrong.
Dialogue: 0,0:29:28.08,0:29:33.64,Default,,0000,0000,0000,,We don't have a right to throw away\Nthe lives God has given us.
Dialogue: 0,0:29:34.40,0:29:39.60,Default,,0000,0000,0000,,They should be used for Him\Nand our lives do have a meaning.
Dialogue: 0,0:29:48.84,0:29:51.12,Default,,0000,0000,0000,,Tell us about his work.
Dialogue: 0,0:29:53.60,0:29:56.96,Default,,0000,0000,0000,,Edvard Munch is a talented\Nyoung painter.
Dialogue: 0,0:29:57.04,0:30:00.28,Default,,0000,0000,0000,,But he's more interested
Dialogue: 0,0:30:00.40,0:30:04.44,Default,,0000,0000,0000,,in painting light and shadow\Nthan social conditions.
Dialogue: 0,0:30:06.44,0:30:11.72,Default,,0000,0000,0000,,{\i1}In 1884 Edvard Munch paints\Nthis study of a servant girl{\i0}
Dialogue: 0,0:30:11.80,0:30:16.56,Default,,0000,0000,0000,,{\i1}partly dressed, seated on the edge\Nof a rumpled bed.{\i0}
Dialogue: 0,0:30:17.44,0:30:21.32,Default,,0000,0000,0000,,{\i1}The sunlight dissolves\Nthe colours and contours.{\i0}
Dialogue: 0,0:30:21.92,0:30:24.68,Default,,0000,0000,0000,,{\i1}There is a sense of softness{\i0}
Dialogue: 0,0:30:24.76,0:30:26.84,Default,,0000,0000,0000,,{\i1}what Munch is to call later{\i0}
Dialogue: 0,0:30:26.92,0:30:31.36,Default,,0000,0000,0000,,{\i1}his "nervous dissolving\Ntreatment of colour."{\i0}
Dialogue: 0,0:31:13.92,0:31:16.36,Default,,0000,0000,0000,,What sort of a person is he?
Dialogue: 0,0:31:18.64,0:31:23.48,Default,,0000,0000,0000,,Very reticent, almost\Naristocratically so
Dialogue: 0,0:31:24.80,0:31:29.20,Default,,0000,0000,0000,,which creates a distance\Nto the other members of the group.
Dialogue: 0,0:31:30.96,0:31:33.12,Default,,0000,0000,0000,,{\i1}Amongst the colleagues\Nof Edvard Munch{\i0}
Dialogue: 0,0:31:33.84,0:31:35.68,Default,,0000,0000,0000,,{\i1}are Carl Nordberg{\i0}
Dialogue: 0,0:31:36.92,0:31:39.04,Default,,0000,0000,0000,,{\i1}Andreas Singdahlsen{\i0}
Dialogue: 0,0:31:39.72,0:31:41.52,Default,,0000,0000,0000,,{\i1}Halfdan Strain{\i0}
Dialogue: 0,0:31:41.60,0:31:43.44,Default,,0000,0000,0000,,{\i1}and Thorvald Torgersen.{\i0}
Dialogue: 0,0:31:44.84,0:31:47.04,Default,,0000,0000,0000,,{\i1}And Jørgen Sørensen{\i0}
Dialogue: 0,0:31:47.44,0:31:49.64,Default,,0000,0000,0000,,{\i1}crippled since the age of seven{\i0}
Dialogue: 0,0:31:50.32,0:31:52.100,Default,,0000,0000,0000,,{\i1}who is to die in his early 30's.{\i0}
Dialogue: 0,0:31:55.88,0:31:58.12,Default,,0000,0000,0000,,We must take part in
Dialogue: 0,0:31:58.24,0:32:01.08,Default,,0000,0000,0000,,what is happening around us
Dialogue: 0,0:32:01.16,0:32:06.84,Default,,0000,0000,0000,,and, what with poverty and need\Nand children who have to work,
Dialogue: 0,0:32:06.92,0:32:10.32,Default,,0000,0000,0000,,we must join forces with the people
Dialogue: 0,0:32:10.44,0:32:12.68,Default,,0000,0000,0000,,not with the bourgeoisie.
Dialogue: 0,0:32:12.76,0:32:16.60,Default,,0000,0000,0000,,Painters mustn't be led astray\Nby new ideas...
Dialogue: 0,0:32:16.68,0:32:17.68,Default,,0000,0000,0000,,My Lord!
Dialogue: 0,0:32:17.76,0:32:20.92,Default,,0000,0000,0000,,...but sacrifice themselves\Nfor their painting.
Dialogue: 0,0:32:20.100,0:32:21.100,Default,,0000,0000,0000,,Painting?
Dialogue: 0,0:32:23.80,0:32:28.76,Default,,0000,0000,0000,,Yes, but his painting emerges\Nfrom his own person.
Dialogue: 0,0:32:30.20,0:32:32.68,Default,,0000,0000,0000,,He is the one who paints.
Dialogue: 0,0:32:32.76,0:32:36.80,Default,,0000,0000,0000,,So art must express\Nthe subjective view
Dialogue: 0,0:32:36.92,0:32:39.68,Default,,0000,0000,0000,,of the artist on reality.
Dialogue: 0,0:32:43.40,0:32:49.04,Default,,0000,0000,0000,,{\i1}In 1884, Edvard Munch begins work\Non a canvas of his younger sister{\i0}
Dialogue: 0,0:32:49.64,0:32:53.36,Default,,0000,0000,0000,,{\i1}a portrait that illuminates\Nher face and her hands.{\i0}
Dialogue: 0,0:32:53.84,0:32:57.04,Default,,0000,0000,0000,,{\i1}The remainder of her body\Nis shrouded in darkness.{\i0}
Dialogue: 0,0:32:58.04,0:33:00.100,Default,,0000,0000,0000,,{\i1}There is no movement\Nsave for the tension{\i0}
Dialogue: 0,0:33:01.32,0:33:04.76,Default,,0000,0000,0000,,{\i1}in the slight raising\Nof the left hand.{\i0}
Dialogue: 0,0:33:09.72,0:33:12.80,Default,,0000,0000,0000,,Edvard, my brother,
Dialogue: 0,0:33:12.92,0:33:16.88,Default,,0000,0000,0000,,almost died too\Nfrom the same disease.
Dialogue: 0,0:33:19.20,0:33:21.44,Default,,0000,0000,0000,,Lord God, I beg you...
Dialogue: 0,0:33:24.04,0:33:26.80,Default,,0000,0000,0000,,{\i1}The near-death of 13 year-old\NEdvard Munch{\i0}
Dialogue: 0,0:33:26.88,0:33:28.84,Default,,0000,0000,0000,,{\i1}from a pulmonary haemorrhage{\i0}
Dialogue: 0,0:33:28.96,0:33:33.56,Default,,0000,0000,0000,,{\i1}took place on Christmas Day, 1875.{\i0}
Dialogue: 0,0:33:35.64,0:33:37.96,Default,,0000,0000,0000,,Has all the suffering
Dialogue: 0,0:33:38.04,0:33:41.80,Default,,0000,0000,0000,,in your family affected your faith?
Dialogue: 0,0:33:43.32,0:33:48.16,Default,,0000,0000,0000,,I don't think it's for me\Nto interfere in God's will.
Dialogue: 0,0:33:49.72,0:33:54.16,Default,,0000,0000,0000,,He loves us and we must be grateful.
Dialogue: 0,0:34:26.48,0:34:29.72,Default,,0000,0000,0000,,"Our Father who art in heaven
Dialogue: 0,0:34:30.52,0:34:34.56,Default,,0000,0000,0000,,"Hallowed be Thy name\NThy kingdom come
Dialogue: 0,0:34:35.84,0:34:39.96,Default,,0000,0000,0000,,"Thy will be done on earth\NAs it is in heaven."
Dialogue: 0,0:34:40.04,0:34:43.32,Default,,0000,0000,0000,,{\i1}"A strange man,\Ndressed all in black{\i0}
Dialogue: 0,0:34:43.64,0:34:45.100,Default,,0000,0000,0000,,{\i1}"stood at the foot of the bed\Nand prayed.{\i0}
Dialogue: 0,0:34:46.100,0:34:48.56,Default,,0000,0000,0000,,{\i1}"The air was heavy and black."{\i0}
Dialogue: 0,0:34:50.08,0:34:53.16,Default,,0000,0000,0000,,Munch's family is puritan.
Dialogue: 0,0:34:53.24,0:34:56.68,Default,,0000,0000,0000,,Everyone who's seen\Nhis father knows that.
Dialogue: 0,0:34:58.24,0:34:59.88,Default,,0000,0000,0000,,When he's with us
Dialogue: 0,0:34:59.100,0:35:03.88,Default,,0000,0000,0000,,he has to go home\Nfor family evening prayer!
Dialogue: 0,0:35:19.60,0:35:24.84,Default,,0000,0000,0000,,"Lead us not into temptation\NBut deliver us from evil
Dialogue: 0,0:35:25.32,0:35:30.04,Default,,0000,0000,0000,,"For Thine is the kingdom\NThe power and the glory
Dialogue: 0,0:35:30.48,0:35:31.92,Default,,0000,0000,0000,,"For ever.
Dialogue: 0,0:35:32.84,0:35:33.76,Default,,0000,0000,0000,,"Amen."
Dialogue: 0,0:35:59.80,0:36:04.12,Default,,0000,0000,0000,,- Have you met his family?\N- I've not seen him pray either.
Dialogue: 0,0:36:04.20,0:36:06.08,Default,,0000,0000,0000,,He sits there like a monk!
Dialogue: 0,0:36:36.24,0:36:40.28,Default,,0000,0000,0000,,It was distressing\Nfor the older children
Dialogue: 0,0:36:41.44,0:36:45.08,Default,,0000,0000,0000,,to see so much illness\Nand death.
Dialogue: 0,0:36:49.76,0:36:51.20,Default,,0000,0000,0000,,{\i1}Are you sick?{\i0}
Dialogue: 0,0:36:56.32,0:36:59.40,Default,,0000,0000,0000,,"If anyone worships\Nthe beast's image
Dialogue: 0,0:36:59.48,0:37:02.96,Default,,0000,0000,0000,,"and receives a mark\Non his forehead or hand
Dialogue: 0,0:37:03.36,0:37:06.48,Default,,0000,0000,0000,,"he shall drink\Nthe wine of God's wrath
Dialogue: 0,0:37:06.56,0:37:09.76,Default,,0000,0000,0000,,"poured unmixed into\Nthe cup of his anger
Dialogue: 0,0:37:09.88,0:37:14.80,Default,,0000,0000,0000,,"and he shall be tormented\Nin the presence of the holy angels."
Dialogue: 0,0:37:17.44,0:37:23.52,Default,,0000,0000,0000,,To be free on Sundays I have to work\N17 to 18 hours the other days.
Dialogue: 0,0:37:23.60,0:37:24.100,Default,,0000,0000,0000,,It's hard work.
Dialogue: 0,0:37:26.64,0:37:28.92,Default,,0000,0000,0000,,Some of my friends,\Nafter working hours,
Dialogue: 0,0:37:28.100,0:37:33.100,Default,,0000,0000,0000,,make so little that they often\Ntake to the streets.
Dialogue: 0,0:37:38.08,0:37:40.48,Default,,0000,0000,0000,,{\i1}The prostitutes of Kristiania{\i0}
Dialogue: 0,0:37:40.56,0:37:43.40,Default,,0000,0000,0000,,{\i1}many of them from the district\Nknown as "Vika"{\i0}
Dialogue: 0,0:37:43.48,0:37:46.04,Default,,0000,0000,0000,,{\i1}are legalised\Ninto a public institution{\i0}
Dialogue: 0,0:37:46.12,0:37:49.84,Default,,0000,0000,0000,,{\i1}under the control\Nof the police health authorities.{\i0}
Dialogue: 0,0:37:50.28,0:37:54.12,Default,,0000,0000,0000,,Look at prostitution\Nin Kristiania today.
Dialogue: 0,0:37:54.80,0:38:00.56,Default,,0000,0000,0000,,According to Christian morals\Nthere is no prostitution today.
Dialogue: 0,0:38:00.64,0:38:05.52,Default,,0000,0000,0000,,It's typical that prostitution\Nis controlled by the police.
Dialogue: 0,0:38:06.88,0:38:10.92,Default,,0000,0000,0000,,But you're for making people\Nlive on prostitution.
Dialogue: 0,0:38:10.100,0:38:15.40,Default,,0000,0000,0000,,No. In my society there is\Nno room for prostitution.
Dialogue: 0,0:38:16.88,0:38:21.44,Default,,0000,0000,0000,,{\i1}There are 300 police officers\Nin the city of Kristiania.{\i0}
Dialogue: 0,0:38:21.52,0:38:26.36,Default,,0000,0000,0000,,{\i1}Amongst their principal duties,\Nthe control of venereal disease.{\i0}
Dialogue: 0,0:38:27.32,0:38:31.76,Default,,0000,0000,0000,,It's the bourgeoisie\Nwho gain from prostitution.
Dialogue: 0,0:38:32.48,0:38:36.52,Default,,0000,0000,0000,,Yet bourgeois morals\Ndo not allow it to exist:
Dialogue: 0,0:38:36.84,0:38:39.76,Default,,0000,0000,0000,,"Thou shalt not commit adultery."
Dialogue: 0,0:38:40.20,0:38:43.24,Default,,0000,0000,0000,,What are your views on marriage?
Dialogue: 0,0:38:44.100,0:38:46.24,Default,,0000,0000,0000,,In my opinion
Dialogue: 0,0:38:47.84,0:38:53.20,Default,,0000,0000,0000,,marriage is an incalculably\Nimportant and necessary institution
Dialogue: 0,0:38:54.40,0:38:58.56,Default,,0000,0000,0000,,which undoubtedly\Nforms the foundation
Dialogue: 0,0:38:58.64,0:39:02.84,Default,,0000,0000,0000,,of our social and cultural structure.
Dialogue: 0,0:39:03.80,0:39:11.44,Default,,0000,0000,0000,,Without marriage, rootless\Nand chaotic conditions would arise
Dialogue: 0,0:39:12.76,0:39:14.96,Default,,0000,0000,0000,,which in turn, I fear,
Dialogue: 0,0:39:15.80,0:39:19.100,Default,,0000,0000,0000,,might easily lead to anarchy.
Dialogue: 0,0:39:22.56,0:39:27.16,Default,,0000,0000,0000,,In brief, if we want\Nto maintain peace and order,
Dialogue: 0,0:39:27.52,0:39:32.56,Default,,0000,0000,0000,,it is essential to support\Nand expand our institutions.
Dialogue: 0,0:39:42.40,0:39:46.64,Default,,0000,0000,0000,,The way society is today,\Nif one marries and has a wife,
Dialogue: 0,0:39:46.72,0:39:50.88,Default,,0000,0000,0000,,she is just as prostituted\Nas "the girls from Viken".
Dialogue: 0,0:39:53.60,0:39:58.52,Default,,0000,0000,0000,,{\i1}Once every week each prostitute must\Nreport to the police for inspection.{\i0}
Dialogue: 0,0:39:58.60,0:39:59.84,Default,,0000,0000,0000,,Sit there.
Dialogue: 0,0:40:04.76,0:40:07.04,Default,,0000,0000,0000,,{\i1}The year 1884.{\i0}
Dialogue: 0,0:40:07.88,0:40:12.84,Default,,0000,0000,0000,,{\i1}An American inventor called Maxim\Ndevelops the machine gun{\i0}
Dialogue: 0,0:40:13.44,0:40:16.24,Default,,0000,0000,0000,,{\i1}and the United States receives\NPearl Harbor{\i0}
Dialogue: 0,0:40:16.32,0:40:18.32,Default,,0000,0000,0000,,{\i1}as a Pacific naval base.{\i0}
Dialogue: 0,0:40:20.40,0:40:25.04,Default,,0000,0000,0000,,Those who are prostituted\Nare excluded from society
Dialogue: 0,0:40:25.80,0:40:28.52,Default,,0000,0000,0000,,by the same people...
Dialogue: 0,0:40:28.60,0:40:30.08,Default,,0000,0000,0000,,Lean back.
Dialogue: 0,0:40:30.16,0:40:32.72,Default,,0000,0000,0000,,...who've put them\Nin that situation.
Dialogue: 0,0:40:32.80,0:40:35.40,Default,,0000,0000,0000,,That's the bourgeoisie's\Nlove of humanity.
Dialogue: 0,0:40:39.20,0:40:43.24,Default,,0000,0000,0000,,A little wider.\NRaise your feet higher.
Dialogue: 0,0:40:54.20,0:40:57.72,Default,,0000,0000,0000,,- Name and address.\N- Line Pedersen.
Dialogue: 0,0:40:57.84,0:41:00.40,Default,,0000,0000,0000,,When I ask for your name,\NI want your surname first.
Dialogue: 0,0:41:00.48,0:41:03.40,Default,,0000,0000,0000,,- Pedersen.\N- Name...
Dialogue: 0,0:41:05.12,0:41:06.16,Default,,0000,0000,0000,,Pedersen.
Dialogue: 0,0:41:06.28,0:41:11.68,Default,,0000,0000,0000,,Because of my illness,\NI'm grateful for the girls in Viken
Dialogue: 0,0:41:11.76,0:41:18.24,Default,,0000,0000,0000,,but I don't use them any more\Nthan Mr Average uses his wife.
Dialogue: 0,0:41:18.92,0:41:21.76,Default,,0000,0000,0000,,To me marriage\Nis legal prostitution.
Dialogue: 0,0:41:25.32,0:41:27.08,Default,,0000,0000,0000,,You can go now.
Dialogue: 0,0:41:27.16,0:41:29.92,Default,,0000,0000,0000,,I assume the present assembly
Dialogue: 0,0:41:30.04,0:41:32.88,Default,,0000,0000,0000,,is well aware of who it is
Dialogue: 0,0:41:32.100,0:41:37.56,Default,,0000,0000,0000,,that uses prostitutes:\Nthe bourgeoisie and the police.
Dialogue: 0,0:42:11.32,0:42:15.60,Default,,0000,0000,0000,,Once, when Grandfather came\Nhome from a business trip,
Dialogue: 0,0:42:15.68,0:42:20.32,Default,,0000,0000,0000,,he found Granny behind\Na screen together with
Dialogue: 0,0:42:20.44,0:42:22.24,Default,,0000,0000,0000,,three dead children.
Dialogue: 0,0:42:26.44,0:42:31.36,Default,,0000,0000,0000,,{\i1}When Edvard Munch first shows\Nhis completed painting, Inger in Black{\i0}
Dialogue: 0,0:42:32.12,0:42:36.56,Default,,0000,0000,0000,,{\i1}the conservative press\Nin Kristiania refer to...{\i0}
Dialogue: 0,0:42:36.64,0:42:39.72,Default,,0000,0000,0000,,{\i1}"his almost frighteningly\Nugly portrait{\i0}
Dialogue: 0,0:42:39.80,0:42:41.32,Default,,0000,0000,0000,,{\i1}"of a lady in black"{\i0}
Dialogue: 0,0:42:42.72,0:42:46.36,Default,,0000,0000,0000,,{\i1}thus beginning a critical assault\Non his work{\i0}
Dialogue: 0,0:42:46.88,0:42:50.76,Default,,0000,0000,0000,,{\i1}that is to last\Nfor at least 15 years.{\i0}
Dialogue: 0,0:42:57.48,0:43:00.96,Default,,0000,0000,0000,,{\i1}In May 1885,\NEdvard Munch visits Paris.{\i0}
Dialogue: 0,0:43:01.88,0:43:03.88,Default,,0000,0000,0000,,{\i1}For the first time in his life,\Nhe comes{\i0}
Dialogue: 0,0:43:04.40,0:43:08.04,Default,,0000,0000,0000,,{\i1}face to face with\Nfull-size classical art.{\i0}
Dialogue: 0,0:43:08.12,0:43:10.40,Default,,0000,0000,0000,,{\i1}He sees Velasquez\Nand Rembrandt{\i0}
Dialogue: 0,0:43:10.92,0:43:12.12,Default,,0000,0000,0000,,{\i1}and Manet.{\i0}
Dialogue: 0,0:43:30.52,0:43:33.96,Default,,0000,0000,0000,,{\i1}Three weeks later,\NMunch returns to Norway{\i0}
Dialogue: 0,0:43:34.04,0:43:37.64,Default,,0000,0000,0000,,{\i1}and shortly afterwards\Ntakes a boat with his family{\i0}
Dialogue: 0,0:43:37.72,0:43:42.08,Default,,0000,0000,0000,,{\i1}down the Kristiania fjord\Nto the little village of Bone.{\i0}
Dialogue: 0,0:44:02.84,0:44:04.08,Default,,0000,0000,0000,,Hello.
Dialogue: 0,0:44:05.28,0:44:09.32,Default,,0000,0000,0000,,You live quite close to here?\NThen we're neighbours.
Dialogue: 0,0:44:10.08,0:44:14.08,Default,,0000,0000,0000,,- Will you visit me one day?\N- I'd like to.
Dialogue: 0,0:44:14.16,0:44:17.100,Default,,0000,0000,0000,,Some ladies are visiting today.\NPerhaps tomorrow?
Dialogue: 0,0:44:22.76,0:44:27.60,Default,,0000,0000,0000,,{\i1}In his diaries, Edvard Munch\Nrefers to this woman{\i0}
Dialogue: 0,0:44:27.68,0:44:29.100,Default,,0000,0000,0000,,{\i1}as "Mrs Heiberg".{\i0}
Dialogue: 0,0:44:30.08,0:44:32.68,Default,,0000,0000,0000,,{\i1}It is not her real name.{\i0}
Dialogue: 0,0:44:32.76,0:44:36.92,Default,,0000,0000,0000,,- Aren't you hungry?\N- Yes, I am hungry.
Dialogue: 0,0:44:44.100,0:44:46.44,Default,,0000,0000,0000,,Beautiful landscape here.
Dialogue: 0,0:44:56.24,0:44:57.52,Default,,0000,0000,0000,,It's so blue.
Dialogue: 0,0:45:05.56,0:45:07.88,Default,,0000,0000,0000,,{\i1}The year 1885.{\i0}
Dialogue: 0,0:45:08.40,0:45:10.100,Default,,0000,0000,0000,,{\i1}General Gordon dies at Khartoum{\i0}
Dialogue: 0,0:45:11.08,0:45:13.76,Default,,0000,0000,0000,,{\i1}Serbia invades Bulgaria{\i0}
Dialogue: 0,0:45:13.84,0:45:16.56,Default,,0000,0000,0000,,{\i1}the British annex Bechuanaland{\i0}
Dialogue: 0,0:45:16.64,0:45:20.84,Default,,0000,0000,0000,,{\i1}Karl Marx writes\Nvolume two of Das Kapital{\i0}
Dialogue: 0,0:45:20.92,0:45:26.100,Default,,0000,0000,0000,,{\i1}and the future General Patton\Nand D. H. Lawrence are born.{\i0}
Dialogue: 0,0:45:30.56,0:45:36.40,Default,,0000,0000,0000,,All the things he'd wanted to say!\NHe felt awkward and afraid.
Dialogue: 0,0:45:38.64,0:45:44.28,Default,,0000,0000,0000,,They walked on in silence.\NHis cheeks burned.
Dialogue: 0,0:45:54.12,0:45:58.84,Default,,0000,0000,0000,,{\i1}Later in his life, Edvard Munch\Nis to express a deep disillusionment{\i0}
Dialogue: 0,0:45:59.40,0:46:02.92,Default,,0000,0000,0000,,{\i1}that all his father could do,\Nas a doctor{\i0}
Dialogue: 0,0:46:02.100,0:46:06.96,Default,,0000,0000,0000,,{\i1}for his dying mother and\Nhis dying sister and for himself{\i0}
Dialogue: 0,0:46:08.44,0:46:11.48,Default,,0000,0000,0000,,{\i1}was to put his hands together\Nand pray.{\i0}
Dialogue: 0,0:46:26.20,0:46:27.64,Default,,0000,0000,0000,,She spent time in bed
Dialogue: 0,0:46:30.40,0:46:32.44,Default,,0000,0000,0000,,coughing into a handkerchief.
Dialogue: 0,0:46:33.44,0:46:35.88,Default,,0000,0000,0000,,Did blood come this time too?
Dialogue: 0,0:46:59.28,0:47:02.60,Default,,0000,0000,0000,,- I kissed you. Are you angry?\N- No.
Dialogue: 0,0:47:06.16,0:47:08.20,Default,,0000,0000,0000,,Kissed your neck...
Dialogue: 0,0:47:09.96,0:47:12.80,Default,,0000,0000,0000,,If you're angry, you can beat me.
Dialogue: 0,0:47:15.28,0:47:17.28,Default,,0000,0000,0000,,I'm not angry.
Dialogue: 0,0:47:21.20,0:47:24.44,Default,,0000,0000,0000,,Perhaps you'll let me\Nkiss your mouth?
Dialogue: 0,0:47:37.92,0:47:42.36,Default,,0000,0000,0000,,I'm in a fortunate position,\Nmarried with no children.
Dialogue: 0,0:47:48.88,0:47:53.72,Default,,0000,0000,0000,,One is free when one is married\Nand has no children.
Dialogue: 0,0:47:55.52,0:47:58.32,Default,,0000,0000,0000,,But what about your husband?
Dialogue: 0,0:47:58.40,0:48:01.40,Default,,0000,0000,0000,,He's nice. He lets me do\Nas I please.
Dialogue: 0,0:48:05.64,0:48:09.64,Default,,0000,0000,0000,,- Is he as nice as that?\N- He's awfully nice.
Dialogue: 0,0:48:10.100,0:48:16.44,Default,,0000,0000,0000,,I probably hurt him\Nbut I can't help it. I have to.
Dialogue: 0,0:48:25.100,0:48:29.24,Default,,0000,0000,0000,,Stand still like that.\NLet me see you.
Dialogue: 0,0:48:30.48,0:48:33.24,Default,,0000,0000,0000,,How picturesque\Nyou are in this light.
Dialogue: 0,0:48:41.04,0:48:44.96,Default,,0000,0000,0000,,I'm so restless at night.\NI can't sleep.
Dialogue: 0,0:48:45.56,0:48:47.84,Default,,0000,0000,0000,,I have such dreadful dreams.
Dialogue: 0,0:48:49.56,0:48:53.56,Default,,0000,0000,0000,,I sleepwalk. I have such\Na longing to come to you.
Dialogue: 0,0:48:58.44,0:49:02.88,Default,,0000,0000,0000,,I do so like the dark.\NI can't stand the light.
Dialogue: 0,0:49:04.48,0:49:08.52,Default,,0000,0000,0000,,It should be like tonight.\NSo mysterious.
Dialogue: 0,0:49:18.68,0:49:23.92,Default,,0000,0000,0000,,I could do the most awful things\Nin the dark. Anything.
Dialogue: 0,0:49:29.72,0:49:31.64,Default,,0000,0000,0000,,{\i1}Upon his return to Kristiania{\i0}
Dialogue: 0,0:49:32.36,0:49:35.04,Default,,0000,0000,0000,,{\i1}Edvard Munch pays\Nhis first social call{\i0}
Dialogue: 0,0:49:35.44,0:49:37.68,Default,,0000,0000,0000,,{\i1}on the home of Mrs Heiberg.{\i0}
Dialogue: 0,0:49:41.92,0:49:44.08,Default,,0000,0000,0000,,He looked at the worn steps.
Dialogue: 0,0:49:44.84,0:49:48.44,Default,,0000,0000,0000,,He remembered all\Nhe had heard about her,
Dialogue: 0,0:49:48.80,0:49:54.48,Default,,0000,0000,0000,,all the lovers who had passed here\Nand quarrelled with her husband.
Dialogue: 0,0:50:00.40,0:50:02.68,Default,,0000,0000,0000,,He looked well, he thought.
Dialogue: 0,0:50:05.96,0:50:09.36,Default,,0000,0000,0000,,It was so heavy and dark\Nand subdued.
Dialogue: 0,0:50:13.72,0:50:18.36,Default,,0000,0000,0000,,He'd heard she usually lay\Non the couch all morning.
Dialogue: 0,0:50:19.72,0:50:22.56,Default,,0000,0000,0000,,The light in here was favourable.
Dialogue: 0,0:50:32.36,0:50:37.20,Default,,0000,0000,0000,,Have you seen how the hair\Ngrows out of his ears?
Dialogue: 0,0:50:40.72,0:50:42.56,Default,,0000,0000,0000,,Now he felt shy.
Dialogue: 0,0:50:44.84,0:50:47.20,Default,,0000,0000,0000,,He could find nothing to say.
Dialogue: 0,0:50:49.56,0:50:54.64,Default,,0000,0000,0000,,When they were near he felt\Nthat she waited for him
Dialogue: 0,0:50:54.72,0:50:57.16,Default,,0000,0000,0000,,to throw his arms about her.
Dialogue: 0,0:50:57.24,0:51:02.20,Default,,0000,0000,0000,,We got these last spring.\NThey were rather expensive.
Dialogue: 0,0:51:05.56,0:51:08.72,Default,,0000,0000,0000,,But he thought it was...\Nhe felt cold.
Dialogue: 0,0:51:11.24,0:51:13.28,Default,,0000,0000,0000,,It was the same shyness.
Dialogue: 0,0:51:14.64,0:51:17.52,Default,,0000,0000,0000,,He longed to be out\Nin the fresh air.
Dialogue: 0,0:51:17.60,0:51:21.36,Default,,0000,0000,0000,,This is where my husband works.\NHe's very orderly.
Dialogue: 0,0:51:21.44,0:51:24.36,Default,,0000,0000,0000,,Daddy, what I'm spitting up\Nis so dark.
Dialogue: 0,0:51:24.44,0:51:26.76,Default,,0000,0000,0000,,Everything has its place.
Dialogue: 0,0:51:28.36,0:51:30.60,Default,,0000,0000,0000,,I made that for him.
Dialogue: 0,0:51:33.20,0:51:35.92,Default,,0000,0000,0000,,- Shall we go out?\N- No, I can't.
Dialogue: 0,0:51:37.24,0:51:39.20,Default,,0000,0000,0000,,Perhaps this evening?
Dialogue: 0,0:51:41.48,0:51:42.88,Default,,0000,0000,0000,,It's blood, Daddy.
Dialogue: 0,0:51:43.44,0:51:44.40,Default,,0000,0000,0000,,I don't want to!
Dialogue: 0,0:51:44.92,0:51:49.32,Default,,0000,0000,0000,,He stroked his head.\NDon't be afraid, my son.
Dialogue: 0,0:51:55.20,0:51:56.48,Default,,0000,0000,0000,,I don't want to!
Dialogue: 0,0:51:56.56,0:51:59.48,Default,,0000,0000,0000,,What? Don't you want to?\NCome here.
Dialogue: 0,0:51:59.56,0:52:01.40,Default,,0000,0000,0000,,Are you crazy?
Dialogue: 0,0:52:02.36,0:52:04.84,Default,,0000,0000,0000,,Don't be so frightened.
Dialogue: 0,0:52:04.92,0:52:09.04,Default,,0000,0000,0000,,What a wretched idiot you are.
Dialogue: 0,0:52:09.64,0:52:11.68,Default,,0000,0000,0000,,A cowardly wretch!
Dialogue: 0,0:52:19.28,0:52:24.12,Default,,0000,0000,0000,,Why are you so set on\Nbecoming a great painter?
Dialogue: 0,0:52:26.12,0:52:30.76,Default,,0000,0000,0000,,You're going to die anyway.\NThen you'll be gone.
Dialogue: 0,0:52:35.48,0:52:39.88,Default,,0000,0000,0000,,{\i1}Using his aunt and a young girl\Ncalled Betsy as models{\i0}
Dialogue: 0,0:52:39.96,0:52:42.08,Default,,0000,0000,0000,,{\i1}Edvard Munch begins work\Non a canvas measuring{\i0}
Dialogue: 0,0:52:42.56,0:52:48.84,Default,,0000,0000,0000,,{\i1}119.5 cm by 118.5 cm.{\i0}
Dialogue: 0,0:52:49.36,0:52:51.92,Default,,0000,0000,0000,,{\i1}The death of his sister Sophie.{\i0}
Dialogue: 0,0:52:51.100,0:52:54.28,Default,,0000,0000,0000,,How quiet it is in the forest.
Dialogue: 0,0:52:59.44,0:53:04.04,Default,,0000,0000,0000,,Imagine living here, not alone\Nbut with someone else.
Dialogue: 0,0:53:05.80,0:53:08.24,Default,,0000,0000,0000,,It's so mysterious here.
Dialogue: 0,0:54:00.24,0:54:02.84,Default,,0000,0000,0000,,Shouldn't he sit a little closer?
Dialogue: 0,0:54:04.88,0:54:09.72,Default,,0000,0000,0000,,But he remained where he was,\Nstaring at Mrs Heiberg.
Dialogue: 0,0:54:11.68,0:54:13.72,Default,,0000,0000,0000,,At table Petra said,
Dialogue: 0,0:54:14.72,0:54:16.56,Default,,0000,0000,0000,,"I saw you talk to Mrs Heiberg.
Dialogue: 0,0:54:17.40,0:54:19.44,Default,,0000,0000,0000,,"Wasn't it Mrs Heiberg?"
Dialogue: 0,0:54:20.60,0:54:23.96,Default,,0000,0000,0000,,"Yes," he said carelessly\Nand reddened.
Dialogue: 0,0:54:24.96,0:54:30.08,Default,,0000,0000,0000,,"She looks dull," his father said.\N"She behaves badly to her husband."
Dialogue: 0,0:54:32.52,0:54:34.56,Default,,0000,0000,0000,,People talk so much.
Dialogue: 0,0:54:43.28,0:54:45.36,Default,,0000,0000,0000,,What a ridiculous dream
Dialogue: 0,0:54:45.48,0:54:47.60,Default,,0000,0000,0000,,it has been all these years.
Dialogue: 0,0:54:47.68,0:54:52.52,Default,,0000,0000,0000,,A great painter...\NIt's better than being a doctor.
Dialogue: 0,0:54:53.76,0:54:57.28,Default,,0000,0000,0000,,But, compared to a king, it's nothing.
Dialogue: 0,0:54:58.40,0:55:01.100,Default,,0000,0000,0000,,And a king is no more\Nthan a tiny microbe.
Dialogue: 0,0:55:02.08,0:55:05.100,Default,,0000,0000,0000,,{\i1}Munch now begins to add\Nlayer upon layer of texture{\i0}
Dialogue: 0,0:55:06.44,0:55:09.80,Default,,0000,0000,0000,,{\i1}with brush, palette knife\Nand even kitchen blade.{\i0}
Dialogue: 0,0:55:12.56,0:55:15.84,Default,,0000,0000,0000,,I've started work on\Na few canvases
Dialogue: 0,0:55:16.20,0:55:19.48,Default,,0000,0000,0000,,and there is one of them I think
Dialogue: 0,0:55:19.60,0:55:22.08,Default,,0000,0000,0000,,I can get something out of.
Dialogue: 0,0:55:22.64,0:55:24.32,Default,,0000,0000,0000,,I think it is going to be
Dialogue: 0,0:55:24.44,0:55:30.40,Default,,0000,0000,0000,,a good painting. I'm already\Nvery pleased with it.
Dialogue: 0,0:55:34.24,0:55:37.08,Default,,0000,0000,0000,,I've been thinking of you.
Dialogue: 0,0:55:40.72,0:55:45.96,Default,,0000,0000,0000,,In the colours especially,\NI can develop myself.
Dialogue: 0,0:55:46.92,0:55:52.88,Default,,0000,0000,0000,,It's something new.\NAs I said, I think it will be good.
Dialogue: 0,0:55:56.20,0:55:58.84,Default,,0000,0000,0000,,Is something troubling you?
Dialogue: 0,0:55:59.16,0:56:03.60,Default,,0000,0000,0000,,I do have a lot on my mind.\NI have worries too.
Dialogue: 0,0:56:04.72,0:56:07.16,Default,,0000,0000,0000,,I have my work to think of.
Dialogue: 0,0:56:17.92,0:56:23.16,Default,,0000,0000,0000,,The beautiful pale face\Nwith its soft full mouth,
Dialogue: 0,0:56:24.04,0:56:27.68,Default,,0000,0000,0000,,half closed eyes and throat.
Dialogue: 0,0:56:30.12,0:56:32.04,Default,,0000,0000,0000,,He had to own it again,
Dialogue: 0,0:56:32.16,0:56:36.08,Default,,0000,0000,0000,,to look into those eyes,\Nso often hard.
Dialogue: 0,0:56:43.12,0:56:46.36,Default,,0000,0000,0000,,Sophie and Edvard...
Dialogue: 0,0:56:50.40,0:56:53.24,Default,,0000,0000,0000,,I shall soon be leaving you
Dialogue: 0,0:56:56.32,0:57:01.68,Default,,0000,0000,0000,,and I'm so afraid of what\Nwill happen to our family.
Dialogue: 0,0:57:07.20,0:57:09.96,Default,,0000,0000,0000,,That's why I want to talk to you
Dialogue: 0,0:57:11.32,0:57:14.16,Default,,0000,0000,0000,,and I hope you can promise me
Dialogue: 0,0:57:14.60,0:57:20.56,Default,,0000,0000,0000,,to take care of\NLaura, Andreas and Inger
Dialogue: 0,0:57:22.80,0:57:26.20,Default,,0000,0000,0000,,so that I can go to heaven\Nwith an easy mind.
Dialogue: 0,0:57:27.04,0:57:30.04,Default,,0000,0000,0000,,- Will you promise me, Sophie?\N- Yes, Mamma.
Dialogue: 0,0:57:32.84,0:57:36.08,Default,,0000,0000,0000,,- Will you promise me, Edvard?\N- Yes, Mamma.
Dialogue: 0,0:58:12.92,0:58:16.48,Default,,0000,0000,0000,,I feel you in here very strongly.
Dialogue: 0,0:58:19.72,0:58:23.36,Default,,0000,0000,0000,,- Have you had physical relationships?\N- Many.
Dialogue: 0,0:58:23.84,0:58:27.96,Default,,0000,0000,0000,,Do you feel that you've fulfilled\Nyourself as a human being?
Dialogue: 0,0:58:28.52,0:58:33.36,Default,,0000,0000,0000,,I try. But there are\Nmany obstacles.
Dialogue: 0,0:58:34.32,0:58:39.28,Default,,0000,0000,0000,,- Do you achieve satisfaction?\N- Now but not before.
Dialogue: 0,0:58:40.40,0:58:43.96,Default,,0000,0000,0000,,When one is born one knows nothing.
Dialogue: 0,0:58:44.48,0:58:48.32,Default,,0000,0000,0000,,One is surrounded by adults\None looks up to,
Dialogue: 0,0:58:48.40,0:58:51.92,Default,,0000,0000,0000,,adults full of words and prejudices.
Dialogue: 0,0:58:51.100,0:58:57.88,Default,,0000,0000,0000,,Particularly in my family\Nwhich is very bourgeois.
Dialogue: 0,0:58:58.24,0:59:01.32,Default,,0000,0000,0000,,I was filled with lots\Nof admonitions.
Dialogue: 0,0:59:01.40,0:59:03.84,Default,,0000,0000,0000,,You mustn't do this. Do that.
Dialogue: 0,0:59:06.80,0:59:10.28,Default,,0000,0000,0000,,Things that I wanted to do
Dialogue: 0,0:59:10.36,0:59:13.64,Default,,0000,0000,0000,,were considered wrong\Nand conflicts arose.
Dialogue: 0,0:59:19.68,0:59:23.72,Default,,0000,0000,0000,,I've been thinking of you all night.\NI haven't slept.
Dialogue: 0,0:59:34.48,0:59:36.36,Default,,0000,0000,0000,,A plate was broken today.
Dialogue: 0,0:59:36.44,0:59:37.84,Default,,0000,0000,0000,,Was it you?
Dialogue: 0,0:59:37.96,0:59:41.40,Default,,0000,0000,0000,,- No, it was Sophie.\N- Sophie, did you do it?
Dialogue: 0,0:59:41.80,0:59:42.100,Default,,0000,0000,0000,,No. Edvard.
Dialogue: 0,0:59:49.48,0:59:52.52,Default,,0000,0000,0000,,- Sophie, was it you?\N- No. Edvard.
Dialogue: 0,0:59:54.72,0:59:58.76,Default,,0000,0000,0000,,{\i1}In Jæger's book{\i0}\N'From The Kristiania Boheme'
Dialogue: 0,0:59:58.84,1:00:02.24,Default,,0000,0000,0000,,{\i1}he describes a scene\Nwith a 16 year-old girl{\i0}
Dialogue: 0,1:00:02.32,1:00:04.48,Default,,0000,0000,0000,,{\i1}whom he has met on the street.{\i0}
Dialogue: 0,1:00:04.56,1:00:07.04,Default,,0000,0000,0000,,"I went down on my knees
Dialogue: 0,1:00:07.44,1:00:11.64,Default,,0000,0000,0000,,"and stretched my hands\Nwith my gaze resting on her eyes.
Dialogue: 0,1:00:12.48,1:00:16.60,Default,,0000,0000,0000,,"Her eyes retained\Ntheir shy expression.
Dialogue: 0,1:00:16.68,1:00:20.36,Default,,0000,0000,0000,,"Then at once they grew\Nlarge and tender.
Dialogue: 0,1:00:20.48,1:00:24.44,Default,,0000,0000,0000,,"And she drew me up to her,\Nput her arms about me
Dialogue: 0,1:00:24.52,1:00:28.36,Default,,0000,0000,0000,,"and rested her head\Nagainst my shoulders.
Dialogue: 0,1:00:28.72,1:00:32.88,Default,,0000,0000,0000,,"I leaned my head against hers\Nand kissed her black hair."
Dialogue: 0,1:01:03.04,1:01:05.48,Default,,0000,0000,0000,,{\i1}Munch writes in his diary:{\i0}
Dialogue: 0,1:01:06.48,1:01:09.44,Default,,0000,0000,0000,,{\i1}"They were lying beside each other.{\i0}
Dialogue: 0,1:01:09.52,1:01:11.80,Default,,0000,0000,0000,,{\i1}"They didn't talk much.{\i0}
Dialogue: 0,1:01:12.12,1:01:13.40,Default,,0000,0000,0000,,{\i1}"'Poor you', she said{\i0}
Dialogue: 0,1:01:14.76,1:01:19.48,Default,,0000,0000,0000,,{\i1}"and stroked his wet hair\Nslowly... slowly."{\i0}
Dialogue: 0,1:01:20.84,1:01:26.24,Default,,0000,0000,0000,,"She lay there with her head back\Nand her beautiful throat exposed.
Dialogue: 0,1:01:26.32,1:01:29.40,Default,,0000,0000,0000,,"I kissed it and wanted\Nto carry her to the bed.
Dialogue: 0,1:01:29.48,1:01:31.100,Default,,0000,0000,0000,,"But the touch of her soft limbs
Dialogue: 0,1:01:32.12,1:01:35.04,Default,,0000,0000,0000,,"took all strength from my arms."
Dialogue: 0,1:01:38.04,1:01:40.04,Default,,0000,0000,0000,,{\i1}"She lay down on him.{\i0}
Dialogue: 0,1:01:40.96,1:01:43.80,Default,,0000,0000,0000,,{\i1}"The moment again when everything\Nceased to exist.{\i0}
Dialogue: 0,1:01:45.36,1:01:47.44,Default,,0000,0000,0000,,{\i1}"Again and again."{\i0}
Dialogue: 0,1:01:51.12,1:01:55.80,Default,,0000,0000,0000,,And that married woman -\Nyou shouldn't be seen with her.
Dialogue: 0,1:01:58.32,1:02:02.76,Default,,0000,0000,0000,,Have you got something\Nbesides your work to think of?
Dialogue: 0,1:02:03.100,1:02:08.40,Default,,0000,0000,0000,,I feel much calmer.\NI sleep at night too.
Dialogue: 0,1:02:10.28,1:02:11.72,Default,,0000,0000,0000,,That's fine.
Dialogue: 0,1:02:22.72,1:02:25.16,Default,,0000,0000,0000,,You know that I need you.
Dialogue: 0,1:02:38.48,1:02:40.92,Default,,0000,0000,0000,,I'm so happy you came.
Dialogue: 0,1:02:49.60,1:02:51.84,Default,,0000,0000,0000,,What wonderful lips you have.
Dialogue: 0,1:03:04.48,1:03:08.88,Default,,0000,0000,0000,,{\i1}Munch writes in his diaries\Nof making appointments to meet{\i0}
Dialogue: 0,1:03:08.96,1:03:10.76,Default,,0000,0000,0000,,{\i1}Mrs Heiberg on the Karl Johan{\i0}
Dialogue: 0,1:03:10.84,1:03:16.04,Default,,0000,0000,0000,,{\i1}only to have her pass him by with\Nher husband or a friend on her arm.{\i0}
Dialogue: 0,1:03:16.64,1:03:20.76,Default,,0000,0000,0000,,{\i1}Exactly who began to break\Nthe appointments first is not known{\i0}
Dialogue: 0,1:03:20.84,1:03:22.76,Default,,0000,0000,0000,,{\i1}but Munch writes of retaliating{\i0}
Dialogue: 0,1:03:22.84,1:03:26.76,Default,,0000,0000,0000,,{\i1}by ignoring Mrs Heiberg\Nwhen they next meet.{\i0}
Dialogue: 0,1:03:26.84,1:03:30.88,Default,,0000,0000,0000,,I waited for half an hour\Non the Karl Johan.
Dialogue: 0,1:03:33.08,1:03:35.92,Default,,0000,0000,0000,,And when at last she came
Dialogue: 0,1:03:36.04,1:03:38.36,Default,,0000,0000,0000,,she simply walked past.
Dialogue: 0,1:03:39.48,1:03:41.92,Default,,0000,0000,0000,,She scarcely looked at me.
Dialogue: 0,1:03:48.36,1:03:52.32,Default,,0000,0000,0000,,It's a good thing\NI don't like her any more.
Dialogue: 0,1:03:52.40,1:03:56.96,Default,,0000,0000,0000,,{\i1}At about this same period,\NOda Lasson has told Hans Jæger{\i0}
Dialogue: 0,1:03:57.04,1:04:01.76,Default,,0000,0000,0000,,{\i1}that she is becoming emotionally\Ninvolved with Christian Krohg.{\i0}
Dialogue: 0,1:04:05.32,1:04:09.36,Default,,0000,0000,0000,,When I try to live according to\Nwhat is right for me
Dialogue: 0,1:04:09.72,1:04:14.92,Default,,0000,0000,0000,,and try to find my freedom\Nand live according to my rules,
Dialogue: 0,1:04:17.48,1:04:21.44,Default,,0000,0000,0000,,the only thing the bourgeoisie\Nare interested in
Dialogue: 0,1:04:21.52,1:04:24.12,Default,,0000,0000,0000,,is how many love affairs I have.
Dialogue: 0,1:04:25.84,1:04:32.20,Default,,0000,0000,0000,,Only my friends look at\Nand talk about what I do...
Dialogue: 0,1:04:33.20,1:04:35.60,Default,,0000,0000,0000,,talk about my paintings.
Dialogue: 0,1:04:39.12,1:04:43.56,Default,,0000,0000,0000,,She talked about how\Nhe had not greeted her on the street,
Dialogue: 0,1:04:43.100,1:04:47.24,Default,,0000,0000,0000,,how she was just as good\Nas other ladies.
Dialogue: 0,1:04:47.76,1:04:51.40,Default,,0000,0000,0000,,Look at Mrs Pettersen who\Nwent with the lieutenant to Paris.
Dialogue: 0,1:04:51.96,1:04:55.96,Default,,0000,0000,0000,,It made him shudder to hear\Nof her affection.
Dialogue: 0,1:05:04.04,1:05:05.88,Default,,0000,0000,0000,,{\i1}At first, Munch adds{\i0}
Dialogue: 0,1:05:05.96,1:05:08.76,Default,,0000,0000,0000,,{\i1}domestic details to the periphery\Nof the painting{\i0}
Dialogue: 0,1:05:08.84,1:05:11.04,Default,,0000,0000,0000,,{\i1}such as a chair, a glass, a bottle,{\i0}
Dialogue: 0,1:05:11.12,1:05:13.84,Default,,0000,0000,0000,,{\i1}a flowerpot on a window\Nand curtains.{\i0}
Dialogue: 0,1:05:14.64,1:05:17.64,Default,,0000,0000,0000,,{\i1}Then, slowly, over the months{\i0}
Dialogue: 0,1:05:18.12,1:05:20.76,Default,,0000,0000,0000,,{\i1}he begins to remove these details{\i0}
Dialogue: 0,1:05:20.84,1:05:24.72,Default,,0000,0000,0000,,{\i1}concentrating more and more\Non the head of his sister.{\i0}
Dialogue: 0,1:05:25.40,1:05:28.92,Default,,0000,0000,0000,,{\i1}Munch's affair with Mrs Heiberg\Nis already deteriorating.{\i0}
Dialogue: 0,1:05:29.92,1:05:35.76,Default,,0000,0000,0000,,{\i1}He takes the hand of his sister and\Npaints it in broad and vague strokes{\i0}
Dialogue: 0,1:05:35.84,1:05:39.68,Default,,0000,0000,0000,,{\i1}blurring out its ability\Nfor human contact.{\i0}
Dialogue: 0,1:05:40.24,1:05:46.68,Default,,0000,0000,0000,,Her hand was large and coarse.\NShe placed her cheek against his.
Dialogue: 0,1:05:47.04,1:05:49.68,Default,,0000,0000,0000,,He turned his head away
Dialogue: 0,1:05:49.80,1:05:51.96,Default,,0000,0000,0000,,so their mouths didn't meet.
Dialogue: 0,1:05:52.04,1:05:53.84,Default,,0000,0000,0000,,She was too repulsive.
Dialogue: 0,1:05:59.40,1:06:01.64,Default,,0000,0000,0000,,I'm so glad you came.
Dialogue: 0,1:06:02.96,1:06:05.16,Default,,0000,0000,0000,,I saw you out with another man.
Dialogue: 0,1:06:05.80,1:06:07.04,Default,,0000,0000,0000,,Just a friend.
Dialogue: 0,1:06:07.16,1:06:08.48,Default,,0000,0000,0000,,Just a friend?
Dialogue: 0,1:06:10.84,1:06:15.92,Default,,0000,0000,0000,,I'd been waiting half an hour\Nand you walked straight past!
Dialogue: 0,1:06:16.36,1:06:19.12,Default,,0000,0000,0000,,I was with Lt. Lund.
Dialogue: 0,1:06:20.28,1:06:22.80,Default,,0000,0000,0000,,He's just a friend.
Dialogue: 0,1:06:22.92,1:06:24.52,Default,,0000,0000,0000,,Don't shout.
Dialogue: 0,1:06:25.36,1:06:27.40,Default,,0000,0000,0000,,Everybody can hear.
Dialogue: 0,1:06:28.60,1:06:34.64,Default,,0000,0000,0000,,Damn it, I have hundreds of things\Nto think of. This can't go on!
Dialogue: 0,1:06:35.52,1:06:39.04,Default,,0000,0000,0000,,I waited for more than half an hour!
Dialogue: 0,1:06:39.12,1:06:41.96,Default,,0000,0000,0000,,- Who was it?\N- The banker.
Dialogue: 0,1:06:46.100,1:06:48.92,Default,,0000,0000,0000,,{\i1}The year 1886.{\i0}
Dialogue: 0,1:06:49.48,1:06:52.28,Default,,0000,0000,0000,,{\i1}The French government\Npresents the United States{\i0}
Dialogue: 0,1:06:52.36,1:06:54.40,Default,,0000,0000,0000,,{\i1}with the Statue of Liberty{\i0}
Dialogue: 0,1:06:54.72,1:06:59.84,Default,,0000,0000,0000,,{\i1}and equips its own army with\Nthe Lebel smokeless powder rifle.{\i0}
Dialogue: 0,1:07:32.40,1:07:37.44,Default,,0000,0000,0000,,Perhaps if I tell her\Nthat it's all my fault...
Dialogue: 0,1:07:38.80,1:07:41.84,Default,,0000,0000,0000,,Perhaps then she'll like me...
Dialogue: 0,1:07:44.08,1:07:46.100,Default,,0000,0000,0000,,If I tell her I could die for her...
Dialogue: 0,1:07:47.60,1:07:49.92,Default,,0000,0000,0000,,This is nothing to laugh at!
Dialogue: 0,1:08:15.88,1:08:18.24,Default,,0000,0000,0000,,Don't take it so much to heart.
Dialogue: 0,1:08:20.64,1:08:24.16,Default,,0000,0000,0000,,There are plenty of women\Nwith her qualities.
Dialogue: 0,1:08:24.84,1:08:29.44,Default,,0000,0000,0000,,I find it difficult to know\Nwhat life I should lead.
Dialogue: 0,1:08:29.100,1:08:35.44,Default,,0000,0000,0000,,Even if I try to live freely\Nwith men, they don't change.
Dialogue: 0,1:08:35.100,1:08:39.64,Default,,0000,0000,0000,,They consider that\Na woman should behave
Dialogue: 0,1:08:40.16,1:08:44.76,Default,,0000,0000,0000,,in such-and-such a way,\Nwhich I can't do.
Dialogue: 0,1:09:00.36,1:09:01.96,Default,,0000,0000,0000,,It's long past midnight
Dialogue: 0,1:09:04.20,1:09:07.08,Default,,0000,0000,0000,,and you're out every evening.
Dialogue: 0,1:09:08.32,1:09:09.92,Default,,0000,0000,0000,,Will you answer?
Dialogue: 0,1:09:09.100,1:09:12.08,Default,,0000,0000,0000,,- Don't push me!\N- Are you drunk?
Dialogue: 0,1:09:12.72,1:09:14.96,Default,,0000,0000,0000,,What do you do when you're out?
Dialogue: 0,1:09:15.48,1:09:17.76,Default,,0000,0000,0000,,He's just a friend.
Dialogue: 0,1:09:18.100,1:09:20.88,Default,,0000,0000,0000,,This can't go on!
Dialogue: 0,1:09:24.16,1:09:28.28,Default,,0000,0000,0000,,I feel that if ever\NI am to find myself
Dialogue: 0,1:09:28.36,1:09:31.92,Default,,0000,0000,0000,,I can't adapt myself\Nto their standards.
Dialogue: 0,1:09:33.44,1:09:38.80,Default,,0000,0000,0000,,Men I am with,\Nwho say that they are free,
Dialogue: 0,1:09:38.92,1:09:44.04,Default,,0000,0000,0000,,have beliefs too,\Nwhich obstruct my freedom.
Dialogue: 0,1:09:44.88,1:09:50.36,Default,,0000,0000,0000,,In fact I don't even know\Nwhat my freedom is.
Dialogue: 0,1:09:50.44,1:09:55.44,Default,,0000,0000,0000,,I can't take any more of this.\NYou know that!
Dialogue: 0,1:09:59.32,1:10:04.44,Default,,0000,0000,0000,,We mustn't speak to each other\Nlike this. We mustn't.
Dialogue: 0,1:10:04.92,1:10:09.60,Default,,0000,0000,0000,,You're a human being\Nin a society oppressed
Dialogue: 0,1:10:09.68,1:10:14.44,Default,,0000,0000,0000,,by standards and prejudices\Nin every direction.
Dialogue: 0,1:10:14.80,1:10:19.04,Default,,0000,0000,0000,,Painters can't take notice\Nof political programmes.
Dialogue: 0,1:10:19.40,1:10:23.88,Default,,0000,0000,0000,,You have to paint something\Nas you see it.
Dialogue: 0,1:10:24.32,1:10:29.96,Default,,0000,0000,0000,,You can't sit down\Nand paint details.
Dialogue: 0,1:10:30.32,1:10:35.32,Default,,0000,0000,0000,,If you come from a bedroom\Ninto the living room in the morning
Dialogue: 0,1:10:35.40,1:10:39.56,Default,,0000,0000,0000,,and see everything\Nas if in a bluish light,
Dialogue: 0,1:10:39.64,1:10:42.28,Default,,0000,0000,0000,,even the darkest shadows,
Dialogue: 0,1:10:42.84,1:10:46.92,Default,,0000,0000,0000,,that's how you should paint it.\NAs you see it.
Dialogue: 0,1:10:49.28,1:10:55.80,Default,,0000,0000,0000,,Colour means a great deal.\NColour is the mainstay of painting.
Dialogue: 0,1:10:56.40,1:10:57.80,Default,,0000,0000,0000,,Mood as well.
Dialogue: 0,1:11:32.20,1:11:36.72,Default,,0000,0000,0000,,She let herself be drawn closer.\NRight up against him.
Dialogue: 0,1:11:38.48,1:11:43.48,Default,,0000,0000,0000,,He held her gently about the waist.\NShe reached up towards him.
Dialogue: 0,1:11:45.88,1:11:51.44,Default,,0000,0000,0000,,He felt a warm mouth against\Nhis throat, a wet mouth against his
Dialogue: 0,1:11:52.32,1:11:54.76,Default,,0000,0000,0000,,and his mouth slipped in\Ntowards hers.
Dialogue: 0,1:12:03.52,1:12:07.88,Default,,0000,0000,0000,,"A feeling of sweet impotence\Npoured over my shoulders
Dialogue: 0,1:12:08.24,1:12:10.88,Default,,0000,0000,0000,,"and flowed through my limbs.
Dialogue: 0,1:12:11.88,1:12:15.44,Default,,0000,0000,0000,,"I knelt and pressed her\Ntight against me
Dialogue: 0,1:12:15.56,1:12:19.56,Default,,0000,0000,0000,,"and kissed her uncovered throat\Nlike one possessed."
Dialogue: 0,1:12:23.100,1:12:26.96,Default,,0000,0000,0000,,{\i1}Haagen Ludwig Berg, an actor{\i0}
Dialogue: 0,1:12:27.04,1:12:29.88,Default,,0000,0000,0000,,{\i1}and a Lieutenant\Nin the part-time army.{\i0}
Dialogue: 0,1:12:33.40,1:12:37.84,Default,,0000,0000,0000,,{\i1}Miss Drefsen, referred to by Munch\Nas "Miss Rocker"{\i0}
Dialogue: 0,1:12:38.64,1:12:41.60,Default,,0000,0000,0000,,{\i1}whom he recently met at a carnival.{\i0}
Dialogue: 0,1:12:42.68,1:12:47.08,Default,,0000,0000,0000,,Something I don't understand\Noccurs again and again
Dialogue: 0,1:12:47.76,1:12:51.92,Default,,0000,0000,0000,,and that is that a relationship\Nstarts strongly.
Dialogue: 0,1:12:51.100,1:12:54.60,Default,,0000,0000,0000,,And I know what passion is.
Dialogue: 0,1:12:54.68,1:12:59.12,Default,,0000,0000,0000,,I don't know what love is\Nbut I know what passion is.
Dialogue: 0,1:13:32.48,1:13:35.96,Default,,0000,0000,0000,,The odd thing is that it\Nbegins with the feeling
Dialogue: 0,1:13:36.04,1:13:37.84,Default,,0000,0000,0000,,that all is worthless
Dialogue: 0,1:13:37.96,1:13:40.44,Default,,0000,0000,0000,,without this one person.
Dialogue: 0,1:13:52.32,1:13:55.56,Default,,0000,0000,0000,,We should not have spoken of it.
Dialogue: 0,1:14:10.40,1:14:15.64,Default,,0000,0000,0000,,And gradually, without you noticing\Nwhat is happening,
Dialogue: 0,1:14:16.92,1:14:20.68,Default,,0000,0000,0000,,this person becomes\Nthe one who holds you back.
Dialogue: 0,1:14:23.88,1:14:27.24,Default,,0000,0000,0000,,{\i1}Seeking now to de-emphasise\Nall unimportant details{\i0}
Dialogue: 0,1:14:27.32,1:14:29.36,Default,,0000,0000,0000,,{\i1}by blurring their images{\i0}
Dialogue: 0,1:14:29.76,1:14:32.92,Default,,0000,0000,0000,,{\i1}struggling to eliminate\NMrs Heiberg from his mind{\i0}
Dialogue: 0,1:14:33.72,1:14:37.56,Default,,0000,0000,0000,,{\i1}striving somehow to impart the\Nquiver and intensity of his feelings{\i0}
Dialogue: 0,1:14:37.64,1:14:40.64,Default,,0000,0000,0000,,{\i1}onto the raw surface\Nof his canvas{\i0}
Dialogue: 0,1:14:40.72,1:14:43.96,Default,,0000,0000,0000,,{\i1}seeking to awaken\Na similar mood in the viewer{\i0}
Dialogue: 0,1:14:44.04,1:14:47.80,Default,,0000,0000,0000,,{\i1}Munch works and reworks\Nthe head of his sister{\i0}
Dialogue: 0,1:14:47.88,1:14:50.96,Default,,0000,0000,0000,,{\i1}detailing hair, eyes and mouth{\i0}
Dialogue: 0,1:14:51.04,1:14:54.96,Default,,0000,0000,0000,,{\i1}only to scrape the oil\Nfrom the canvas and begin again.{\i0}
Dialogue: 0,1:14:55.04,1:14:58.96,Default,,0000,0000,0000,,{\i1}Using his knife, the back\Nof his brush, the point of a pencil{\i0}
Dialogue: 0,1:14:59.40,1:15:03.76,Default,,0000,0000,0000,,{\i1}Munch scratches and scores\Ndeep into the thick oil{\i0}
Dialogue: 0,1:15:03.84,1:15:08.48,Default,,0000,0000,0000,,{\i1}as he struggles to remember\Nand struggles to forget.{\i0}
Dialogue: 0,1:15:11.40,1:15:15.76,Default,,0000,0000,0000,,She looked into my eyes\Nwith her fair hair
Dialogue: 0,1:15:16.68,1:15:19.52,Default,,0000,0000,0000,,and her pale, delicate skin.
Dialogue: 0,1:15:19.60,1:15:24.12,Default,,0000,0000,0000,,We had a good time\Nwhen last we met, didn't we?
Dialogue: 0,1:15:27.60,1:15:32.52,Default,,0000,0000,0000,,- I like you.\N- You're sweet.
Dialogue: 0,1:15:33.48,1:15:35.60,Default,,0000,0000,0000,,I've been thinking of you.
Dialogue: 0,1:15:37.52,1:15:39.16,Default,,0000,0000,0000,,The whole time.
Dialogue: 0,1:15:41.60,1:15:45.52,Default,,0000,0000,0000,,- I like you too.\N- How beautiful you are.
Dialogue: 0,1:15:48.52,1:15:50.24,Default,,0000,0000,0000,,You're strange.
Dialogue: 0,1:15:51.84,1:15:56.52,Default,,0000,0000,0000,,But you're a fine person.\NYou're sweet.
Dialogue: 0,1:16:00.32,1:16:02.32,Default,,0000,0000,0000,,What do you think of women
Dialogue: 0,1:16:02.44,1:16:05.40,Default,,0000,0000,0000,,who have extra-marital\Nrelationships?
Dialogue: 0,1:16:06.80,1:16:13.08,Default,,0000,0000,0000,,In my opinion a woman is\Nand ought to be a defenseless
Dialogue: 0,1:16:14.40,1:16:20.44,Default,,0000,0000,0000,,and beautiful little being,\Nboth in body and soul,
Dialogue: 0,1:16:20.52,1:16:24.40,Default,,0000,0000,0000,,who needs the protection\Nand security
Dialogue: 0,1:16:24.52,1:16:25.92,Default,,0000,0000,0000,,of a man.
Dialogue: 0,1:16:27.60,1:16:30.72,Default,,0000,0000,0000,,If you think this is funny, it's...
Dialogue: 0,1:16:35.64,1:16:43.32,Default,,0000,0000,0000,,She smiled with her pale lips\Nand white teeth.
Dialogue: 0,1:16:45.32,1:16:50.44,Default,,0000,0000,0000,,We suit each other, don't we?\NYou're so strange, Munch.
Dialogue: 0,1:16:53.76,1:16:58.84,Default,,0000,0000,0000,,{\i1}In December 1885 Hans Jæger's book,\NFrom The Kristiania Boheme{\i0}
Dialogue: 0,1:16:58.92,1:17:02.60,Default,,0000,0000,0000,,{\i1}is confiscated within two hours\Nof its publication.{\i0}
Dialogue: 0,1:17:03.36,1:17:06.68,Default,,0000,0000,0000,,{\i1}Four months later Jæger\Nis found guilty of blasphemy{\i0}
Dialogue: 0,1:17:06.76,1:17:10.32,Default,,0000,0000,0000,,{\i1}and "violation of\Nmodesty and morality".{\i0}
Dialogue: 0,1:17:10.40,1:17:12.72,Default,,0000,0000,0000,,{\i1}He is sentenced to 60 days in prison{\i0}
Dialogue: 0,1:17:12.80,1:17:15.68,Default,,0000,0000,0000,,{\i1}and the permanent banning\Nof his book.{\i0}
Dialogue: 0,1:17:16.84,1:17:21.64,Default,,0000,0000,0000,,{\i1}Aimar Sørensen, Minister of Justice\Nin the Liberal Government.{\i0}
Dialogue: 0,1:17:21.72,1:17:27.20,Default,,0000,0000,0000,,I received a copy of the book\Nfrom the police in Kristiania
Dialogue: 0,1:17:27.88,1:17:30.44,Default,,0000,0000,0000,,with certain parts underlined.
Dialogue: 0,1:17:31.92,1:17:37.60,Default,,0000,0000,0000,,I telegraphed at once to ask\Nall the police commissioners
Dialogue: 0,1:17:37.100,1:17:41.12,Default,,0000,0000,0000,,to stop publication of the book.
Dialogue: 0,1:17:42.12,1:17:47.84,Default,,0000,0000,0000,,In this part the lead character\Nin the book
Dialogue: 0,1:17:47.96,1:17:51.32,Default,,0000,0000,0000,,addresses himself\Nto a very young girl,
Dialogue: 0,1:17:51.40,1:17:54.96,Default,,0000,0000,0000,,so young that she could be\Nhis daughter.
Dialogue: 0,1:17:55.60,1:17:58.24,Default,,0000,0000,0000,,She is sitting on his knee.
Dialogue: 0,1:17:58.80,1:18:03.84,Default,,0000,0000,0000,,This will give you an idea\Nof what it's about.
Dialogue: 0,1:18:04.84,1:18:09.40,Default,,0000,0000,0000,,"Listen, I said to her\Nwhile I patted her on the cheek.
Dialogue: 0,1:18:10.40,1:18:13.48,Default,,0000,0000,0000,,"Let's have a sensible little chat.
Dialogue: 0,1:18:14.88,1:18:20.60,Default,,0000,0000,0000,,"Do you know what this is?\NI had taken a condom from my pocket.
Dialogue: 0,1:18:21.08,1:18:24.24,Default,,0000,0000,0000,,"No, she said.\NWell, I'll tell you..."
Dialogue: 0,1:18:24.32,1:18:27.96,Default,,0000,0000,0000,,{\i1}The following year Hans Jæger\Nwill be forced to flee from Norway{\i0}
Dialogue: 0,1:18:28.04,1:18:30.56,Default,,0000,0000,0000,,{\i1}after the Liberal government\Nimposes upon him{\i0}
Dialogue: 0,1:18:30.64,1:18:34.60,Default,,0000,0000,0000,,{\i1}a second sentence of\N150 days in prison{\i0}
Dialogue: 0,1:18:34.68,1:18:37.88,Default,,0000,0000,0000,,{\i1}this time for sending\N300 copies of his book{\i0}
Dialogue: 0,1:18:37.96,1:18:40.52,Default,,0000,0000,0000,,{\i1}out of the country to Sweden{\i0}
Dialogue: 0,1:18:40.60,1:18:44.100,Default,,0000,0000,0000,,{\i1}under a cover entitled\N"Christmas Tales by Hans Jæger".{\i0}
Dialogue: 0,1:18:45.100,1:18:49.24,Default,,0000,0000,0000,,"...and it doesn't pass\Nthrough because...
Dialogue: 0,1:18:49.36,1:18:54.88,Default,,0000,0000,0000,,"And I blew up the condom.\NNot even air passes through."
Dialogue: 0,1:18:57.80,1:19:02.20,Default,,0000,0000,0000,,I could read more\Nbut I think that suffices.
Dialogue: 0,1:19:07.84,1:19:12.32,Default,,0000,0000,0000,,{\i1}Cell no. 1 of the Møllergaten\Ndistrict prison in Kristiania.{\i0}
Dialogue: 0,1:19:12.96,1:19:17.88,Default,,0000,0000,0000,,Does imprisonment\Ninfluence your work?
Dialogue: 0,1:19:18.24,1:19:21.28,Default,,0000,0000,0000,,No, it has no influence whatsoever.
Dialogue: 0,1:19:21.88,1:19:26.36,Default,,0000,0000,0000,,That good people,\Nwho use literature for diversion,
Dialogue: 0,1:19:26.44,1:19:31.64,Default,,0000,0000,0000,,scream and cross themselves\Nmeans nothing. I knew they would.
Dialogue: 0,1:20:37.12,1:20:45.100,Default,,0000,0000,0000,,It provokes the bourgeoisie\Nwho live their cosy, false life.
Dialogue: 0,1:20:46.88,1:20:49.100,Default,,0000,0000,0000,,It provokes them to see free women.
Dialogue: 0,1:20:50.68,1:20:55.84,Default,,0000,0000,0000,,Everything outside the fence\Nthey have raised around themselves
Dialogue: 0,1:20:56.92,1:20:59.40,Default,,0000,0000,0000,,is so terrifying for them
Dialogue: 0,1:20:59.84,1:21:04.40,Default,,0000,0000,0000,,except perhaps in their dreams,\Nwhen they indulge in fantasies.
Dialogue: 0,1:21:09.92,1:21:13.12,Default,,0000,0000,0000,,But, because I live openly and freely,
Dialogue: 0,1:21:14.80,1:21:17.32,Default,,0000,0000,0000,,I think they become terrified.
Dialogue: 0,1:21:17.80,1:21:22.44,Default,,0000,0000,0000,,The so-called free women\Nwe're always hearing about,
Dialogue: 0,1:21:23.52,1:21:25.100,Default,,0000,0000,0000,,they can't be quite normal
Dialogue: 0,1:21:27.68,1:21:33.56,Default,,0000,0000,0000,,but they can become normal\Nif they discover their real capacity.
Dialogue: 0,1:21:35.20,1:21:37.92,Default,,0000,0000,0000,,Half an hour before she came
Dialogue: 0,1:21:38.88,1:21:41.12,Default,,0000,0000,0000,,and she just smiles\Nas she passes by...
Dialogue: 0,1:21:44.12,1:21:45.96,Default,,0000,0000,0000,,with another man.
Dialogue: 0,1:21:50.40,1:21:51.64,Default,,0000,0000,0000,,Oh, damn!
Dialogue: 0,1:22:12.20,1:22:15.36,Default,,0000,0000,0000,,Finally I finished, exhausted.
Dialogue: 0,1:22:16.44,1:22:20.40,Default,,0000,0000,0000,,I had brought out a lot\Nof the first impression,
Dialogue: 0,1:22:23.08,1:22:25.20,Default,,0000,0000,0000,,the trembling mouth,
Dialogue: 0,1:22:25.88,1:22:30.44,Default,,0000,0000,0000,,the transparent shine\Nand the tired eyes
Dialogue: 0,1:22:32.08,1:22:35.80,Default,,0000,0000,0000,,but the colours were not finished.
Dialogue: 0,1:22:36.60,1:22:41.96,Default,,0000,0000,0000,,It was pale and Grey.\NThe painting was heavy as lead.
Dialogue: 0,1:22:46.44,1:22:50.60,Default,,0000,0000,0000,,{\i1}At almost the last stage,\NMunch attacks the canvas again{\i0}
Dialogue: 0,1:22:50.68,1:22:52.100,Default,,0000,0000,0000,,{\i1}scoring deep into the oil{\i0}
Dialogue: 0,1:22:53.08,1:22:56.100,Default,,0000,0000,0000,,{\i1}and, in one gesture of\Nbroad sweeping strokes{\i0}
Dialogue: 0,1:22:57.08,1:23:01.36,Default,,0000,0000,0000,,{\i1}eliminates the carefully executed\Nwindow, curtains and flowerpot{\i0}
Dialogue: 0,1:23:01.44,1:23:03.100,Default,,0000,0000,0000,,{\i1}on the right-hand side\Nof the canvas.{\i0}
Dialogue: 0,1:23:04.84,1:23:06.80,Default,,0000,0000,0000,,{\i1}The final distracting details{\i0}
Dialogue: 0,1:23:07.32,1:23:08.72,Default,,0000,0000,0000,,{\i1}have gone.{\i0}
Dialogue: 0,1:23:56.64,1:23:59.92,Default,,0000,0000,0000,,{\i1}Edvard Munch is aware that\Nhe has made a major breakthrough{\i0}
Dialogue: 0,1:24:00.44,1:24:02.56,Default,,0000,0000,0000,,{\i1}in terms of his own art.{\i0}
Dialogue: 0,1:24:02.64,1:24:06.44,Default,,0000,0000,0000,,{\i1}But he is not yet aware of\Nthe dimensions of this breakthrough.{\i0}
Dialogue: 0,1:24:07.44,1:24:09.100,Default,,0000,0000,0000,,{\i1}At this time, in the mid 1880's{\i0}
Dialogue: 0,1:24:10.40,1:24:12.100,Default,,0000,0000,0000,,{\i1}each of the major artists\Nin the Western World{\i0}
Dialogue: 0,1:24:13.64,1:24:18.84,Default,,0000,0000,0000,,{\i1}is still involved in the traditional\Npresentation of the exterior reality.{\i0}
Dialogue: 0,1:24:18.92,1:24:20.43,Default,,0000,0000,0000,,{\i1}Cézanne...{\i0}
Dialogue: 0,1:24:20.52,1:24:24.44,Default,,0000,0000,0000,,{\i1}the early work of Gauguin\Nand, even at this stage...{\i0}
Dialogue: 0,1:24:24.56,1:24:26.60,Default,,0000,0000,0000,,{\i1}Vincent Van Gogh.{\i0}
Dialogue: 0,1:24:27.80,1:24:30.88,Default,,0000,0000,0000,,{\i1}The difference between these works\Nand Munch's canvas{\i0}
Dialogue: 0,1:24:30.96,1:24:32.76,Default,,0000,0000,0000,,{\i1}is most clearly seen in{\i0}
Dialogue: 0,1:24:32.84,1:24:35.28,Default,,0000,0000,0000,,{\i1}the contemporary presentation\Nof young women:{\i0}
Dialogue: 0,1:24:35.36,1:24:37.04,Default,,0000,0000,0000,,{\i1}Auguste Renoir...{\i0}
Dialogue: 0,1:24:37.64,1:24:39.12,Default,,0000,0000,0000,,{\i1}Berthe Morisot...{\i0}
Dialogue: 0,1:24:40.56,1:24:42.04,Default,,0000,0000,0000,,{\i1}the American Mary Cassatt...{\i0}
Dialogue: 0,1:24:43.47,1:24:45.44,Default,,0000,0000,0000,,{\i1}the Norwegian Hans Heyerdahl.{\i0}
Dialogue: 0,1:24:46.88,1:24:51.68,Default,,0000,0000,0000,,{\i1}But Edvard Munch's canvas,\Nwith its deeply scored surface,{\i0}
Dialogue: 0,1:24:51.76,1:24:54.64,Default,,0000,0000,0000,,{\i1}which has transcended\Nall exterior reality{\i0}
Dialogue: 0,1:24:55.08,1:24:59.36,Default,,0000,0000,0000,,{\i1}to become the first\Nexpressionist painting of "feeling"{\i0}
Dialogue: 0,1:24:59.44,1:25:03.12,Default,,0000,0000,0000,,{\i1}in the history of Western art,\Nis strongly attacked{\i0}
Dialogue: 0,1:25:03.44,1:25:07.04,Default,,0000,0000,0000,,{\i1}both by the Kristiania public\Nand by its conservative press.{\i0}
Dialogue: 0,1:25:13.36,1:25:17.84,Default,,0000,0000,0000,,The public won't accept\Nthat sort of madness.
Dialogue: 0,1:25:17.92,1:25:19.80,Default,,0000,0000,0000,,When one passes
Dialogue: 0,1:25:19.92,1:25:23.68,Default,,0000,0000,0000,,people stand laughing\Nat the painting.
Dialogue: 0,1:25:23.79,1:25:29.32,Default,,0000,0000,0000,,Some people always set themselves up\Nas guardians over others.
Dialogue: 0,1:25:29.83,1:25:34.60,Default,,0000,0000,0000,,In literature they decide\Nwhat is decent and indecent.
Dialogue: 0,1:25:35.48,1:25:40.11,Default,,0000,0000,0000,,{\i1}Says one colleague to Munch,\N"I think that your painting is shit."{\i0}
Dialogue: 0,1:25:40.44,1:25:43.44,Default,,0000,0000,0000,,{\i1}Asks another,\N"What are all those strokes for?{\i0}
Dialogue: 0,1:25:43.52,1:25:45.36,Default,,0000,0000,0000,,{\i1}"It looks like it's raining."{\i0}
Dialogue: 0,1:25:45.44,1:25:48.24,Default,,0000,0000,0000,,A human life is decent
Dialogue: 0,1:25:48.35,1:25:51.56,Default,,0000,0000,0000,,but writing about\Nhuman sexual life is indecent.
Dialogue: 0,1:25:51.63,1:25:55.04,Default,,0000,0000,0000,,{\i1}Another friend tells Munch\Nthat he will go mad{\i0}
Dialogue: 0,1:25:55.12,1:25:56.71,Default,,0000,0000,0000,,{\i1}if he continues in this way.{\i0}
Dialogue: 0,1:25:56.80,1:25:59.20,Default,,0000,0000,0000,,As long as I can write,
Dialogue: 0,1:25:59.31,1:26:03.20,Default,,0000,0000,0000,,I'll combat society and its rules\Nto create a society
Dialogue: 0,1:26:03.32,1:26:06.20,Default,,0000,0000,0000,,in which literature is free.
Dialogue: 0,1:26:06.28,1:26:09.87,Default,,0000,0000,0000,,Who has the right to stop anyone\Nwriting about his emotional life?
Dialogue: 0,1:26:10.24,1:26:11.92,Default,,0000,0000,0000,,No one!
Dialogue: 0,1:26:11.100,1:26:18.48,Default,,0000,0000,0000,,The best way to judge Munch's picture\Nis to see it at a distance.
Dialogue: 0,1:26:19.44,1:26:22.88,Default,,0000,0000,0000,,{\i1}Andreas Aubert, art historian\Nand critic.{\i0}
Dialogue: 0,1:26:22.96,1:26:28.60,Default,,0000,0000,0000,,The colours and contours appear\Nmost clearly on cloudy days.
Dialogue: 0,1:26:29.35,1:26:33.19,Default,,0000,0000,0000,,If one really wants\Nto get a better impression
Dialogue: 0,1:26:33.92,1:26:37.48,Default,,0000,0000,0000,,of this extremely strange painting,
Dialogue: 0,1:26:37.56,1:26:41.12,Default,,0000,0000,0000,,one should look at it like this,\Nbetween two fingers.
Dialogue: 0,1:26:42.67,1:26:45.36,Default,,0000,0000,0000,,{\i1}At some point in this period\Nof his life{\i0}
Dialogue: 0,1:26:45.44,1:26:50.04,Default,,0000,0000,0000,,{\i1}Edvard Munch writes in his diary\Nof chasing a woman through the streets{\i0}
Dialogue: 0,1:26:50.12,1:26:52.52,Default,,0000,0000,0000,,{\i1}whom he believes to be Mrs Heiberg.{\i0}
Dialogue: 0,1:26:52.60,1:26:57.04,Default,,0000,0000,0000,,I'm faltering. I think I am falling.
Dialogue: 0,1:26:58.12,1:27:03.44,Default,,0000,0000,0000,,But he has been lured\Ninto throwing away his talent
Dialogue: 0,1:27:03.51,1:27:06.36,Default,,0000,0000,0000,,in such a useless way
Dialogue: 0,1:27:07.12,1:27:13.51,Default,,0000,0000,0000,,and encouraged to follow\Nthis path which leads nowhere.
Dialogue: 0,1:27:14.80,1:27:19.68,Default,,0000,0000,0000,,I have no feeling in my legs.\NThey won't carry me.
Dialogue: 0,1:27:20.100,1:27:25.03,Default,,0000,0000,0000,,Everyone passing looks\Nalien and strange.
Dialogue: 0,1:27:25.99,1:27:28.92,Default,,0000,0000,0000,,I think they are all staring at me.
Dialogue: 0,1:27:30.32,1:27:33.20,Default,,0000,0000,0000,,My whole body is shaking.
Dialogue: 0,1:27:33.32,1:27:35.28,Default,,0000,0000,0000,,Sweat pours from me.
Dialogue: 0,1:27:36.12,1:27:40.95,Default,,0000,0000,0000,,I have received an anonymous letter\Nin my capacity as critic
Dialogue: 0,1:27:41.04,1:27:46.43,Default,,0000,0000,0000,,in which the writer claims to see\Nnothing but meaninglessness
Dialogue: 0,1:27:46.52,1:27:53.32,Default,,0000,0000,0000,,and an attempt to be original\Nin Munch's work.
Dialogue: 0,1:27:53.40,1:27:57.12,Default,,0000,0000,0000,,All I can say to this person\Nis that he get himself
Dialogue: 0,1:27:57.24,1:27:59.36,Default,,0000,0000,0000,,a new pair of eyes.
Dialogue: 0,1:28:00.48,1:28:04.88,Default,,0000,0000,0000,,Anyone who can't see that\Nhere we have a great
Dialogue: 0,1:28:04.100,1:28:08.08,Default,,0000,0000,0000,,and genuine talent,\Nhas no right
Dialogue: 0,1:28:08.20,1:28:09.63,Default,,0000,0000,0000,,to judge art at all.
Dialogue: 0,1:28:20.24,1:28:24.68,Default,,0000,0000,0000,,I want life, that which is alive.
Dialogue: 0,1:28:26.63,1:28:30.68,Default,,0000,0000,0000,,What do I care whether\Nthe chair is properly made?
Dialogue: 0,1:28:32.04,1:28:38.08,Default,,0000,0000,0000,,What I wanted to bring out is\Nwhat cannot be measured.
Dialogue: 0,1:28:39.36,1:28:44.92,Default,,0000,0000,0000,,The tired movement\Nin the eyes, in the eyelids.
Dialogue: 0,1:28:45.60,1:28:48.99,Default,,0000,0000,0000,,The lips must seem\Nto have whispered something.
Dialogue: 0,1:28:49.39,1:28:55.24,Default,,0000,0000,0000,,It must have been painted\Nby one almost mentally deranged
Dialogue: 0,1:28:56.51,1:29:00.63,Default,,0000,0000,0000,,who sees hallucinations\Nas if in a fever.
Dialogue: 0,1:29:02.88,1:29:07.60,Default,,0000,0000,0000,,I lay down on a sofa in the corner.\NI lay half asleep.
Dialogue: 0,1:29:08.40,1:29:10.60,Default,,0000,0000,0000,,I hated them for looking at me.
Dialogue: 0,1:29:11.28,1:29:18.52,Default,,0000,0000,0000,,It is possible that Munch can speak\Nin some way or other
Dialogue: 0,1:29:19.20,1:29:23.24,Default,,0000,0000,0000,,to those with a sick emotional life.
Dialogue: 0,1:29:23.79,1:29:30.04,Default,,0000,0000,0000,,But I think it's one of the most\Ndreadful things I've ever seen.
Dialogue: 0,1:29:30.79,1:29:40.32,Default,,0000,0000,0000,,One would have expected that\Na painter who presents his paintings
Dialogue: 0,1:29:40.39,1:29:45.63,Default,,0000,0000,0000,,at a public exhibition,\Nwould respect people's taste
Dialogue: 0,1:29:45.100,1:29:48.44,Default,,0000,0000,0000,,in a totally different way.
Dialogue: 0,1:29:50.67,1:29:54.55,Default,,0000,0000,0000,,{\i1}Hurt and confused by the attack\Non The Sick Child{\i0}
Dialogue: 0,1:29:54.64,1:29:59.56,Default,,0000,0000,0000,,{\i1}and by the constant references\Nto his work as "unfinished sketches"{\i0}
Dialogue: 0,1:29:59.63,1:30:04.36,Default,,0000,0000,0000,,{\i1}Edvard Munch now checks the advance\Nbegun by his revolutionary painting{\i0}
Dialogue: 0,1:30:04.67,1:30:06.03,Default,,0000,0000,0000,,{\i1}and steps back.{\i0}
Dialogue: 0,1:30:16.72,1:30:21.88,Default,,0000,0000,0000,,{\i1}He paints a third self-portrait,\Nthis time with eyes veiled{\i0}
Dialogue: 0,1:30:21.95,1:30:25.76,Default,,0000,0000,0000,,{\i1}a pose of defiance,\Nlooking down on the viewer.{\i0}
Dialogue: 0,1:30:26.47,1:30:30.44,Default,,0000,0000,0000,,{\i1}A 2-year period of withdrawal\Nhas begun.{\i0}
Dialogue: 0,1:30:34.52,1:30:36.88,Default,,0000,0000,0000,,{\i1}January 1888.{\i0}
Dialogue: 0,1:30:38.67,1:30:41.96,Default,,0000,0000,0000,,{\i1}By this period, the group\Nknown as the Kristiania Boheme{\i0}
Dialogue: 0,1:30:42.04,1:30:43.96,Default,,0000,0000,0000,,{\i1}has begun to disintegrate.{\i0}
Dialogue: 0,1:30:44.47,1:30:47.87,Default,,0000,0000,0000,,{\i1}Personal tragedy, alcoholism,\Nsyphilis{\i0}
Dialogue: 0,1:30:47.96,1:30:51.56,Default,,0000,0000,0000,,{\i1}scarring relationships,\Nsocial isolation{\i0}
Dialogue: 0,1:30:51.64,1:30:53.79,Default,,0000,0000,0000,,{\i1}have taken their toll.{\i0}
Dialogue: 0,1:30:53.88,1:30:57.96,Default,,0000,0000,0000,,{\i1}The writer Karl Jensen-Hjell\Nwill die of stomach tuberculosis{\i0}
Dialogue: 0,1:30:58.03,1:30:59.71,Default,,0000,0000,0000,,{\i1}within a month.{\i0}
Dialogue: 0,1:30:59.79,1:31:02.48,Default,,0000,0000,0000,,{\i1}And six more of the young men\Nat this table{\i0}
Dialogue: 0,1:31:02.55,1:31:05.43,Default,,0000,0000,0000,,{\i1}many of them personal friends\Nof Munch{\i0}
Dialogue: 0,1:31:05.52,1:31:08.03,Default,,0000,0000,0000,,{\i1}will not reach the age of 40.{\i0}
Dialogue: 0,1:31:11.47,1:31:14.35,Default,,0000,0000,0000,,{\i1}Bertrand Hansen will die\Nof consumption.{\i0}
Dialogue: 0,1:31:16.60,1:31:19.64,Default,,0000,0000,0000,,{\i1}Jørgen Sørensen will die an invalid{\i0}
Dialogue: 0,1:31:19.71,1:31:25.47,Default,,0000,0000,0000,,{\i1}and the popular painter Kalle Løchen\Nwill kill himself at the age of 28.{\i0}
Dialogue: 0,1:31:30.39,1:31:34.48,Default,,0000,0000,0000,,{\i1}Jæger himself, with the germs\Nof cancer in his body{\i0}
Dialogue: 0,1:31:34.55,1:31:38.88,Default,,0000,0000,0000,,{\i1}will die in 1910,\Na pauper and an outcast.{\i0}
Dialogue: 0,1:31:39.84,1:31:43.03,Default,,0000,0000,0000,,{\i1}Outside the death room,\Na debtor will be waiting{\i0}
Dialogue: 0,1:31:43.12,1:31:45.56,Default,,0000,0000,0000,,{\i1}to claim a bottle of whisky.{\i0}
Dialogue: 0,1:31:54.04,1:31:56.07,Default,,0000,0000,0000,,{\i1}The summer of 1888.{\i0}
Dialogue: 0,1:31:58.100,1:32:02.56,Default,,0000,0000,0000,,{\i1}Edvard Munch rents a cottage\Nin Åsgårdstrand{\i0}
Dialogue: 0,1:32:02.67,1:32:05.95,Default,,0000,0000,0000,,{\i1}near the village of Bone\Non the Kristiania fjord.{\i0}
Dialogue: 0,1:32:11.31,1:32:15.60,Default,,0000,0000,0000,,{\i1}The affair of Oda Lasson\Nwith Hans Jæger has ended.{\i0}
Dialogue: 0,1:32:16.35,1:32:19.88,Default,,0000,0000,0000,,{\i1}Oda Lasson is now married\Nto Christian Krohg.{\i0}
Dialogue: 0,1:32:25.39,1:32:28.03,Default,,0000,0000,0000,,{\i1}At the same time,\Nwith Krohg's knowledge,{\i0}
Dialogue: 0,1:32:28.11,1:32:31.76,Default,,0000,0000,0000,,{\i1}Oda is developing the interest\Nof Jappe Nilssen{\i0}
Dialogue: 0,1:32:31.83,1:32:37.44,Default,,0000,0000,0000,,{\i1}age 18, student of French Literature,\Nfriend of Edvard Munch.{\i0}
Dialogue: 0,1:32:44.03,1:32:47.100,Default,,0000,0000,0000,,{\i1}Inger Munch is now\Na close friend of Sigurd Bødtker.{\i0}
Dialogue: 0,1:32:48.40,1:32:53.72,Default,,0000,0000,0000,,{\i1}Laura Munch, age 21,\Nremains unmarried.{\i0}
Dialogue: 0,1:32:56.76,1:33:00.60,Default,,0000,0000,0000,,Why do you think\NI shouted so angrily
Dialogue: 0,1:33:03.43,1:33:06.08,Default,,0000,0000,0000,,and said I couldn't see you again?
Dialogue: 0,1:33:07.72,1:33:09.67,Default,,0000,0000,0000,,It was because you lied!
Dialogue: 0,1:33:13.15,1:33:19.19,Default,,0000,0000,0000,,It's your inaccessibility\Nthat makes me so angry!
Dialogue: 0,1:33:26.27,1:33:29.15,Default,,0000,0000,0000,,You said I shouldn't come so often.
Dialogue: 0,1:33:29.80,1:33:36.83,Default,,0000,0000,0000,,Yes, but then I didn't know\Nhow much I liked you.
Dialogue: 0,1:33:41.27,1:33:46.71,Default,,0000,0000,0000,,You've forgotten me now.\NYou have someone else.
Dialogue: 0,1:33:49.59,1:33:51.23,Default,,0000,0000,0000,,I love you.
Dialogue: 0,1:33:51.95,1:33:58.76,Default,,0000,0000,0000,,If I'd only known that you went to\Nsomebody else to punish me.
Dialogue: 0,1:34:04.71,1:34:13.31,Default,,0000,0000,0000,,It's the uncertainty that\Nmakes me so nervous, so furious.
Dialogue: 0,1:34:33.95,1:34:36.55,Default,,0000,0000,0000,,You demand more and more\Nlove from me.
Dialogue: 0,1:34:36.63,1:34:40.72,Default,,0000,0000,0000,,Don't you understand I can't\Ngive you more than I have?
Dialogue: 0,1:34:50.16,1:34:54.28,Default,,0000,0000,0000,,The moment you show\Nyour feelings, it seems like
Dialogue: 0,1:34:54.35,1:34:58.07,Default,,0000,0000,0000,,you want to take something stolen back.
Dialogue: 0,1:35:00.04,1:35:03.27,Default,,0000,0000,0000,,Is it for your art you save yourself?
Dialogue: 0,1:35:12.80,1:35:14.47,Default,,0000,0000,0000,,{\i1}1888.{\i0}
Dialogue: 0,1:35:15.84,1:35:18.87,Default,,0000,0000,0000,,{\i1}August Strindberg writes\NMiss Julie.{\i0}
Dialogue: 0,1:35:20.31,1:35:24.04,Default,,0000,0000,0000,,{\i1}The pneumatic Tyre and cordite\Nare invented.{\i0}
Dialogue: 0,1:35:26.07,1:35:29.47,Default,,0000,0000,0000,,{\i1}Vincent Van Gogh paints\NSunflowers{\i0}
Dialogue: 0,1:35:30.31,1:35:32.07,Default,,0000,0000,0000,,{\i1}The Drawbridge At Arles{\i0}
Dialogue: 0,1:35:32.71,1:35:34.35,Default,,0000,0000,0000,,{\i1}and The Sower.{\i0}
Dialogue: 0,1:35:35.31,1:35:39.79,Default,,0000,0000,0000,,{\i1}An unemployment demonstration\Nin Rome is suppressed by the military.{\i0}
Dialogue: 0,1:35:40.92,1:35:42.79,Default,,0000,0000,0000,,{\i1}And Wilhelm II{\i0}
Dialogue: 0,1:35:43.35,1:35:45.32,Default,,0000,0000,0000,,{\i1}becomes Emperor of Germany.{\i0}
Dialogue: 0,1:36:06.11,1:36:09.35,Default,,0000,0000,0000,,{\i1}Whilst he continues\Nto pursue Mrs Heiberg{\i0}
Dialogue: 0,1:36:09.44,1:36:12.67,Default,,0000,0000,0000,,{\i1}at the same time, Munch is trying\Nto escape from her.{\i0}
Dialogue: 0,1:36:13.91,1:36:15.87,Default,,0000,0000,0000,,{\i1}He begins to cultivate\Nhis acquaintanceship{\i0}
Dialogue: 0,1:36:15.95,1:36:18.87,Default,,0000,0000,0000,,{\i1}with Åse Carlson, age 19{\i0}
Dialogue: 0,1:36:18.95,1:36:24.03,Default,,0000,0000,0000,,{\i1}herself a painter and engaged\Nto be married to a Kristiania lawyer.{\i0}
Dialogue: 0,1:36:24.71,1:36:28.03,Default,,0000,0000,0000,,You need a woman\Nand yet you don't want one.
Dialogue: 0,1:36:29.03,1:36:34.19,Default,,0000,0000,0000,,I like you but we really\Ncan't meet like this.
Dialogue: 0,1:36:34.99,1:36:37.91,Default,,0000,0000,0000,,You follow me everywhere.\NYou plague me.
Dialogue: 0,1:36:50.95,1:36:54.44,Default,,0000,0000,0000,,{\i1}Munch writes in his diaries,\Nrepeatedly{\i0}
Dialogue: 0,1:36:54.51,1:36:57.75,Default,,0000,0000,0000,,{\i1}of following Mrs Heiberg\Nto her rendezvous with other men...{\i0}
Dialogue: 0,1:37:00.88,1:37:03.11,Default,,0000,0000,0000,,Jealousy is possessiveness.
Dialogue: 0,1:37:03.19,1:37:06.83,Default,,0000,0000,0000,,Your jealousy is driving me\Nto other love affairs.
Dialogue: 0,1:37:07.43,1:37:09.75,Default,,0000,0000,0000,,{\i1}...of endlessly waiting.{\i0}
Dialogue: 0,1:37:13.19,1:37:15.59,Default,,0000,0000,0000,,You can't own a woman.
Dialogue: 0,1:37:16.47,1:37:18.51,Default,,0000,0000,0000,,It's impossible.
Dialogue: 0,1:37:47.67,1:37:52.04,Default,,0000,0000,0000,,They kiss each other,\Njust now, at this moment,
Dialogue: 0,1:37:53.75,1:37:56.43,Default,,0000,0000,0000,,and she says she is fond of him.
Dialogue: 0,1:37:57.95,1:38:02.75,Default,,0000,0000,0000,,Hidden behind the stairs,\Nshe whispers to the lieutenant
Dialogue: 0,1:38:02.83,1:38:06.83,Default,,0000,0000,0000,,the same words as she previously\Nwhispered to him.
Dialogue: 0,1:38:09.99,1:38:12.35,Default,,0000,0000,0000,,{\i1}It is probable that at this time{\i0}
Dialogue: 0,1:38:12.43,1:38:16.35,Default,,0000,0000,0000,,{\i1}Edvard Munch asks Åse Carlson\Nto marry him.{\i0}
Dialogue: 0,1:38:19.67,1:38:23.43,Default,,0000,0000,0000,,Do you want to hold my hand?\NI'm so alone.
Dialogue: 0,1:38:25.03,1:38:27.47,Default,,0000,0000,0000,,No, not here.
Dialogue: 0,1:38:31.63,1:38:34.87,Default,,0000,0000,0000,,You know that I like you, but...
Dialogue: 0,1:38:36.79,1:38:39.08,Default,,0000,0000,0000,,...more as a friend.
Dialogue: 0,1:38:39.75,1:38:41.71,Default,,0000,0000,0000,,Friendship is...
Dialogue: 0,1:38:43.23,1:38:48.27,Default,,0000,0000,0000,,Friendship is so little.\NLife is short.
Dialogue: 0,1:38:52.39,1:38:54.47,Default,,0000,0000,0000,,{\i1}In this winter of 1888{\i0}
Dialogue: 0,1:38:54.55,1:38:58.03,Default,,0000,0000,0000,,{\i1}after heavy drinking with friends\Nin the country near Slagen{\i0}
Dialogue: 0,1:38:58.11,1:39:00.95,Default,,0000,0000,0000,,{\i1}Munch is pushed into frozen water{\i0}
Dialogue: 0,1:39:01.03,1:39:04.03,Default,,0000,0000,0000,,{\i1}by an artist named\NPalle Dørnberger{\i0}
Dialogue: 0,1:39:05.03,1:39:06.75,Default,,0000,0000,0000,,{\i1}and almost dies.{\i0}
Dialogue: 0,1:39:09.15,1:39:12.63,Default,,0000,0000,0000,,This is very serious.\NWe should notify them.
Dialogue: 0,1:39:13.87,1:39:19.07,Default,,0000,0000,0000,,{\i1}On the left is Dørnberger's sister,\NCharlotte, age 20.{\i0}
Dialogue: 0,1:39:20.87,1:39:23.71,Default,,0000,0000,0000,,I don't know where they live.
Dialogue: 0,1:39:25.43,1:39:28.31,Default,,0000,0000,0000,,I feel so young.
Dialogue: 0,1:39:30.15,1:39:35.99,Default,,0000,0000,0000,,I try to see life optimistically.
Dialogue: 0,1:39:40.59,1:39:43.63,Default,,0000,0000,0000,,We have different views on life.
Dialogue: 0,1:39:45.07,1:39:49.99,Default,,0000,0000,0000,,You seem a little gloomy.
Dialogue: 0,1:39:53.55,1:40:01.27,Default,,0000,0000,0000,,You seem weak,\Na little tired of life.
Dialogue: 0,1:40:01.83,1:40:03.99,Default,,0000,0000,0000,,{\i1}A feeling of tension\Nand loneliness{\i0}
Dialogue: 0,1:40:04.43,1:40:07.03,Default,,0000,0000,0000,,{\i1}now enters the canvases\Nof Edvard Munch.{\i0}
Dialogue: 0,1:40:07.39,1:40:08.99,Default,,0000,0000,0000,,{\i1}People appear still...{\i0}
Dialogue: 0,1:40:09.39,1:40:10.43,Default,,0000,0000,0000,,{\i1}immobile...{\i0}
Dialogue: 0,1:40:10.51,1:40:13.95,Default,,0000,0000,0000,,{\i1}often as though helpless\Nin the face of nature.{\i0}
Dialogue: 0,1:40:19.15,1:40:21.83,Default,,0000,0000,0000,,I don't want to kiss you.
Dialogue: 0,1:40:26.99,1:40:30.23,Default,,0000,0000,0000,,They looked at each other\Nwithout speaking.
Dialogue: 0,1:40:31.11,1:40:37.07,Default,,0000,0000,0000,,At that moment he had a feeling\Nthat life's greatest happiness
Dialogue: 0,1:40:37.19,1:40:38.95,Default,,0000,0000,0000,,had slipped from his grasp.
Dialogue: 0,1:40:40.79,1:40:43.15,Default,,0000,0000,0000,,There were tears in her eyes.
Dialogue: 0,1:40:48.51,1:40:53.39,Default,,0000,0000,0000,,{\i1}Munch now prepares himself again\Nfor the public and the critics{\i0}
Dialogue: 0,1:40:53.47,1:40:57.39,Default,,0000,0000,0000,,{\i1}often in the introvert company\Nof Sigbjørn Obstfelder, the poet{\i0}
Dialogue: 0,1:40:57.79,1:41:00.87,Default,,0000,0000,0000,,{\i1}and Jorgen Sørensen,\Nthe crippled artist.{\i0}
Dialogue: 0,1:41:02.63,1:41:04.47,Default,,0000,0000,0000,,{\i1}April 1889.{\i0}
Dialogue: 0,1:41:04.55,1:41:06.79,Default,,0000,0000,0000,,{\i1}Edvard Munch again\Nfaces the public...{\i0}
Dialogue: 0,1:41:09.51,1:41:14.23,Default,,0000,0000,0000,,{\i1}and to show exactly where he stands\Nand what he stands for{\i0}
Dialogue: 0,1:41:14.31,1:41:17.51,Default,,0000,0000,0000,,{\i1}exhibits everything\Nhe has ever created:{\i0}
Dialogue: 0,1:41:17.59,1:41:21.43,Default,,0000,0000,0000,,{\i1}110 canvases and\Ninnumerable drawings.{\i0}
Dialogue: 0,1:41:22.31,1:41:25.71,Default,,0000,0000,0000,,{\i1}Dominating the exhibition\Nis a huge canvas.{\i0}
Dialogue: 0,1:41:26.31,1:41:30.83,Default,,0000,0000,0000,,{\i1}Entitled Spring, it is a re-working\Nof The Sick Child.{\i0}
Dialogue: 0,1:41:31.47,1:41:34.67,Default,,0000,0000,0000,,{\i1}But gone now is\Nthe loose expressive brushstroke{\i0}
Dialogue: 0,1:41:34.75,1:41:36.11,Default,,0000,0000,0000,,{\i1}of the earlier work.{\i0}
Dialogue: 0,1:41:36.59,1:41:38.99,Default,,0000,0000,0000,,{\i1}Here, there is minute detail:{\i0}
Dialogue: 0,1:41:39.43,1:41:41.07,Default,,0000,0000,0000,,{\i1}a strand of hair{\i0}
Dialogue: 0,1:41:41.51,1:41:43.43,Default,,0000,0000,0000,,{\i1}a blood stained handkerchief{\i0}
Dialogue: 0,1:41:43.51,1:41:46.27,Default,,0000,0000,0000,,{\i1}a carefully outlined bottle and vase{\i0}
Dialogue: 0,1:41:46.75,1:41:48.79,Default,,0000,0000,0000,,{\i1}the detailed top of a cupboard{\i0}
Dialogue: 0,1:41:48.91,1:41:51.43,Default,,0000,0000,0000,,{\i1}and even the pot of flowers.{\i0}
Dialogue: 0,1:41:51.51,1:41:53.99,Default,,0000,0000,0000,,Have you seen Miss C.\Nsince she married?
Dialogue: 0,1:41:55.87,1:41:59.23,Default,,0000,0000,0000,,I expect things are difficult for you.
Dialogue: 0,1:41:59.31,1:42:03.71,Default,,0000,0000,0000,,It must feel strange\Nwhen you think of her.
Dialogue: 0,1:42:03.79,1:42:10.79,Default,,0000,0000,0000,,Why has Munch's work changed\Nso much since The Sick Child?
Dialogue: 0,1:42:11.51,1:42:15.39,Default,,0000,0000,0000,,I can only guess something\Nmust have happened to him,
Dialogue: 0,1:42:15.47,1:42:19.27,Default,,0000,0000,0000,,which made him lose faith\Nin himself and his art,
Dialogue: 0,1:42:19.71,1:42:22.95,Default,,0000,0000,0000,,poor criticism and other factors.
Dialogue: 0,1:42:32.43,1:42:36.19,Default,,0000,0000,0000,,Society accepts\Nthat a man has a mistress
Dialogue: 0,1:42:42.79,1:42:46.35,Default,,0000,0000,0000,,but, if a woman has a lover,\Nit's quite different.
Dialogue: 0,1:42:50.55,1:42:54.43,Default,,0000,0000,0000,,Later perhaps...\NPerhaps we can meet then.
Dialogue: 0,1:42:56.31,1:42:59.55,Default,,0000,0000,0000,,Everything could be different.
Dialogue: 0,1:43:02.59,1:43:05.23,Default,,0000,0000,0000,,We mustn't take it so casually.
Dialogue: 0,1:43:06.11,1:43:10.03,Default,,0000,0000,0000,,If I marry, I must live\Nfor my husband.
Dialogue: 0,1:43:11.11,1:43:16.07,Default,,0000,0000,0000,,A woman often marries\Nbecause she needs to be supported.
Dialogue: 0,1:43:16.55,1:43:19.63,Default,,0000,0000,0000,,She can't earn what\Nshe needs to live.
Dialogue: 0,1:43:41.87,1:43:48.91,Default,,0000,0000,0000,,What was she thinking\Nas she sleepwalked along?
Dialogue: 0,1:43:49.51,1:43:52.15,Default,,0000,0000,0000,,A Madonna-like beauty.
Dialogue: 0,1:43:57.55,1:44:01.87,Default,,0000,0000,0000,,That's the way it goes,\Nyear after year, a sort of trap.
Dialogue: 0,1:44:02.99,1:44:07.55,Default,,0000,0000,0000,,Having now promised\Nto live together in matrimony
Dialogue: 0,1:44:08.15,1:44:13.87,Default,,0000,0000,0000,,and vouchsafed it before God and\Nthis congregation, I declare you...
Dialogue: 0,1:44:15.19,1:44:21.71,Default,,0000,0000,0000,,Was she now thinking also\Nof the pale man behind the column?
Dialogue: 0,1:44:22.19,1:44:24.11,Default,,0000,0000,0000,,...and the Holy Ghost. Amen.
Dialogue: 0,1:44:24.67,1:44:26.39,Default,,0000,0000,0000,,What God has joined together,
Dialogue: 0,1:44:26.47,1:44:28.83,Default,,0000,0000,0000,,let no man put asunder.
Dialogue: 0,1:44:32.91,1:44:37.83,Default,,0000,0000,0000,,{\i1}The affair between Jappe Nilssen\Nand Oda Krohg is now developing.{\i0}
Dialogue: 0,1:44:39.03,1:44:42.03,Default,,0000,0000,0000,,{\i1}Åsgårdstrand, 1889.{\i0}
Dialogue: 0,1:44:44.27,1:44:48.79,Default,,0000,0000,0000,,She forced her way\Nbetween me and my ideal,
Dialogue: 0,1:44:48.91,1:44:49.83,Default,,0000,0000,0000,,my art!
Dialogue: 0,1:44:51.71,1:44:54.03,Default,,0000,0000,0000,,Yet I can't stop loving her.
Dialogue: 0,1:44:56.99,1:44:59.15,Default,,0000,0000,0000,,I can't put up with
Dialogue: 0,1:44:59.27,1:45:01.23,Default,,0000,0000,0000,,any more of her lies!
Dialogue: 0,1:45:03.59,1:45:05.43,Default,,0000,0000,0000,,Her love is poisonous!
Dialogue: 0,1:45:07.83,1:45:08.83,Default,,0000,0000,0000,,She has feelings, too.
Dialogue: 0,1:45:09.19,1:45:11.51,Default,,0000,0000,0000,,I don't give a damn!
Dialogue: 0,1:45:11.79,1:45:16.79,Default,,0000,0000,0000,,Damn it, I said to her,\Nyou're lying on white sheets.
Dialogue: 0,1:45:17.43,1:45:21.07,Default,,0000,0000,0000,,Your body will be deformed\Nby disease and rot.
Dialogue: 0,1:45:24.07,1:45:27.35,Default,,0000,0000,0000,,You're going to die\Nugly and stinking!
Dialogue: 0,1:45:27.83,1:45:33.19,Default,,0000,0000,0000,,I'll laugh while I drink wine\Nwith beautiful women.
Dialogue: 0,1:45:34.11,1:45:40.83,Default,,0000,0000,0000,,My joy will be even greater than\Nthe despair she brought.
Dialogue: 0,1:45:41.27,1:45:44.39,Default,,0000,0000,0000,,I shall laugh, laugh,\Nlaugh!
Dialogue: 0,1:46:25.15,1:46:26.71,Default,,0000,0000,0000,,We wish to thank\Nthe men, women and children
Dialogue: 0,1:46:26.79,1:46:28.95,Default,,0000,0000,0000,,of Oslo and Åsgårdstrand\Nwho appear in this film.
Dialogue: 0,1:46:57.31,1:47:01.79,Default,,0000,0000,0000,,We are very grateful\Nfor invaluable help from
Dialogue: 0,1:47:01.91,1:47:07.43,Default,,0000,0000,0000,,Additional thanks
Dialogue: 0,1:47:07.55,1:47:10.51,Default,,0000,0000,0000,,We wish to thank the staff at\Nthe Munch Museum in Oslo
Dialogue: 0,1:47:10.59,1:47:13.91,Default,,0000,0000,0000,,without whose help this film\Ncould not have been made.
Dialogue: 0,1:47:14.03,1:47:16.39,Default,,0000,0000,0000,,Directed and Edited by PETER WATKINS\Nand written in collaboration
Dialogue: 0,1:47:16.47,1:47:18.91,Default,,0000,0000,0000,,with the cast, many of whom express\Ntheir own opinions.
Dialogue: 0,1:47:32.43,1:47:35.15,Default,,0000,0000,0000,,{\i1}Hurt and angered by\Nthe continuing viciousness{\i0}
Dialogue: 0,1:47:35.27,1:47:37.27,Default,,0000,0000,0000,,{\i1}of the Kristiania critics{\i0}
Dialogue: 0,1:47:37.39,1:47:41.79,Default,,0000,0000,0000,,{\i1}seeking to escape from the pain\Nof his personal existence in Norway{\i0}
Dialogue: 0,1:47:41.91,1:47:45.23,Default,,0000,0000,0000,,{\i1}Edvard Munch leaves\Nfor France, to study art.{\i0}
Dialogue: 0,1:47:53.83,1:47:58.47,Default,,0000,0000,0000,,{\i1}He meets with Emmanuel Goldstein,\Na 27 year-old Danish poet{\i0}
Dialogue: 0,1:47:58.75,1:48:03.23,Default,,0000,0000,0000,,{\i1}whose own work bears\Na disillusioned view on love.{\i0}
Dialogue: 0,1:48:03.39,1:48:06.75,Default,,0000,0000,0000,,{\i1}Munch shares a room\Nwith Goldstein in St. Cloud{\i0}
Dialogue: 0,1:48:06.87,1:48:10.31,Default,,0000,0000,0000,,{\i1}outside Paris,\Non the first floor above a cafe{\i0}
Dialogue: 0,1:48:10.67,1:48:12.75,Default,,0000,0000,0000,,{\i1}overlooking the river Seine.{\i0}
Dialogue: 0,1:48:13.47,1:48:16.23,Default,,0000,0000,0000,,{\i1}November 1889.{\i0}
Dialogue: 0,1:48:16.99,1:48:23.99,Default,,0000,0000,0000,,Dr Munch's death was\Na hard blow to the family.
Dialogue: 0,1:48:25.55,1:48:29.63,Default,,0000,0000,0000,,We had just moved to Hauketo
Dialogue: 0,1:48:31.83,1:48:35.87,Default,,0000,0000,0000,,and Dr Munch liked it\Nvery much out here.
Dialogue: 0,1:48:37.51,1:48:41.11,Default,,0000,0000,0000,,The Sunday before he became ill
Dialogue: 0,1:48:44.07,1:48:47.71,Default,,0000,0000,0000,,we took a walk home from the church
Dialogue: 0,1:48:47.99,1:48:52.11,Default,,0000,0000,0000,,and the rest of us could not\Nkeep pace with him.
Dialogue: 0,1:48:54.87,1:48:58.39,Default,,0000,0000,0000,,{\i1}Now that he and his father\Ncan never be reconciled{\i0}
Dialogue: 0,1:48:58.67,1:49:02.47,Default,,0000,0000,0000,,{\i1}Edvard Munch begins to re-assess\Nthe values and beliefs{\i0}
Dialogue: 0,1:49:02.79,1:49:05.67,Default,,0000,0000,0000,,{\i1}that Hans Jæger has taught him.{\i0}
Dialogue: 0,1:49:07.67,1:49:12.19,Default,,0000,0000,0000,,There is a city in the city,\Nthe city of the dead.
Dialogue: 0,1:49:12.59,1:49:15.83,Default,,0000,0000,0000,,There the graves lie side by side.
Dialogue: 0,1:49:16.39,1:49:20.03,Default,,0000,0000,0000,,There you'll find hovels and palaces.
Dialogue: 0,1:49:20.99,1:49:24.63,Default,,0000,0000,0000,,There quiet people live, the dead.
Dialogue: 0,1:49:27.15,1:49:29.23,Default,,0000,0000,0000,,It's a popular city.
Dialogue: 0,1:49:30.55,1:49:32.63,Default,,0000,0000,0000,,The bones make way for new.
Dialogue: 0,1:49:33.99,1:49:36.19,Default,,0000,0000,0000,,What does it matter if one dies?
Dialogue: 0,1:49:36.43,1:49:39.59,Default,,0000,0000,0000,,"Naught but sorrow and torment,\Nmisery and strife.
Dialogue: 0,1:49:40.27,1:49:43.31,Default,,0000,0000,0000,,"There is not much more\Nto be had from life.
Dialogue: 0,1:49:43.51,1:49:46.83,Default,,0000,0000,0000,,"You pay a price too high\Nfor joys too brief.
Dialogue: 0,1:49:47.35,1:49:50.59,Default,,0000,0000,0000,,"Our pleasures are bought\Nby torment and grief.
Dialogue: 0,1:49:50.95,1:49:53.59,Default,,0000,0000,0000,,"If to love's pleasure\Nyour body surrenders
Dialogue: 0,1:49:53.99,1:49:57.83,Default,,0000,0000,0000,,"The source of all pains\Na new life is engendered."
Dialogue: 0,1:50:01.95,1:50:03.75,Default,,0000,0000,0000,,{\i1}1889.{\i0}
Dialogue: 0,1:50:03.87,1:50:08.15,Default,,0000,0000,0000,,{\i1}The Eiffel Tower is built and the\Nbox camera comes into production.{\i0}
Dialogue: 0,1:50:08.39,1:50:11.87,Default,,0000,0000,0000,,{\i1}Vincent Van Gogh paints\NLandscape with Olive Trees{\i0}
Dialogue: 0,1:50:12.07,1:50:14.99,Default,,0000,0000,0000,,{\i1}and Wheat Field with Cypresses.{\i0}
Dialogue: 0,1:50:16.35,1:50:18.75,Default,,0000,0000,0000,,{\i1}And Adolf Hitler is born.{\i0}
Dialogue: 0,1:50:21.19,1:50:24.27,Default,,0000,0000,0000,,{\i1}In French literature,\Nthe "symbolists" hold{\i0}
Dialogue: 0,1:50:24.43,1:50:26.35,Default,,0000,0000,0000,,{\i1}full sway in Paris.{\i0}
Dialogue: 0,1:50:26.47,1:50:30.47,Default,,0000,0000,0000,,{\i1}Verlaine, Huysmans,\Nthe poet Mallarmé.{\i0}
Dialogue: 0,1:50:31.19,1:50:33.03,Default,,0000,0000,0000,,{\i1}A rebellion against Naturalism{\i0}
Dialogue: 0,1:50:33.23,1:50:36.15,Default,,0000,0000,0000,,{\i1}is now taking place\Nin the French capital.{\i0}
Dialogue: 0,1:50:40.15,1:50:41.39,Default,,0000,0000,0000,,{\i1}Amongst the painters{\i0}
Dialogue: 0,1:50:41.79,1:50:45.87,Default,,0000,0000,0000,,{\i1}the older generation has already\Npaved the way for the breakthrough.{\i0}
Dialogue: 0,1:50:46.03,1:50:48.15,Default,,0000,0000,0000,,{\i1}Puvis de Chavannes...{\i0}
Dialogue: 0,1:50:48.31,1:50:50.07,Default,,0000,0000,0000,,{\i1}Gustave Moreau...{\i0}
Dialogue: 0,1:50:50.15,1:50:51.15,Default,,0000,0000,0000,,{\i1}and Odilon Radon{\i0}
Dialogue: 0,1:50:52.15,1:50:55.75,Default,,0000,0000,0000,,{\i1}who emphasises the role\Nplayed by the sub-conscious{\i0}
Dialogue: 0,1:50:55.91,1:50:58.07,Default,,0000,0000,0000,,{\i1}in an artist's work.{\i0}
Dialogue: 0,1:50:59.51,1:51:01.55,Default,,0000,0000,0000,,When I light the lamp
Dialogue: 0,1:51:01.71,1:51:04.11,Default,,0000,0000,0000,,I suddenly see my own\Nenormous shadow
Dialogue: 0,1:51:04.27,1:51:05.75,Default,,0000,0000,0000,,over the entire wall
Dialogue: 0,1:51:05.91,1:51:07.59,Default,,0000,0000,0000,,up to the ceiling.
Dialogue: 0,1:51:07.87,1:51:11.11,Default,,0000,0000,0000,,In the mirror above\Nthe fireplace I see myself
Dialogue: 0,1:51:11.27,1:51:13.15,Default,,0000,0000,0000,,the face of my own ghost
Dialogue: 0,1:51:15.55,1:51:17.79,Default,,0000,0000,0000,,and I live with the dead.
Dialogue: 0,1:51:27.87,1:51:31.71,Default,,0000,0000,0000,,All it said was, "Dearest,\Ncome at 8 o'clock tomorrow."
Dialogue: 0,1:51:32.35,1:51:37.63,Default,,0000,0000,0000,,I stared at each letter, each stain,\Nfor the marks of her fingers.
Dialogue: 0,1:51:39.47,1:51:41.91,Default,,0000,0000,0000,,Did she love me\Nor was she pretending?
Dialogue: 0,1:51:43.07,1:51:47.07,Default,,0000,0000,0000,,Did she love me or the other\Nor both at the same time?
Dialogue: 0,1:51:54.59,1:51:55.99,Default,,0000,0000,0000,,"You are the vampire
Dialogue: 0,1:51:56.47,1:51:59.07,Default,,0000,0000,0000,,"which sucks my sparkling blood,
Dialogue: 0,1:51:59.27,1:52:01.39,Default,,0000,0000,0000,,"from the channels of my heart
Dialogue: 0,1:52:01.47,1:52:03.67,Default,,0000,0000,0000,,"with icy draining looks.
Dialogue: 0,1:52:05.55,1:52:09.59,Default,,0000,0000,0000,,"My body glows like desert sand\Nburned and charred
Dialogue: 0,1:52:09.83,1:52:12.07,Default,,0000,0000,0000,,"and the dry Sirocco\Nof madness rages
Dialogue: 0,1:52:12.67,1:52:14.63,Default,,0000,0000,0000,,"and my blood flows."
Dialogue: 0,1:52:20.87,1:52:25.23,Default,,0000,0000,0000,,{\i1}Munch now sees the work\Nof Auguste Rodin in Paris.{\i0}
Dialogue: 0,1:52:28.59,1:52:32.59,Default,,0000,0000,0000,,We didn't even know each other\Nand yet was it because
Dialogue: 0,1:52:34.39,1:52:39.03,Default,,0000,0000,0000,,she took my first kiss that she took\Nthe fragrance of life from me?
Dialogue: 0,1:52:40.47,1:52:43.71,Default,,0000,0000,0000,,Was it because she\Nlied and deceived
Dialogue: 0,1:52:45.51,1:52:46.79,Default,,0000,0000,0000,,that she suddenly
Dialogue: 0,1:52:46.87,1:52:49.11,Default,,0000,0000,0000,,took the scales from my eyes?
Dialogue: 0,1:52:52.27,1:52:55.19,Default,,0000,0000,0000,,{\i1}Munch now begins to formulate\Nthe artistic philosophy{\i0}
Dialogue: 0,1:52:55.35,1:52:58.31,Default,,0000,0000,0000,,{\i1}that he is to pursue\Nall his life{\i0}
Dialogue: 0,1:52:58.43,1:53:02.31,Default,,0000,0000,0000,,{\i1}to understand and express\Nthe purpose of man's existence{\i0}
Dialogue: 0,1:53:02.43,1:53:04.39,Default,,0000,0000,0000,,{\i1}of woman's existence{\i0}
Dialogue: 0,1:53:04.75,1:53:08.27,Default,,0000,0000,0000,,{\i1}the purpose for their pain,\Ntheir love, their despair{\i0}
Dialogue: 0,1:53:08.39,1:53:14.03,Default,,0000,0000,0000,,{\i1}links in an endless chain tying\Ntogether thousands of generations.{\i0}
Dialogue: 0,1:53:22.15,1:53:27.35,Default,,0000,0000,0000,,There was to be no more painting\Ninteriors, people reading and knitting
Dialogue: 0,1:53:28.03,1:53:33.83,Default,,0000,0000,0000,,but living people who breathe,\Nfeel, suffer and love.
Dialogue: 0,1:54:01.63,1:54:05.07,Default,,0000,0000,0000,,She closes her eyes and listens
Dialogue: 0,1:54:05.35,1:54:09.31,Default,,0000,0000,0000,,to the words he whispers\Ninto her long hair.
Dialogue: 0,1:54:09.99,1:54:14.83,Default,,0000,0000,0000,,I'd depict it as I saw it now,\Nbut in the blue haze.
Dialogue: 0,1:54:15.59,1:54:21.99,Default,,0000,0000,0000,,I remember something Munch\Nonce said a couple of years ago.
Dialogue: 0,1:54:22.75,1:54:28.67,Default,,0000,0000,0000,,He had discovered that the Greeks\Nregarded death as blue.
Dialogue: 0,1:54:29.99,1:54:36.03,Default,,0000,0000,0000,,It says somewhere in The Iliad,\N"Blue death closes his eyes."
Dialogue: 0,1:54:37.31,1:54:42.75,Default,,0000,0000,0000,,"Here in the Grey gloomy North,"\NMunch said, "we see death as black.
Dialogue: 0,1:54:43.35,1:54:49.71,Default,,0000,0000,0000,,"But in sunny Hellas\Nthey regard it as blue.
Dialogue: 0,1:54:50.35,1:54:53.03,Default,,0000,0000,0000,,"Why shouldn't it be blue?"
Dialogue: 0,1:55:20.83,1:55:25.79,Default,,0000,0000,0000,,Those at home, my aunt,\Nmy brother and sisters
Dialogue: 0,1:55:27.07,1:55:29.67,Default,,0000,0000,0000,,think that death is just sleep,
Dialogue: 0,1:55:30.23,1:55:33.91,Default,,0000,0000,0000,,that my father sees and hears.
Dialogue: 0,1:55:34.07,1:55:42.71,Default,,0000,0000,0000,,On Monday he suffered a stroke\Nand within a few days
Dialogue: 0,1:55:43.67,1:55:48.63,Default,,0000,0000,0000,,he lost the power of speech\Nand then consciousness.
Dialogue: 0,1:55:50.27,1:55:55.43,Default,,0000,0000,0000,,Now and then we think he recognised us\Nfor he smiled and pressed our hands.
Dialogue: 0,1:55:57.31,1:56:01.67,Default,,0000,0000,0000,,I can do nothing\Nbut let my sorrow run out
Dialogue: 0,1:56:01.87,1:56:06.63,Default,,0000,0000,0000,,into the dawn and into the dusk.
Dialogue: 0,1:56:08.71,1:56:11.83,Default,,0000,0000,0000,,{\i1}Munch's painting\NNight in St. Cloud{\i0}
Dialogue: 0,1:56:12.15,1:56:16.99,Default,,0000,0000,0000,,{\i1}a study of despondency in\Nswirling blue and black silhouette{\i0}
Dialogue: 0,1:56:17.11,1:56:18.87,Default,,0000,0000,0000,,{\i1}is a major breakthrough{\i0}
Dialogue: 0,1:56:18.99,1:56:23.83,Default,,0000,0000,0000,,{\i1}in parallel to the similar breakthrough\Nnow occurring in Norwegian literature{\i0}
Dialogue: 0,1:56:24.19,1:56:27.79,Default,,0000,0000,0000,,{\i1}a subjective and personal\Nform of art.{\i0}
Dialogue: 0,1:56:27.83,1:56:32.67,Default,,0000,0000,0000,,The use of the first person\Nin literature is introversive art
Dialogue: 0,1:56:32.99,1:56:40.23,Default,,0000,0000,0000,,which breaks with naturalism\Nin a psychological, mysterious way.
Dialogue: 0,1:56:41.11,1:56:45.95,Default,,0000,0000,0000,,Things can be said in the first person\Nwhich were unsaid before.
Dialogue: 0,1:56:46.59,1:56:47.59,Default,,0000,0000,0000,,This form
Dialogue: 0,1:56:47.71,1:56:51.75,Default,,0000,0000,0000,,is born of a desire\Nto get right to the bottom
Dialogue: 0,1:56:51.95,1:56:56.19,Default,,0000,0000,0000,,of the human being,\Nor the mood one is faced with.
Dialogue: 0,1:56:57.75,1:57:02.43,Default,,0000,0000,0000,,It becomes like a vision\Nor hallucination
Dialogue: 0,1:57:03.19,1:57:04.83,Default,,0000,0000,0000,,and it would be strange
Dialogue: 0,1:57:04.91,1:57:11.75,Default,,0000,0000,0000,,if this form of intensity did not\Nmake people shudder and tremble
Dialogue: 0,1:57:12.95,1:57:17.31,Default,,0000,0000,0000,,and listen to what\Nthe poet wants to say.
Dialogue: 0,1:57:18.15,1:57:22.03,Default,,0000,0000,0000,,There is a rupture between\Nthe comprehensive view of realism
Dialogue: 0,1:57:22.15,1:57:26.43,Default,,0000,0000,0000,,and the new personal form.\NArt for the sake of art
Dialogue: 0,1:57:26.59,1:57:29.43,Default,,0000,0000,0000,,and for the satisfaction of the artist.
Dialogue: 0,1:57:30.51,1:57:34.11,Default,,0000,0000,0000,,At last someone is willing\Nto listen to the heart.
Dialogue: 0,1:57:36.71,1:57:38.83,Default,,0000,0000,0000,,{\i1}September 1890.{\i0}
Dialogue: 0,1:57:38.99,1:57:41.19,Default,,0000,0000,0000,,{\i1}As proof of his work in Paris{\i0}
Dialogue: 0,1:57:41.31,1:57:43.67,Default,,0000,0000,0000,,{\i1}Edvard Munch submits 10 paintings{\i0}
Dialogue: 0,1:57:43.79,1:57:47.95,Default,,0000,0000,0000,,{\i1}to the official State Autumn\NExhibition in Kristiania.{\i0}
Dialogue: 0,1:57:48.23,1:57:51.67,Default,,0000,0000,0000,,{\i1}The painting which he calls\NNight in St. Cloud{\i0}
Dialogue: 0,1:57:51.79,1:57:53.39,Default,,0000,0000,0000,,{\i1}is heavily attacked.{\i0}
Dialogue: 0,1:57:54.83,1:57:56.39,Default,,0000,0000,0000,,{\i1}For the second time{\i0}
Dialogue: 0,1:57:56.51,1:58:00.19,Default,,0000,0000,0000,,{\i1}Edvard Munch returns\Nto self-exile in Europe.{\i0}
Dialogue: 0,1:58:00.99,1:58:04.63,Default,,0000,0000,0000,,This painting which is called Night
Dialogue: 0,1:58:05.67,1:58:10.83,Default,,0000,0000,0000,,makes such demands\Non one's ability to guess
Dialogue: 0,1:58:11.03,1:58:16.59,Default,,0000,0000,0000,,that few people go to the trouble\Nof studying it more closely.
Dialogue: 0,1:58:17.35,1:58:22.27,Default,,0000,0000,0000,,The atmosphere around the painting\Nis so faintly designated
Dialogue: 0,1:58:22.71,1:58:26.87,Default,,0000,0000,0000,,that it seems to disappear\Nbefore one can grasp it.
Dialogue: 0,1:58:28.79,1:58:36.59,Default,,0000,0000,0000,,The painter himself follows\Nhis own path in a misty
Dialogue: 0,1:58:36.83,1:58:39.39,Default,,0000,0000,0000,,and shapeless world of dreams.
Dialogue: 0,1:58:40.67,1:58:46.55,Default,,0000,0000,0000,,{\i1}And the critic of Aftenposten refers\Nto Munch's "sick mind" and states that:{\i0}
Dialogue: 0,1:58:46.67,1:58:52.23,Default,,0000,0000,0000,,{\i1}"the borderline between madness and\Ngenius is unconscionably narrow."{\i0}
Dialogue: 0,1:58:52.43,1:58:54.51,Default,,0000,0000,0000,,Munch is primarily
Dialogue: 0,1:58:54.83,1:58:57.31,Default,,0000,0000,0000,,a lyric poet in colour.
Dialogue: 0,1:58:58.03,1:59:03.03,Default,,0000,0000,0000,,He feels colours, feels in colours\Nbut he does not see them.
Dialogue: 0,1:59:03.51,1:59:05.19,Default,,0000,0000,0000,,He sees sorrow
Dialogue: 0,1:59:05.35,1:59:07.79,Default,,0000,0000,0000,,and crying and brooding
Dialogue: 0,1:59:08.11,1:59:09.51,Default,,0000,0000,0000,,and withering.
Dialogue: 0,1:59:11.15,1:59:13.75,Default,,0000,0000,0000,,{\i1}To the young poets\Nand writers of Norway{\i0}
Dialogue: 0,1:59:13.87,1:59:16.11,Default,,0000,0000,0000,,{\i1}now rejecting Naturalism{\i0}
Dialogue: 0,1:59:16.43,1:59:19.83,Default,,0000,0000,0000,,{\i1}the work of Edvard Munch\Nproves a revelation.{\i0}
Dialogue: 0,1:59:20.15,1:59:21.75,Default,,0000,0000,0000,,{\i1}Wilhelm Krag:{\i0}
Dialogue: 0,1:59:21.79,1:59:28.27,Default,,0000,0000,0000,,"The river flows so slowly\NFlows and flows and flows.
Dialogue: 0,1:59:29.07,1:59:32.03,Default,,0000,0000,0000,,"And daylight goes, goes.
Dialogue: 0,1:59:32.63,1:59:35.23,Default,,0000,0000,0000,,"Night will soon be here.
Dialogue: 0,1:59:36.51,1:59:39.23,Default,,0000,0000,0000,,"The light shines out of my room.
Dialogue: 0,1:59:39.87,1:59:44.83,Default,,0000,0000,0000,,"Turns to regard me\Nin silence and in anxiety.
Dialogue: 0,1:59:45.39,1:59:46.71,Default,,0000,0000,0000,,"It knows he is coming."
Dialogue: 0,1:59:48.35,1:59:51.95,Default,,0000,0000,0000,,Was it that she was so much\Nmore beautiful than others?
Dialogue: 0,1:59:52.55,1:59:56.35,Default,,0000,0000,0000,,No, I don't even know\Nif she was beautiful.
Dialogue: 0,1:59:57.19,2:00:01.43,Default,,0000,0000,0000,,Her mouth was big.\NShe could be ugly.
Dialogue: 0,2:00:03.35,2:00:06.35,Default,,0000,0000,0000,,In my article in the\NMercure de France
Dialogue: 0,2:00:06.35,2:00:08.63,Default,,0000,0000,0000,,{\i1}Albert Aurier, critic.{\i0}
Dialogue: 0,2:00:08.75,2:00:11.11,Default,,0000,0000,0000,,I refer to this work by Gauguin.
Dialogue: 0,2:00:11.27,2:00:16.83,Default,,0000,0000,0000,,I explain that it is the duty\Nof the new artist to choose between
Dialogue: 0,2:00:16.99,2:00:20.11,Default,,0000,0000,0000,,the numerous elements\Nwhich make up objectivity.
Dialogue: 0,2:00:20.31,2:00:24.15,Default,,0000,0000,0000,,He is also entitled to distort,\Nto emphasise,
Dialogue: 0,2:00:24.31,2:00:29.07,Default,,0000,0000,0000,,to exaggerate line, form and colour
Dialogue: 0,2:00:29.47,2:00:32.07,Default,,0000,0000,0000,,in accordance with\Nhis personal vision
Dialogue: 0,2:00:32.35,2:00:34.47,Default,,0000,0000,0000,,and individual subjectivity.
Dialogue: 0,2:00:35.35,2:00:37.75,Default,,0000,0000,0000,,{\i1}Nice, 1891.{\i0}
Dialogue: 0,2:00:38.43,2:00:43.27,Default,,0000,0000,0000,,{\i1}Two lovers, their faces\Ndissolved together, featureless{\i0}
Dialogue: 0,2:00:43.39,2:00:46.15,Default,,0000,0000,0000,,{\i1}lurk in the comer of a room.{\i0}
Dialogue: 0,2:00:46.27,2:00:48.15,Default,,0000,0000,0000,,{\i1}Perspective has vanished.{\i0}
Dialogue: 0,2:00:48.27,2:00:52.27,Default,,0000,0000,0000,,{\i1}Broken, slashing strokes\Nof thin paint.{\i0}
Dialogue: 0,2:00:52.39,2:00:54.99,Default,,0000,0000,0000,,{\i1}The breakthrough has begun.{\i0}
Dialogue: 0,2:00:57.23,2:01:00.43,Default,,0000,0000,0000,,She was affected,\Na liar and a whore!
Dialogue: 0,2:01:06.71,2:01:11.87,Default,,0000,0000,0000,,{\i1}The affair between Oda Krohg and\NJappe Nilssen is now at crisis point.{\i0}
Dialogue: 0,2:01:12.03,2:01:15.31,Default,,0000,0000,0000,,{\i1}Jappe wants his relationship\Nto be clearly defined.{\i0}
Dialogue: 0,2:01:15.43,2:01:18.83,Default,,0000,0000,0000,,{\i1}She, still married,\Nfeels differently.{\i0}
Dialogue: 0,2:01:19.39,2:01:24.07,Default,,0000,0000,0000,,{\i1}Jappe is now taking drugs\Nand has threatened to kill himself.{\i0}
Dialogue: 0,2:01:25.87,2:01:34.23,Default,,0000,0000,0000,,There seem to be rules demanding\Nthat women sacrifice themselves.
Dialogue: 0,2:01:35.23,2:01:39.11,Default,,0000,0000,0000,,The best thing one can say\Nabout a woman
Dialogue: 0,2:01:39.27,2:01:41.95,Default,,0000,0000,0000,,{\i1}is that she is self-sacrificing.{\i0}
Dialogue: 0,2:01:43.63,2:01:45.59,Default,,0000,0000,0000,,I can't put up with it anymore.
Dialogue: 0,2:01:47.71,2:01:51.15,Default,,0000,0000,0000,,I am so fond of her but\Nwhy is she so angry with me?
Dialogue: 0,2:01:55.99,2:01:58.11,Default,,0000,0000,0000,,It's so difficult at times.
Dialogue: 0,2:01:58.39,2:02:00.87,Default,,0000,0000,0000,,I know that I lose control.
Dialogue: 0,2:02:06.07,2:02:10.15,Default,,0000,0000,0000,,{\i1}Seeking a way of peeling down\Nto the essence of the inner reality{\i0}
Dialogue: 0,2:02:10.23,2:02:13.79,Default,,0000,0000,0000,,{\i1}of stripping away needless\Ndetail and perspective{\i0}
Dialogue: 0,2:02:13.95,2:02:17.91,Default,,0000,0000,0000,,{\i1}Munch now combines all\Nthe forms of media at his disposal{\i0}
Dialogue: 0,2:02:18.03,2:02:21.23,Default,,0000,0000,0000,,{\i1}using pencil, pastel,\Noil and charcoal{\i0}
Dialogue: 0,2:02:21.35,2:02:24.03,Default,,0000,0000,0000,,{\i1}not separately, but together.{\i0}
Dialogue: 0,2:02:26.35,2:02:28.11,Default,,0000,0000,0000,,{\i1}He applies the oil thinly{\i0}
Dialogue: 0,2:02:28.43,2:02:30.19,Default,,0000,0000,0000,,{\i1}to permit the canvas texture{\i0}
Dialogue: 0,2:02:30.31,2:02:33.47,Default,,0000,0000,0000,,{\i1}to remain a visible component\Nof the finished work{\i0}
Dialogue: 0,2:02:33.75,2:02:35.83,Default,,0000,0000,0000,,{\i1}to emphasise its flat surface.{\i0}
Dialogue: 0,2:02:36.35,2:02:40.11,Default,,0000,0000,0000,,{\i1}He allows the preliminary drawings\Nin pencil and pastel{\i0}
Dialogue: 0,2:02:40.19,2:02:42.31,Default,,0000,0000,0000,,{\i1}including the corrections\Nmade in them{\i0}
Dialogue: 0,2:02:42.43,2:02:46.99,Default,,0000,0000,0000,,{\i1}to remain in the final work\Nto show its spontaneity.{\i0}
Dialogue: 0,2:02:50.23,2:02:53.99,Default,,0000,0000,0000,,{\i1}On this canvas, to be known\Nvariously as Melancholy{\i0}
Dialogue: 0,2:02:54.19,2:02:56.95,Default,,0000,0000,0000,,{\i1}Evening or The Yellow Boat{\i0}
Dialogue: 0,2:02:57.07,2:03:00.39,Default,,0000,0000,0000,,{\i1}Munch is attempting,\Nfor the first time in his work{\i0}
Dialogue: 0,2:03:00.71,2:03:03.15,Default,,0000,0000,0000,,{\i1}to depict jealousy.{\i0}
Dialogue: 0,2:03:03.47,2:03:05.83,Default,,0000,0000,0000,,{\i1}And not merely\Nthe event of jealousy{\i0}
Dialogue: 0,2:03:05.99,2:03:09.35,Default,,0000,0000,0000,,{\i1}but its psychology\Nand innermost quiver.{\i0}
Dialogue: 0,2:03:13.71,2:03:14.99,Default,,0000,0000,0000,,I wonder if something
Dialogue: 0,2:03:15.43,2:03:21.11,Default,,0000,0000,0000,,is going on between her\Nand Jæger. What shall I do then?
Dialogue: 0,2:03:21.59,2:03:24.67,Default,,0000,0000,0000,,At any rate, I believe\Nthat the idea must be
Dialogue: 0,2:03:26.99,2:03:28.23,Default,,0000,0000,0000,,to live according to
Dialogue: 0,2:03:28.39,2:03:31.19,Default,,0000,0000,0000,,one's particular possibilities,
Dialogue: 0,2:03:32.11,2:03:35.27,Default,,0000,0000,0000,,that one has a duty to develop
Dialogue: 0,2:03:35.51,2:03:37.43,Default,,0000,0000,0000,,these possibilities,
Dialogue: 0,2:03:39.43,2:03:42.15,Default,,0000,0000,0000,,that one has a duty\Nto expand oneself,
Dialogue: 0,2:03:43.55,2:03:46.83,Default,,0000,0000,0000,,to acquire more knowledge,\Na greater breadth.
Dialogue: 0,2:03:47.99,2:03:52.99,Default,,0000,0000,0000,,I think that leads to greater\Nfreedom in the long run.
Dialogue: 0,2:03:54.67,2:03:57.15,Default,,0000,0000,0000,,Look how she's on top of it all.
Dialogue: 0,2:03:57.79,2:04:02.87,Default,,0000,0000,0000,,Cheerful and smiling,\Nwhile the men all lie and perish.
Dialogue: 0,2:04:04.35,2:04:08.67,Default,,0000,0000,0000,,Not everyone can have feelings\Nfor each other all their lives.
Dialogue: 0,2:04:10.39,2:04:14.71,Default,,0000,0000,0000,,When a relationship no longer works,\None should be able to break it off
Dialogue: 0,2:04:15.35,2:04:21.95,Default,,0000,0000,0000,,before it changes to bitterness\Nand gnawing hate.
Dialogue: 0,2:04:24.47,2:04:28.71,Default,,0000,0000,0000,,{\i1}This canvas marks a major development\Nin the work of Edvard Munch.{\i0}
Dialogue: 0,2:04:28.95,2:04:32.91,Default,,0000,0000,0000,,{\i1}It develops still further\Nthe flat application of colour areas{\i0}
Dialogue: 0,2:04:33.03,2:04:34.71,Default,,0000,0000,0000,,{\i1}the lack of perspective{\i0}
Dialogue: 0,2:04:34.83,2:04:37.75,Default,,0000,0000,0000,,{\i1}the tension between\Nspace and surface.{\i0}
Dialogue: 0,2:04:38.39,2:04:42.39,Default,,0000,0000,0000,,{\i1}It is dismissed by the critics\Nas a "sketch".{\i0}
Dialogue: 0,2:04:43.35,2:04:47.35,Default,,0000,0000,0000,,{\i1}Edvard Munch is now seeking to take\Nthe practical artistic consequences{\i0}
Dialogue: 0,2:04:47.43,2:04:51.35,Default,,0000,0000,0000,,{\i1}of what lies behind\Nthe theories of the symbolists.{\i0}
Dialogue: 0,2:04:52.19,2:04:56.15,Default,,0000,0000,0000,,{\i1}He wants to realise them\Nin all-powerful subjectivity{\i0}
Dialogue: 0,2:04:56.27,2:05:01.31,Default,,0000,0000,0000,,{\i1}to pass on what he and he alone\Nexperiences from the motif{\i0}
Dialogue: 0,2:05:01.39,2:05:04.79,Default,,0000,0000,0000,,{\i1}at the very moment\Nthat he grips it, or...{\i0}
Dialogue: 0,2:05:05.03,2:05:06.79,Default,,0000,0000,0000,,{\i1}that he is gripped by it.{\i0}
Dialogue: 0,2:05:07.11,2:05:09.39,Default,,0000,0000,0000,,I walked along the road\Nwith two friends.
Dialogue: 0,2:05:09.75,2:05:11.59,Default,,0000,0000,0000,,The sun went down.
Dialogue: 0,2:05:12.55,2:05:15.23,Default,,0000,0000,0000,,I felt it like a melancholy sigh.
Dialogue: 0,2:05:16.55,2:05:19.27,Default,,0000,0000,0000,,Suddenly the sky became blood red.
Dialogue: 0,2:05:20.03,2:05:21.27,Default,,0000,0000,0000,,I stopped.
Dialogue: 0,2:05:21.95,2:05:25.35,Default,,0000,0000,0000,,I leaned against the fence,\Ntired to death.
Dialogue: 0,2:05:26.51,2:05:28.35,Default,,0000,0000,0000,,I saw the flaming sky
Dialogue: 0,2:05:28.55,2:05:32.47,Default,,0000,0000,0000,,like blood, like a sword\Nover the fjord and the town.
Dialogue: 0,2:05:33.27,2:05:37.47,Default,,0000,0000,0000,,My friends continued on.\NI stood there shaking in anguish.
Dialogue: 0,2:05:38.87,2:05:40.11,Default,,0000,0000,0000,,I felt it like
Dialogue: 0,2:05:40.31,2:05:42.87,Default,,0000,0000,0000,,a great endless scream\Nthrough nature.
Dialogue: 0,2:05:45.99,2:05:50.11,Default,,0000,0000,0000,,{\i1}The German Kaiser visits London,\Nhoping that Britain will agree to{\i0}
Dialogue: 0,2:05:50.31,2:05:53.11,Default,,0000,0000,0000,,{\i1}the Triple Alliance\Nwith Austria and Italy.{\i0}
Dialogue: 0,2:05:54.39,2:05:59.91,Default,,0000,0000,0000,,{\i1}There is civil war in Chile,\Nwidespread famine in Russia.{\i0}
Dialogue: 0,2:06:09.91,2:06:14.03,Default,,0000,0000,0000,,{\i1}Munch now paints and exhibits\Na portrait of his sister Inger.{\i0}
Dialogue: 0,2:06:14.35,2:06:15.91,Default,,0000,0000,0000,,{\i1}Another breakthrough.{\i0}
Dialogue: 0,2:06:16.03,2:06:20.19,Default,,0000,0000,0000,,{\i1}Perspective has vanished.\NSpace and surface are one.{\i0}
Dialogue: 0,2:06:20.79,2:06:24.99,Default,,0000,0000,0000,,{\i1}But this canvas and his work\Nknown as Despair{\i0}
Dialogue: 0,2:06:25.19,2:06:28.35,Default,,0000,0000,0000,,{\i1}with the artist's featureless\Nand blank profile{\i0}
Dialogue: 0,2:06:28.87,2:06:33.67,Default,,0000,0000,0000,,{\i1}its large disconnected strokes of\Nheavy colour running over each other{\i0}
Dialogue: 0,2:06:34.03,2:06:37.39,Default,,0000,0000,0000,,{\i1}are heavily attacked\Nby the Norwegian press as{\i0}
Dialogue: 0,2:06:37.71,2:06:41.87,Default,,0000,0000,0000,,{\i1}"an awe-inspiring\Ngibberish of futuristic art."{\i0}
Dialogue: 0,2:06:46.75,2:06:49.27,Default,,0000,0000,0000,,{\i1}For reasons\Nwhich still remain unclear{\i0}
Dialogue: 0,2:06:49.39,2:06:53.99,Default,,0000,0000,0000,,{\i1}Edvard Munch is now formally invited\Nby the Berlin Art Association{\i0}
Dialogue: 0,2:06:54.15,2:06:56.27,Default,,0000,0000,0000,,{\i1}the Verein Berliner Künstler{\i0}
Dialogue: 0,2:06:56.39,2:06:59.39,Default,,0000,0000,0000,,{\i1}to arrange a one-man exhibition\Nof his work{\i0}
Dialogue: 0,2:06:59.67,2:07:03.47,Default,,0000,0000,0000,,{\i1}in their new exhibition hall,\Nthe Architektenhaus{\i0}
Dialogue: 0,2:07:03.79,2:07:06.87,Default,,0000,0000,0000,,{\i1}a converted beer-parlour\Non the Wilhelmstraße.{\i0}
Dialogue: 0,2:07:07.03,2:07:10.03,Default,,0000,0000,0000,,{\i1}On the 5th of November\Nthe exhibition opens{\i0}
Dialogue: 0,2:07:10.19,2:07:12.23,Default,,0000,0000,0000,,{\i1}containing many of\NMunch's latest paintings{\i0}
Dialogue: 0,2:07:12.99,2:07:16.15,Default,,0000,0000,0000,,{\i1}a total of fifty-five canvases.{\i0}
Dialogue: 0,2:07:17.19,2:07:19.75,Default,,0000,0000,0000,,{\i1}The Berlin press is here in force{\i0}
Dialogue: 0,2:07:19.87,2:07:23.47,Default,,0000,0000,0000,,{\i1}including Adolf Rosenberg,\Nof Kunstchronik{\i0}
Dialogue: 0,2:07:23.79,2:07:27.95,Default,,0000,0000,0000,,{\i1}and a representative from\Nthe conservative National Zeitung.{\i0}
Dialogue: 0,2:07:28.87,2:07:32.11,Default,,0000,0000,0000,,{\i1}Here in the Berlin\Nof Kaiser Wilhelm II{\i0}
Dialogue: 0,2:07:32.23,2:07:35.39,Default,,0000,0000,0000,,{\i1}"impressionism"\Nis still a term of abuse.{\i0}
Dialogue: 0,2:07:35.79,2:07:39.31,Default,,0000,0000,0000,,{\i1}The Kaiser himself,\Nwho once referred to Richard Wagner{\i0}
Dialogue: 0,2:07:39.43,2:07:42.19,Default,,0000,0000,0000,,{\i1}as "a cheap little conductor,"{\i0}
Dialogue: 0,2:07:42.35,2:07:45.07,Default,,0000,0000,0000,,{\i1}is dedicated to fighting\Nwhat he calls{\i0}
Dialogue: 0,2:07:45.19,2:07:47.07,Default,,0000,0000,0000,,{\i1}"the un-German type of art"{\i0}
Dialogue: 0,2:07:47.19,2:07:50.03,Default,,0000,0000,0000,,{\i1}or "art of the gutter."{\i0}
Dialogue: 0,2:07:55.35,2:07:58.39,Default,,0000,0000,0000,,The entire exhibition is a mockery.
Dialogue: 0,2:07:58.71,2:08:00.11,Default,,0000,0000,0000,,Every painting!
Dialogue: 0,2:08:00.83,2:08:02.47,Default,,0000,0000,0000,,The man must be mad.
Dialogue: 0,2:08:03.63,2:08:05.63,Default,,0000,0000,0000,,The colours are so unnatural.
Dialogue: 0,2:08:07.99,2:08:11.39,Default,,0000,0000,0000,,{\i1}Within a matter of days,\Nthe exhibition of these paintings{\i0}
Dialogue: 0,2:08:11.75,2:08:15.19,Default,,0000,0000,0000,,{\i1}the like of which has never before\Nbeen seen in Germany{\i0}
Dialogue: 0,2:08:15.31,2:08:18.47,Default,,0000,0000,0000,,{\i1}has broken into a notorious scandal.{\i0}
Dialogue: 0,2:08:24.51,2:08:26.55,Default,,0000,0000,0000,,We haven't had a revolution!
Dialogue: 0,2:08:26.87,2:08:31.87,Default,,0000,0000,0000,,Just think of people's reaction!\NTo invite someone who...
Dialogue: 0,2:08:32.35,2:08:34.23,Default,,0000,0000,0000,,{\i1}Hermann Eschke, sculptor{\i0}
Dialogue: 0,2:08:34.39,2:08:38.67,Default,,0000,0000,0000,,{\i1}professor at the Berlin Academy of Art,\Nseen here in the foreground{\i0}
Dialogue: 0,2:08:39.15,2:08:42.95,Default,,0000,0000,0000,,{\i1}has raised a petition amongst\Nthe conservative members of the Verein{\i0}
Dialogue: 0,2:08:43.11,2:08:46.19,Default,,0000,0000,0000,,{\i1}to force through\Nthe immediate removal{\i0}
Dialogue: 0,2:08:46.71,2:08:48.83,Default,,0000,0000,0000,,{\i1}of Munch's "anarchistic smears."{\i0}
Dialogue: 0,2:08:49.95,2:08:53.31,Default,,0000,0000,0000,,{\i1}The conservative majority\Nis led by Anton Von Werner{\i0}
Dialogue: 0,2:08:53.43,2:08:56.79,Default,,0000,0000,0000,,{\i1}a painter of court and\Nbattle scenes for the Kaiser.{\i0}
Dialogue: 0,2:08:56.91,2:08:59.83,Default,,0000,0000,0000,,{\i1}Von Werner, strongly attacked\Nby the liberals{\i0}
Dialogue: 0,2:09:00.19,2:09:03.11,Default,,0000,0000,0000,,{\i1}who refer to him as a\N"boots and uniform" painter{\i0}
Dialogue: 0,2:09:03.99,2:09:07.19,Default,,0000,0000,0000,,{\i1}urges the removal\Nof Munch's "Schmiererei."{\i0}
Dialogue: 0,2:09:11.39,2:09:14.07,Default,,0000,0000,0000,,This rubbish doesn't belong here.
Dialogue: 0,2:09:22.79,2:09:24.35,Default,,0000,0000,0000,,{\i1}In opposition to these conservatives{\i0}
Dialogue: 0,2:09:25.11,2:09:27.71,Default,,0000,0000,0000,,{\i1}is the small caucus of liberal artists{\i0}
Dialogue: 0,2:09:27.83,2:09:31.27,Default,,0000,0000,0000,,{\i1}amongst them Ludwig Knaus\Nwho argue{\i0}
Dialogue: 0,2:09:31.47,2:09:34.87,Default,,0000,0000,0000,,{\i1}not so much for Munch's\Nfreedom of expression{\i0}
Dialogue: 0,2:09:34.99,2:09:38.99,Default,,0000,0000,0000,,{\i1}as against the social incorrectness\Nof the Berlin Academy{\i0}
Dialogue: 0,2:09:39.11,2:09:41.99,Default,,0000,0000,0000,,{\i1}for throwing out an invited guest.{\i0}
Dialogue: 0,2:09:46.87,2:09:49.91,Default,,0000,0000,0000,,{\i1}Amid reports\Nof anarchist activities in Paris{\i0}
Dialogue: 0,2:09:50.03,2:09:52.71,Default,,0000,0000,0000,,{\i1}and rising beer taxes in Bavaria{\i0}
Dialogue: 0,2:09:53.03,2:09:56.39,Default,,0000,0000,0000,,{\i1}the German newspapers headline\N"the struggle taking place{\i0}
Dialogue: 0,2:09:56.67,2:09:58.03,Default,,0000,0000,0000,,{\i1}within the Verein."{\i0}
Dialogue: 0,2:10:05.35,2:10:07.59,Default,,0000,0000,0000,,We must be united\Non objective grounds.
Dialogue: 0,2:10:08.27,2:10:10.31,Default,,0000,0000,0000,,That's nonsense! No!
Dialogue: 0,2:10:10.99,2:10:13.71,Default,,0000,0000,0000,,We'll withdraw from the Society
Dialogue: 0,2:10:13.91,2:10:16.59,Default,,0000,0000,0000,,if the exhibition is closed down.
Dialogue: 0,2:10:18.67,2:10:21.39,Default,,0000,0000,0000,,{\i1}On the 11th of November,\Na conservative bloc carry{\i0}
Dialogue: 0,2:10:21.67,2:10:24.67,Default,,0000,0000,0000,,{\i1}the vote to close the exhibition{\i0}
Dialogue: 0,2:10:24.79,2:10:28.83,Default,,0000,0000,0000,,{\i1}and Munch is ordered\Nto remove his "Schmiererei."{\i0}
Dialogue: 0,2:10:29.99,2:10:32.83,Default,,0000,0000,0000,,{\i1}The Kunstchronik charges\NEdvard Munch{\i0}
Dialogue: 0,2:10:32.99,2:10:37.19,Default,,0000,0000,0000,,{\i1}with "brutality, crudity\Nand baseness of expression."{\i0}
Dialogue: 0,2:10:37.83,2:10:42.31,Default,,0000,0000,0000,,{\i1}The National Zeitung accuses\N"this man E. Blunch"{\i0}
Dialogue: 0,2:10:42.39,2:10:46.83,Default,,0000,0000,0000,,{\i1}of selling himself body and soul\Nto the French Impressionists.{\i0}
Dialogue: 0,2:10:48.71,2:10:52.75,Default,,0000,0000,0000,,{\i1}Edvard Munch has arrived\Nin Imperial Germany.{\i0}
Dialogue: 0,2:11:02.19,2:11:06.35,Default,,0000,0000,0000,,{\i1}One critic even states\Nthat Munch knows next to nothing{\i0}
Dialogue: 0,2:11:06.47,2:11:08.23,Default,,0000,0000,0000,,{\i1}and should only exhibit{\i0}
Dialogue: 0,2:11:08.39,2:11:12.03,Default,,0000,0000,0000,,{\i1}if he is in dire peril\Nof dying of starvation.{\i0}
Dialogue: 0,2:11:16.11,2:11:20.19,Default,,0000,0000,0000,,I went to the Rotunda for a laugh.
Dialogue: 0,2:11:20.19,2:11:23.83,Default,,0000,0000,0000,,{\i1}Theodor Wolff,\Neditor of the Berliner Tageblatt.{\i0}
Dialogue: 0,2:11:26.79,2:11:29.63,Default,,0000,0000,0000,,But, by God, I didn't laugh.
Dialogue: 0,2:11:30.71,2:11:37.03,Default,,0000,0000,0000,,I found a great deal that was\Nstrange, even disgusting
Dialogue: 0,2:11:37.79,2:11:42.79,Default,,0000,0000,0000,,but I also found tones that\Nwere delicate, almost too sensitive.
Dialogue: 0,2:11:44.11,2:11:49.35,Default,,0000,0000,0000,,A dark room washed through\Nwith moonlight.
Dialogue: 0,2:11:50.59,2:11:52.79,Default,,0000,0000,0000,,Lonely roads.
Dialogue: 0,2:11:53.87,2:11:56.99,Default,,0000,0000,0000,,The secretive Norwegian\Nsummer night.
Dialogue: 0,2:11:58.35,2:12:03.35,Default,,0000,0000,0000,,I felt as though I heard\Nthe breathing of melancholy people
Dialogue: 0,2:12:03.47,2:12:06.03,Default,,0000,0000,0000,,struggling with their problems.
Dialogue: 0,2:12:06.79,2:12:09.43,Default,,0000,0000,0000,,No sound came from their breasts.
Dialogue: 0,2:12:09.83,2:12:12.67,Default,,0000,0000,0000,,They sat alone by the shore.
Dialogue: 0,2:12:13.31,2:12:15.23,Default,,0000,0000,0000,,By God, I did not laugh.
Dialogue: 0,2:12:23.91,2:12:27.07,Default,,0000,0000,0000,,{\i1}Munch, choosing to be true\Nto his vision{\i0}
Dialogue: 0,2:12:27.19,2:12:30.19,Default,,0000,0000,0000,,{\i1}has painted the clouds\Nover the Kristiania fjord{\i0}
Dialogue: 0,2:12:30.35,2:12:32.67,Default,,0000,0000,0000,,{\i1}as he saw and felt them.{\i0}
Dialogue: 0,2:12:33.39,2:12:37.23,Default,,0000,0000,0000,,{\i1}He argues that if he experienced\Nclouds as blood{\i0}
Dialogue: 0,2:12:37.39,2:12:39.31,Default,,0000,0000,0000,,{\i1}during an agitated mood{\i0}
Dialogue: 0,2:12:39.47,2:12:42.27,Default,,0000,0000,0000,,{\i1}then that is how\Nhe should paint them.{\i0}
Dialogue: 0,2:12:53.23,2:12:56.79,Default,,0000,0000,0000,,{\i1}Accompanied by his\N"anarchistic Schmiererei"{\i0}
Dialogue: 0,2:12:56.95,2:12:59.71,Default,,0000,0000,0000,,{\i1}Edvard Munch moves into\Nthe room of a hotel{\i0}
Dialogue: 0,2:12:59.83,2:13:02.07,Default,,0000,0000,0000,,{\i1}in the Charlottenburg\Ndistrict of Berlin.{\i0}
Dialogue: 0,2:13:03.31,2:13:07.15,Default,,0000,0000,0000,,{\i1}Memories and images\Nstored for over 20 years{\i0}
Dialogue: 0,2:13:07.27,2:13:09.31,Default,,0000,0000,0000,,{\i1}are about to break forth.{\i0}
Dialogue: 0,2:13:10.19,2:13:13.91,Default,,0000,0000,0000,,{\i1}All that is needed\Nis one final catalyst.{\i0}
Dialogue: 0,2:13:14.99,2:13:17.95,Default,,0000,0000,0000,,{\i1}On the corner of Neue Wilhelmstraße\Nand Unter den Linden{\i0}
Dialogue: 0,2:13:18.07,2:13:21.83,Default,,0000,0000,0000,,{\i1}is a tavern, serving\Nover nine hundred kinds of liquor{\i0}
Dialogue: 0,2:13:21.99,2:13:24.11,Default,,0000,0000,0000,,{\i1}and nicknamed "The Black Pig"{\i0}
Dialogue: 0,2:13:24.39,2:13:26.19,Default,,0000,0000,0000,,{\i1}a meeting place for writers.{\i0}
Dialogue: 0,2:13:26.35,2:13:30.11,Default,,0000,0000,0000,,{\i1}Amongst them, now living in Berlin,\NAugust Strindberg{\i0}
Dialogue: 0,2:13:30.19,2:13:34.43,Default,,0000,0000,0000,,{\i1}who holds court in "The Black Pig",\Nwhere, in the words of a historian{\i0}
Dialogue: 0,2:13:34.75,2:13:38.91,Default,,0000,0000,0000,,{\i1}"he is virtually a tourist attraction\Nfor the intelligentsia."{\i0}
Dialogue: 0,2:13:40.15,2:13:41.95,Default,,0000,0000,0000,,{\i1}Laura Marholm, journalist{\i0}
Dialogue: 0,2:13:42.07,2:13:45.35,Default,,0000,0000,0000,,{\i1}who with her husband has given\Nfinancial aid to Strindberg{\i0}
Dialogue: 0,2:13:45.67,2:13:50.15,Default,,0000,0000,0000,,{\i1}a source of growing resentment to the\Npoverty-stricken Swedish celebrity.{\i0}
Dialogue: 0,2:13:50.35,2:13:52.67,Default,,0000,0000,0000,,{\i1}With Strindberg in this room{\i0}
Dialogue: 0,2:13:52.75,2:13:56.23,Default,,0000,0000,0000,,{\i1}are as many Scandinavians\Nas there are Germans.{\i0}
Dialogue: 0,2:13:57.31,2:14:01.07,Default,,0000,0000,0000,,{\i1}Christian Krohg, who has accompanied\Nhis wife Oda to Berlin{\i0}
Dialogue: 0,2:14:01.19,2:14:03.39,Default,,0000,0000,0000,,{\i1}where he watches\Nher intense love affair{\i0}
Dialogue: 0,2:14:03.91,2:14:06.99,Default,,0000,0000,0000,,{\i1}with the Norwegian author\NGunnar Heiberg.{\i0}
Dialogue: 0,2:14:07.99,2:14:12.39,Default,,0000,0000,0000,,{\i1}Sigbjørn Obstfelder and,\Nnext to him, Bengt Lidforss{\i0}
Dialogue: 0,2:14:13.11,2:14:14.67,Default,,0000,0000,0000,,{\i1}Swedish botanical student{\i0}
Dialogue: 0,2:14:14.79,2:14:17.99,Default,,0000,0000,0000,,{\i1}recently engaged\Nto a 12 year-old girl.{\i0}
Dialogue: 0,2:14:18.99,2:14:22.39,Default,,0000,0000,0000,,{\i1}Hermann Schlittgen,\Npainter and engraver.{\i0}
Dialogue: 0,2:14:23.95,2:14:26.35,Default,,0000,0000,0000,,{\i1}In this room, a centre\Nof the literary storm{\i0}
Dialogue: 0,2:14:26.43,2:14:28.23,Default,,0000,0000,0000,,{\i1}that is to sweep over Europe{\i0}
Dialogue: 0,2:14:28.47,2:14:31.79,Default,,0000,0000,0000,,{\i1}are those who have already\Nrejected Naturalism{\i0}
Dialogue: 0,2:14:31.91,2:14:34.91,Default,,0000,0000,0000,,{\i1}who are now seeking\Nan artistic or literary means{\i0}
Dialogue: 0,2:14:35.03,2:14:38.31,Default,,0000,0000,0000,,{\i1}of presenting the interior\Nmacrocosm of the soul{\i0}
Dialogue: 0,2:14:39.07,2:14:42.31,Default,,0000,0000,0000,,{\i1}peering into\Nthe darkest abyss of man.{\i0}
Dialogue: 0,2:14:42.47,2:14:44.67,Default,,0000,0000,0000,,{\i1}Here, in the words of a historian{\i0}
Dialogue: 0,2:14:44.79,2:14:48.79,Default,,0000,0000,0000,,{\i1}ideas change hands\N"faster than mistresses."{\i0}
Dialogue: 0,2:14:48.91,2:14:52.27,Default,,0000,0000,0000,,{\i1}Here the writers feed upon\Nthe staccato genius in their midst{\i0}
Dialogue: 0,2:14:53.39,2:14:57.19,Default,,0000,0000,0000,,{\i1}August Strindberg,\Nin self-exile from Sweden{\i0}
Dialogue: 0,2:14:57.31,2:15:00.07,Default,,0000,0000,0000,,{\i1}where he has been condemned\Nas a blasphemer{\i0}
Dialogue: 0,2:15:00.19,2:15:03.83,Default,,0000,0000,0000,,{\i1}where educationalists clamour\Nfor the suppression of his books{\i0}
Dialogue: 0,2:15:03.99,2:15:07.79,Default,,0000,0000,0000,,{\i1}and where he is spat upon\Nby parents in the streets.{\i0}
Dialogue: 0,2:15:08.19,2:15:10.83,Default,,0000,0000,0000,,{\i1}Within this room, all is discussed:{\i0}
Dialogue: 0,2:15:10.99,2:15:15.31,Default,,0000,0000,0000,,{\i1}art, black magic, spiritualism,\Nthe philosophy of Nietzsche{\i0}
Dialogue: 0,2:15:15.83,2:15:18.95,Default,,0000,0000,0000,,{\i1}the erotic work of\Nthe Belgian etcher, Felicien Raps{\i0}
Dialogue: 0,2:15:19.07,2:15:23.91,Default,,0000,0000,0000,,{\i1}such as Thievery and\NProstitution Rule The World.{\i0}
Dialogue: 0,2:15:26.79,2:15:30.83,Default,,0000,0000,0000,,{\i1}Richard Dehmel, currently writing\Na cycle of poems about sex{\i0}
Dialogue: 0,2:15:30.95,2:15:35.91,Default,,0000,0000,0000,,{\i1}their purpose to raise sexual love\Nto the level of religious mysticism{\i0}
Dialogue: 0,2:15:36.03,2:15:37.39,Default,,0000,0000,0000,,{\i1}shortly to be prosecuted{\i0}
Dialogue: 0,2:15:37.83,2:15:41.79,Default,,0000,0000,0000,,{\i1}because of his description\Nof a nun masturbating.{\i0}
Dialogue: 0,2:15:42.47,2:15:44.15,Default,,0000,0000,0000,,{\i1}Stanislaw Przybyszewski,{\i0}
Dialogue: 0,2:15:44.27,2:15:47.03,Default,,0000,0000,0000,,{\i1}Polish-German author\Nand medical student{\i0}
Dialogue: 0,2:15:47.19,2:15:51.39,Default,,0000,0000,0000,,{\i1}involved with the occult,\Nstudies satanism{\i0}
Dialogue: 0,2:15:51.95,2:15:55.23,Default,,0000,0000,0000,,{\i1}who rewrote the opening\Nof the Gospel of St. John to read:{\i0}
Dialogue: 0,2:15:55.39,2:15:58.11,Default,,0000,0000,0000,,{\i1}"In the beginning there was sex..."{\i0}
Dialogue: 0,2:16:04.75,2:16:06.39,Default,,0000,0000,0000,,{\i1}And Edvard Munch{\i0}
Dialogue: 0,2:16:06.47,2:16:09.19,Default,,0000,0000,0000,,{\i1}famous overnight\Nas the centre of a storm{\i0}
Dialogue: 0,2:16:09.27,2:16:13.23,Default,,0000,0000,0000,,{\i1}that has rocked the German art world\Nto its very foundations.{\i0}
Dialogue: 0,2:16:13.39,2:16:18.83,Default,,0000,0000,0000,,{\i1}Already he has received invitations\Nto exhibit in Düsseldorf and Cologne{\i0}
Dialogue: 0,2:16:19.19,2:16:22.27,Default,,0000,0000,0000,,{\i1}and he has been prevailed upon\Nby the Berlin intellectuals{\i0}
Dialogue: 0,2:16:22.39,2:16:25.79,Default,,0000,0000,0000,,{\i1}to make his home here in Germany.{\i0}
Dialogue: 0,2:16:43.47,2:16:45.19,Default,,0000,0000,0000,,{\i1}Of all the men in this room{\i0}
Dialogue: 0,2:16:45.35,2:16:49.31,Default,,0000,0000,0000,,{\i1}two will have the most marked effect\Nupon the work of Edvard Munch.{\i0}
Dialogue: 0,2:16:50.23,2:16:53.95,Default,,0000,0000,0000,,{\i1}Stanislaw Przybyszewski\Nwho is to later believe that{\i0}
Dialogue: 0,2:16:54.15,2:16:56.15,Default,,0000,0000,0000,,{\i1}his passionate interpretation\Nof Chopin{\i0}
Dialogue: 0,2:16:56.23,2:16:59.15,Default,,0000,0000,0000,,{\i1}will have more meaning\Nfor German literature{\i0}
Dialogue: 0,2:16:59.35,2:17:00.71,Default,,0000,0000,0000,,{\i1}than all his writing{\i0}
Dialogue: 0,2:17:00.83,2:17:03.47,Default,,0000,0000,0000,,{\i1}and August Strindberg, divorced{\i0}
Dialogue: 0,2:17:03.79,2:17:06.19,Default,,0000,0000,0000,,{\i1}separated from the children\Nhe adores{\i0}
Dialogue: 0,2:17:06.31,2:17:09.83,Default,,0000,0000,0000,,{\i1}who presents the "Black Pig"\Nwith a triple credo:{\i0}
Dialogue: 0,2:17:10.23,2:17:12.15,Default,,0000,0000,0000,,{\i1}woman the inferior{\i0}
Dialogue: 0,2:17:12.35,2:17:14.07,Default,,0000,0000,0000,,{\i1}woman the whore{\i0}
Dialogue: 0,2:17:14.31,2:17:17.67,Default,,0000,0000,0000,,{\i1}woman the man-weakening vampire.{\i0}
Dialogue: 0,2:17:28.47,2:17:34.83,Default,,0000,0000,0000,,There are paintings everywhere\Nin Munch's hotel room,
Dialogue: 0,2:17:35.59,2:17:39.99,Default,,0000,0000,0000,,on the sofa, on the cupboard\Nand on all the chairs,
Dialogue: 0,2:17:40.71,2:17:45.15,Default,,0000,0000,0000,,even on the stove\Nand on the washbasin.
Dialogue: 0,2:18:04.75,2:18:09.03,Default,,0000,0000,0000,,{\i1}Amongst the group in "The Black Pig"\Nis Laura Marholm's husband{\i0}
Dialogue: 0,2:18:09.19,2:18:11.35,Default,,0000,0000,0000,,{\i1}the Swedish poet, Ola Hansson{\i0}
Dialogue: 0,2:18:11.87,2:18:15.87,Default,,0000,0000,0000,,{\i1}who has had to leave his country\Nfollowing the reaction to his publication{\i0}
Dialogue: 0,2:18:16.27,2:18:18.31,Default,,0000,0000,0000,,{\i1}of a collection of short stories{\i0}
Dialogue: 0,2:18:18.67,2:18:22.79,Default,,0000,0000,0000,,{\i1}describing man's split\Nemotional sex life.{\i0}
Dialogue: 0,2:18:24.91,2:18:29.07,Default,,0000,0000,0000,,{\i1}Ola Hansson tells Munch that\Nhe suffers from a fear of life{\i0}
Dialogue: 0,2:18:29.39,2:18:30.99,Default,,0000,0000,0000,,{\i1}constantly seeing "Death...{\i0}
Dialogue: 0,2:18:32.39,2:18:35.19,Default,,0000,0000,0000,,{\i1}following him like his own shadow."{\i0}
Dialogue: 0,2:18:35.43,2:18:38.75,Default,,0000,0000,0000,,I have little faith in your struggle
Dialogue: 0,2:18:38.95,2:18:40.59,Default,,0000,0000,0000,,for emancipation.
Dialogue: 0,2:18:41.47,2:18:46.11,Default,,0000,0000,0000,,The equality which you strive for\Nmeans that I cut off my penis
Dialogue: 0,2:18:46.27,2:18:49.39,Default,,0000,0000,0000,,and you put it into yourself\Nand then we're all equal.
Dialogue: 0,2:18:55.19,2:18:57.71,Default,,0000,0000,0000,,Right now all women hate Buddhas,
Dialogue: 0,2:18:57.87,2:19:00.63,Default,,0000,0000,0000,,hate and humiliate them,
Dialogue: 0,2:19:00.87,2:19:05.83,Default,,0000,0000,0000,,well knowing that they will\Nnever become Buddhas.
Dialogue: 0,2:19:12.99,2:19:18.39,Default,,0000,0000,0000,,{\i1}Dagny Juel, age 26, daughter of\Na Norwegian country doctor{\i0}
Dialogue: 0,2:19:18.47,2:19:20.99,Default,,0000,0000,0000,,{\i1}who has come to Berlin\Nto study the piano{\i0}
Dialogue: 0,2:19:21.15,2:19:23.75,Default,,0000,0000,0000,,{\i1}and who has been introduced\Nto "The Black Pig"{\i0}
Dialogue: 0,2:19:23.87,2:19:26.71,Default,,0000,0000,0000,,{\i1}by her family friend,\NEdvard Munch.{\i0}
Dialogue: 0,2:19:30.19,2:19:34.27,Default,,0000,0000,0000,,On the other hand, she feels\Na sort of instinctive sympathy
Dialogue: 0,2:19:34.39,2:19:39.11,Default,,0000,0000,0000,,for beggars, braggarts,\Nliars and dogs,
Dialogue: 0,2:19:39.31,2:19:40.75,Default,,0000,0000,0000,,especially mangy ones.
Dialogue: 0,2:19:43.31,2:19:47.03,Default,,0000,0000,0000,,{\i1}Under the eyes of Przybyszewski\Nwho is in love with her{\i0}
Dialogue: 0,2:19:47.19,2:19:50.43,Default,,0000,0000,0000,,{\i1}Dagny Juel now becomes\Nthe mistress of Edvard Munch.{\i0}
Dialogue: 0,2:19:51.15,2:19:54.79,Default,,0000,0000,0000,,Being married is the only way\Nwomen have to survive.
Dialogue: 0,2:19:54.99,2:19:59.07,Default,,0000,0000,0000,,You simply can't exist\Nwithout a man.
Dialogue: 0,2:20:01.47,2:20:04.51,Default,,0000,0000,0000,,If we leave you,\Nyou fall like ninepins.
Dialogue: 0,2:20:09.43,2:20:10.67,Default,,0000,0000,0000,,You want the women
Dialogue: 0,2:20:10.83,2:20:12.27,Default,,0000,0000,0000,,submitted to you.
Dialogue: 0,2:20:14.43,2:20:17.31,Default,,0000,0000,0000,,I can manage\Nwith or without them.
Dialogue: 0,2:20:17.43,2:20:19.67,Default,,0000,0000,0000,,- Are you sure?\N- Absolutely.
Dialogue: 0,2:20:20.59,2:20:23.39,Default,,0000,0000,0000,,Why is there a woman\Nbeside you then?
Dialogue: 0,2:20:51.67,2:20:54.75,Default,,0000,0000,0000,,{\i1}At this time, Edvard Munch\Nis beginning to suffer{\i0}
Dialogue: 0,2:20:54.91,2:20:56.47,Default,,0000,0000,0000,,{\i1}from agoraphobia,{\i0}
Dialogue: 0,2:20:56.87,2:20:59.23,Default,,0000,0000,0000,,{\i1}a fear of open spaces.{\i0}
Dialogue: 0,2:21:01.19,2:21:05.11,Default,,0000,0000,0000,,{\i1}He walks close to walls\Nand dreads to cross an open square.{\i0}
Dialogue: 0,2:21:08.43,2:21:10.15,Default,,0000,0000,0000,,I do as I please.
Dialogue: 0,2:21:16.39,2:21:18.39,Default,,0000,0000,0000,,{\i1}The year 1893.{\i0}
Dialogue: 0,2:21:18.87,2:21:21.19,Default,,0000,0000,0000,,{\i1}There is a general strike in Belgium{\i0}
Dialogue: 0,2:21:21.31,2:21:24.43,Default,,0000,0000,0000,,{\i1}serious riots\Nsuppressed by the police.{\i0}
Dialogue: 0,2:21:24.99,2:21:27.23,Default,,0000,0000,0000,,{\i1}Hermann Göring is born.{\i0}
Dialogue: 0,2:21:27.39,2:21:30.67,Default,,0000,0000,0000,,{\i1}And Peter Iljich Tchaikovsky dies.{\i0}
Dialogue: 0,2:21:32.31,2:21:34.99,Default,,0000,0000,0000,,Not the slightest artistic tradition
Dialogue: 0,2:21:35.19,2:21:39.55,Default,,0000,0000,0000,,or affinity with\Naccepted artistic ideals
Dialogue: 0,2:21:39.79,2:21:44.43,Default,,0000,0000,0000,,can be found in Blunch\Nor his colleagues.
Dialogue: 0,2:21:50.27,2:21:53.19,Default,,0000,0000,0000,,{\i1}Here, in the Germany\Nof Kaiser Wilhelm II{\i0}
Dialogue: 0,2:21:53.39,2:21:57.79,Default,,0000,0000,0000,,{\i1}Edvard Munch begins work on the\Nsubjective image of a naked woman{\i0}
Dialogue: 0,2:21:58.23,2:22:02.75,Default,,0000,0000,0000,,{\i1}seen as from the viewpoint of\Nher partner in sexual intercourse.{\i0}
Dialogue: 0,2:22:02.95,2:22:06.47,Default,,0000,0000,0000,,{\i1}Around her head,\Nthe halo of a Madonna.{\i0}
Dialogue: 0,2:22:07.79,2:22:10.71,Default,,0000,0000,0000,,{\i1}For his exterior model,\NMunch uses Dagny Juel.{\i0}
Dialogue: 0,2:22:13.99,2:22:15.19,Default,,0000,0000,0000,,{\i1}Dagny Juel...{\i0}
Dialogue: 0,2:22:15.79,2:22:18.11,Default,,0000,0000,0000,,{\i1}described by Strindberg as...{\i0}
Dialogue: 0,2:22:18.27,2:22:22.87,Default,,0000,0000,0000,,{\i1}"tall, thin, haggard\Nfrom liquor and late hours{\i0}
Dialogue: 0,2:22:23.35,2:22:28.43,Default,,0000,0000,0000,,{\i1}"speaking with a drawling voice\Nbroken as if by swallowed tears{\i0}
Dialogue: 0,2:22:29.19,2:22:34.19,Default,,0000,0000,0000,,{\i1}"with the figure of a Madonna and\Na laughter that drove men insane."{\i0}
Dialogue: 0,2:22:41.19,2:22:43.39,Default,,0000,0000,0000,,{\i1}Strindberg has discussed with Munch{\i0}
Dialogue: 0,2:22:43.71,2:22:47.39,Default,,0000,0000,0000,,{\i1}fear and distaste\Nat the idea of his sperm{\i0}
Dialogue: 0,2:22:47.67,2:22:50.39,Default,,0000,0000,0000,,{\i1}coming in contact with\Nthe sperm of another man{\i0}
Dialogue: 0,2:22:50.75,2:22:53.67,Default,,0000,0000,0000,,{\i1}in the vagina\Nof their common mistress.{\i0}
Dialogue: 0,2:22:53.87,2:22:56.91,Default,,0000,0000,0000,,{\i1}He believes that this meeting\Nof similar poles{\i0}
Dialogue: 0,2:22:57.19,2:22:59.79,Default,,0000,0000,0000,,{\i1}sensual contact with another male{\i0}
Dialogue: 0,2:22:59.95,2:23:02.19,Default,,0000,0000,0000,,{\i1}is so unbearable and horrible{\i0}
Dialogue: 0,2:23:02.75,2:23:07.15,Default,,0000,0000,0000,,{\i1}that the normal man would often\Neven prefer death.{\i0}
Dialogue: 0,2:23:11.91,2:23:16.07,Default,,0000,0000,0000,,"I run on. I am filled\Nwith increasing anguish.
Dialogue: 0,2:23:16.43,2:23:19.87,Default,,0000,0000,0000,,"No one speaks to one another.\NNo one smiles at one another.
Dialogue: 0,2:23:20.03,2:23:22.27,Default,,0000,0000,0000,,"They rush off as though whipped."
Dialogue: 0,2:23:30.55,2:23:33.71,Default,,0000,0000,0000,,So it is difficult to distinguish\Na human form
Dialogue: 0,2:23:33.79,2:23:38.19,Default,,0000,0000,0000,,or even to determine\Nthe nature of an object at all.
Dialogue: 0,2:23:46.15,2:23:48.39,Default,,0000,0000,0000,,But he was so frightened.
Dialogue: 0,2:23:49.47,2:23:51.91,Default,,0000,0000,0000,,He felt the blood run\Nthrough his chest.
Dialogue: 0,2:23:54.39,2:23:55.99,Default,,0000,0000,0000,,{\i1}1893.{\i0}
Dialogue: 0,2:23:56.19,2:24:00.31,Default,,0000,0000,0000,,{\i1}An army bill increases the size\Nof the German armed forces.{\i0}
Dialogue: 0,2:24:01.11,2:24:06.27,Default,,0000,0000,0000,,{\i1}An anarchist bomb explodes in\Nthe Paris Chamber of Deputies.{\i0}
Dialogue: 0,2:24:07.95,2:24:12.23,Default,,0000,0000,0000,,When he breathed it felt as though\Nhis chest had come loose
Dialogue: 0,2:24:12.99,2:24:16.55,Default,,0000,0000,0000,,and all his blood poured\Nthrough his mouth.
Dialogue: 0,2:24:20.59,2:24:22.51,Default,,0000,0000,0000,,Jesus Christ!
Dialogue: 0,2:24:25.39,2:24:29.71,Default,,0000,0000,0000,,{\i1}Strindberg has posed to Munch\Nthe question, "What is jealousy?"{\i0}
Dialogue: 0,2:24:30.91,2:24:32.87,Default,,0000,0000,0000,,{\i1}and has answered{\i0}
Dialogue: 0,2:24:33.27,2:24:36.15,Default,,0000,0000,0000,,{\i1}"Jealousy is not\Nthe fear of losing{\i0}
Dialogue: 0,2:24:36.27,2:24:38.95,Default,,0000,0000,0000,,{\i1}"but the fear of dividing."{\i0}
Dialogue: 0,2:24:41.39,2:24:43.03,Default,,0000,0000,0000,,{\i1}Przybyszewski feels differently.{\i0}
Dialogue: 0,2:24:43.43,2:24:47.19,Default,,0000,0000,0000,,{\i1}He believes that no man\Nshould possess another human being{\i0}
Dialogue: 0,2:24:47.27,2:24:50.47,Default,,0000,0000,0000,,{\i1}and has even offered the key\Nof his apartment to Strindberg{\i0}
Dialogue: 0,2:24:50.91,2:24:55.23,Default,,0000,0000,0000,,{\i1}so that he may avail himself of\NPrzybyszewski's common-in-law wife.{\i0}
Dialogue: 0,2:24:55.99,2:24:58.19,Default,,0000,0000,0000,,{\i1}Strindberg has declined.{\i0}
Dialogue: 0,2:25:00.99,2:25:02.39,Default,,0000,0000,0000,,{\i1}Przybyszewski tells Munch{\i0}
Dialogue: 0,2:25:02.75,2:25:06.19,Default,,0000,0000,0000,,{\i1}that he believes sex\Nto be life's basic substance{\i0}
Dialogue: 0,2:25:06.39,2:25:09.19,Default,,0000,0000,0000,,{\i1}and the inner essence\Nof individuality{\i0}
Dialogue: 0,2:25:09.31,2:25:13.67,Default,,0000,0000,0000,,{\i1}the ever-creating, the transforming\Nand the destructive.{\i0}
Dialogue: 0,2:25:14.19,2:25:17.67,Default,,0000,0000,0000,,{\i1}Sex created the brain,\Nsays Przybyszewski{\i0}
Dialogue: 0,2:25:17.95,2:25:21.19,Default,,0000,0000,0000,,{\i1}but between them there will\Nalways be a constant fight{\i0}
Dialogue: 0,2:25:21.35,2:25:25.79,Default,,0000,0000,0000,,{\i1}that will inevitably lead\Nto death and destruction.{\i0}
Dialogue: 0,2:25:29.31,2:25:32.83,Default,,0000,0000,0000,,{\i1}Three years from now, in 1896{\i0}
Dialogue: 0,2:25:33.39,2:25:37.43,Default,,0000,0000,0000,,{\i1}Dagny Juel, accompanied\Nby Stanislaw Przybyszewski{\i0}
Dialogue: 0,2:25:38.15,2:25:43.07,Default,,0000,0000,0000,,{\i1}will travel to the Russian city\Nof Tiflis to meet with a lover{\i0}
Dialogue: 0,2:25:43.79,2:25:46.31,Default,,0000,0000,0000,,{\i1}who will shoot her through the head{\i0}
Dialogue: 0,2:25:46.67,2:25:49.39,Default,,0000,0000,0000,,{\i1}and then himself commit suicide.{\i0}
Dialogue: 0,2:25:56.87,2:25:59.35,Default,,0000,0000,0000,,I feel better now.
Dialogue: 0,2:25:59.63,2:26:01.83,Default,,0000,0000,0000,,May I look out the window?
Dialogue: 0,2:26:08.27,2:26:11.03,Default,,0000,0000,0000,,{\i1}Working simultaneously\Non themes of love{\i0}
Dialogue: 0,2:26:11.19,2:26:13.91,Default,,0000,0000,0000,,{\i1}pain, despair and death{\i0}
Dialogue: 0,2:26:14.47,2:26:17.71,Default,,0000,0000,0000,,{\i1}searching for the ever-elusive\Nartistic solution{\i0}
Dialogue: 0,2:26:17.83,2:26:20.15,Default,,0000,0000,0000,,{\i1}to the expression of his feelings{\i0}
Dialogue: 0,2:26:20.71,2:26:23.75,Default,,0000,0000,0000,,{\i1}Edvard Munch turns now to tempera,{\i0}
Dialogue: 0,2:26:24.07,2:26:27.39,Default,,0000,0000,0000,,{\i1}the use of egg-white\Nto roughen the quality of the oil{\i0}
Dialogue: 0,2:26:27.71,2:26:30.23,Default,,0000,0000,0000,,{\i1}to flatten and condense the image.{\i0}
Dialogue: 0,2:26:30.83,2:26:34.79,Default,,0000,0000,0000,,{\i1}He begins a new canvas\Ndepicting the death of his sister{\i0}
Dialogue: 0,2:26:34.91,2:26:40.07,Default,,0000,0000,0000,,{\i1}one of a series to deal with the\Ngrief and isolation of his family...{\i0}
Dialogue: 0,2:26:40.95,2:26:41.95,Default,,0000,0000,0000,,{\i1}of himself.{\i0}
Dialogue: 0,2:26:46.67,2:26:49.19,Default,,0000,0000,0000,,God bless you, my child.
Dialogue: 0,2:26:50.75,2:26:55.11,Default,,0000,0000,0000,,{\i1}Munch depicts himself,\Nhis brothers and sisters{\i0}
Dialogue: 0,2:26:55.23,2:27:00.39,Default,,0000,0000,0000,,{\i1}at the same age as if these events\Nwere happening in the present.{\i0}
Dialogue: 0,2:27:06.31,2:27:10.07,Default,,0000,0000,0000,,- Something to drink?\N- Yes, please.
Dialogue: 0,2:27:39.99,2:27:41.99,Default,,0000,0000,0000,,Do you have a nice hotel room?
Dialogue: 0,2:28:08.99,2:28:11.35,Default,,0000,0000,0000,,What do you think of the girls?
Dialogue: 0,2:28:18.55,2:28:20.75,Default,,0000,0000,0000,,Perhaps you'd like a chubby girl?
Dialogue: 0,2:28:27.79,2:28:28.87,Default,,0000,0000,0000,,In her will
Dialogue: 0,2:28:29.07,2:28:30.79,Default,,0000,0000,0000,,Mother asked us
Dialogue: 0,2:28:31.43,2:28:35.43,Default,,0000,0000,0000,,to be good
Dialogue: 0,2:28:36.59,2:28:38.63,Default,,0000,0000,0000,,and to love Jesus.
Dialogue: 0,2:28:40.95,2:28:43.83,Default,,0000,0000,0000,,We all had to promise her
Dialogue: 0,2:28:44.07,2:28:48.59,Default,,0000,0000,0000,,that we would go on\Nbelieving in Jesus.
Dialogue: 0,2:28:48.87,2:28:50.91,Default,,0000,0000,0000,,I am so fond of the dark.
Dialogue: 0,2:28:57.27,2:29:02.03,Default,,0000,0000,0000,,{\i1}Munch paints his Madonna with\Nwhat he calls "a corpse's smile"...{\i0}
Dialogue: 0,2:29:02.75,2:29:04.75,Default,,0000,0000,0000,,{\i1}the moment of conception.{\i0}
Dialogue: 0,2:29:04.83,2:29:07.79,Default,,0000,0000,0000,,{\i1}"Life shakes the hand of death."{\i0}
Dialogue: 0,2:29:21.71,2:29:25.59,Default,,0000,0000,0000,,Is it the whole night\Nor only half an hour?
Dialogue: 0,2:29:28.19,2:29:29.27,Default,,0000,0000,0000,,The night.
Dialogue: 0,2:29:29.47,2:29:31.47,Default,,0000,0000,0000,,30 marks, please.
Dialogue: 0,2:29:32.15,2:29:34.83,Default,,0000,0000,0000,,{\i1}At some time in this period,\NStrindberg{\i0}
Dialogue: 0,2:29:34.99,2:29:38.43,Default,,0000,0000,0000,,{\i1}who is now courting\Nan Austrian woman living in Berlin{\i0}
Dialogue: 0,2:29:38.79,2:29:41.47,Default,,0000,0000,0000,,{\i1}takes Dagny Juel as his mistress.{\i0}
Dialogue: 0,2:29:41.91,2:29:46.39,Default,,0000,0000,0000,,{\i1}Referring to himself as "Andersson",\Nhe writes in his notes:{\i0}
Dialogue: 0,2:29:46.79,2:29:51.71,Default,,0000,0000,0000,,{\i1}"Andersson liberates her from the\Nanxiety of a disorderly way of living.{\i0}
Dialogue: 0,2:29:51.87,2:29:54.83,Default,,0000,0000,0000,,{\i1}"The hollow cheeks are filled out\Nwith fiery blood.{\i0}
Dialogue: 0,2:29:54.99,2:29:57.95,Default,,0000,0000,0000,,{\i1}"The creator admires his creation.{\i0}
Dialogue: 0,2:29:58.07,2:30:03.19,Default,,0000,0000,0000,,{\i1}"The painter is ignored\Nand accepts it without protest."{\i0}
Dialogue: 0,2:30:06.03,2:30:07.83,Default,,0000,0000,0000,,Good you have time.
Dialogue: 0,2:30:10.11,2:30:11.99,Default,,0000,0000,0000,,It's much better.
Dialogue: 0,2:30:20.19,2:30:21.43,Default,,0000,0000,0000,,Thank you.
Dialogue: 0,2:31:07.23,2:31:11.75,Default,,0000,0000,0000,,"A kiss, a kiss is not a sin."
Dialogue: 0,2:31:28.35,2:31:31.11,Default,,0000,0000,0000,,{\i1}Munch begins work on a canvas{\i0}
Dialogue: 0,2:31:31.23,2:31:35.11,Default,,0000,0000,0000,,{\i1}showing a woman bent over\Nthe neck of a weakened man.{\i0}
Dialogue: 0,2:31:35.95,2:31:40.19,Default,,0000,0000,0000,,{\i1}He says of this painting that\N"in reality, all it is{\i0}
Dialogue: 0,2:31:40.39,2:31:44.79,Default,,0000,0000,0000,,{\i1}"is a woman kissing a man\Non the nape of the neck."{\i0}
Dialogue: 0,2:31:45.23,2:31:48.39,Default,,0000,0000,0000,,{\i1}He calls the painting\NLove and Pain.{\i0}
Dialogue: 0,2:31:49.43,2:31:53.07,Default,,0000,0000,0000,,{\i1}But to Przybyszewski,\Nthe work depicts Woman{\i0}
Dialogue: 0,2:31:53.19,2:31:55.79,Default,,0000,0000,0000,,{\i1}sucking the strength from a man.{\i0}
Dialogue: 0,2:31:56.11,2:31:59.19,Default,,0000,0000,0000,,{\i1}He re-titles the painting\NThe Vampire.{\i0}
Dialogue: 0,2:31:59.95,2:32:03.07,Default,,0000,0000,0000,,{\i1}Munch lets the new title stay.{\i0}
Dialogue: 0,2:32:13.99,2:32:15.83,Default,,0000,0000,0000,,I need you.
Dialogue: 0,2:32:18.67,2:32:21.07,Default,,0000,0000,0000,,{\i1}The woman known as Mrs Heiberg{\i0}
Dialogue: 0,2:32:21.19,2:32:25.31,Default,,0000,0000,0000,,{\i1}divorces her husband\Non the 4th April 1891{\i0}
Dialogue: 0,2:32:25.99,2:32:28.11,Default,,0000,0000,0000,,{\i1}and remarries a month later.{\i0}
Dialogue: 0,2:32:28.87,2:32:34.19,Default,,0000,0000,0000,,{\i1}Her ex-husband, the doctor,\Ndies shortly afterwards.{\i0}
Dialogue: 0,2:32:37.31,2:32:38.35,Default,,0000,0000,0000,,Well, Strindberg?
Dialogue: 0,2:32:38.47,2:32:42.03,Default,,0000,0000,0000,,What do you think of\Nlove and marriage?
Dialogue: 0,2:32:42.59,2:32:45.27,Default,,0000,0000,0000,,Have you known love in marriage?
Dialogue: 0,2:32:47.51,2:32:52.15,Default,,0000,0000,0000,,- I can't see my children.\N- Do you miss your children?
Dialogue: 0,2:32:53.79,2:32:57.83,Default,,0000,0000,0000,,- Yes, very much.\N- Is that love?
Dialogue: 0,2:33:01.59,2:33:04.07,Default,,0000,0000,0000,,All women are bloody whores.
Dialogue: 0,2:33:10.71,2:33:12.31,Default,,0000,0000,0000,,{\i1}February 1893.{\i0}
Dialogue: 0,2:33:12.87,2:33:15.07,Default,,0000,0000,0000,,{\i1}Edvard Munch is in Copenhagen.{\i0}
Dialogue: 0,2:33:15.19,2:33:18.27,Default,,0000,0000,0000,,{\i1}The first exposure of his work\Nin Denmark.{\i0}
Dialogue: 0,2:33:18.43,2:33:20.91,Default,,0000,0000,0000,,{\i1}It is his 15th exhibition.{\i0}
Dialogue: 0,2:33:24.79,2:33:26.83,Default,,0000,0000,0000,,{\i1}Munch uses the occasion to study{\i0}
Dialogue: 0,2:33:27.11,2:33:30.27,Default,,0000,0000,0000,,{\i1}the effect of his paintings\Nplaced next to one another{\i0}
Dialogue: 0,2:33:30.47,2:33:33.19,Default,,0000,0000,0000,,{\i1}in the order of\Ntheir developing theme{\i0}
Dialogue: 0,2:33:33.31,2:33:34.83,Default,,0000,0000,0000,,{\i1}for now he is planning{\i0}
Dialogue: 0,2:33:34.99,2:33:36.35,Default,,0000,0000,0000,,{\i1}and working on{\i0}
Dialogue: 0,2:33:36.47,2:33:40.75,Default,,0000,0000,0000,,{\i1}a whole cycle of paintings\Nthat will link together{\i0}
Dialogue: 0,2:33:40.91,2:33:44.15,Default,,0000,0000,0000,,{\i1}a Frieze of Life,\Nas Munch calls it{\i0}
Dialogue: 0,2:33:44.27,2:33:46.87,Default,,0000,0000,0000,,{\i1}to unfold the very meaning{\i0}
Dialogue: 0,2:33:47.03,2:33:49.43,Default,,0000,0000,0000,,{\i1}of nature and existence.{\i0}
Dialogue: 0,2:33:50.35,2:33:52.95,Default,,0000,0000,0000,,It's so calm.
Dialogue: 0,2:33:57.91,2:33:59.39,Default,,0000,0000,0000,,May I kiss you?
Dialogue: 0,2:34:09.39,2:34:11.67,Default,,0000,0000,0000,,{\i1}Munch returns to Berlin.{\i0}
Dialogue: 0,2:34:12.03,2:34:15.23,Default,,0000,0000,0000,,{\i1}The Danish critics echo\Nthe Norwegians and the Germans:{\i0}
Dialogue: 0,2:34:16.15,2:34:19.23,Default,,0000,0000,0000,,{\i1}"Some of the pictures\Nare shockingly bad."{\i0}
Dialogue: 0,2:34:19.43,2:34:22.47,Default,,0000,0000,0000,,{\i1}"There is little hope that\Nthe artist's talent will develop."{\i0}
Dialogue: 0,2:34:22.59,2:34:24.63,Default,,0000,0000,0000,,Do you sleep better now?
Dialogue: 0,2:34:27.23,2:34:30.99,Default,,0000,0000,0000,,{\i1}"The disease is almost\Ncertainly incurable."{\i0}
Dialogue: 0,2:34:52.71,2:35:01.15,Default,,0000,0000,0000,,The last Sunday Pappa and I\Nwent up Liabrubakken to church
Dialogue: 0,2:35:02.59,2:35:09.47,Default,,0000,0000,0000,,I remember that I said,\N"You're very like Edvard today."
Dialogue: 0,2:35:11.91,2:35:16.15,Default,,0000,0000,0000,,"Am I?" he replied happily\Nand straightened himself up.
Dialogue: 0,2:35:16.99,2:35:20.43,Default,,0000,0000,0000,,Look what I bought from\NHelgelandsmoen, Edvard.
Dialogue: 0,2:35:23.83,2:35:27.31,Default,,0000,0000,0000,,Is it wine? It doesn't look\Nvery good.
Dialogue: 0,2:35:38.67,2:35:43.35,Default,,0000,0000,0000,,When he comes home at night,\Nhe often starts to paint
Dialogue: 0,2:35:43.99,2:35:49.59,Default,,0000,0000,0000,,and if you visit him in the morning,\Nyou may trip over a palette
Dialogue: 0,2:35:49.71,2:35:54.51,Default,,0000,0000,0000,,and a new painting\Nin some crazy position.
Dialogue: 0,2:35:55.75,2:35:59.79,Default,,0000,0000,0000,,{\i1}By the early Spring\NStrindberg writes of Dagny Juel:{\i0}
Dialogue: 0,2:36:00.39,2:36:03.71,Default,,0000,0000,0000,,{\i1}"When the spark has leaped\Nand the currents are neutralised{\i0}
Dialogue: 0,2:36:03.87,2:36:06.43,Default,,0000,0000,0000,,{\i1}"he discovers that she is ugly.{\i0}
Dialogue: 0,2:36:06.91,2:36:09.79,Default,,0000,0000,0000,,{\i1}"When he remembers\Nhow she has offered herself{\i0}
Dialogue: 0,2:36:09.95,2:36:12.99,Default,,0000,0000,0000,,{\i1}"he is overwhelmed\Nby revulsion for her body."{\i0}
Dialogue: 0,2:36:13.11,2:36:19.11,Default,,0000,0000,0000,,Did you know how I suffered?\NDid you understand why I was hard?
Dialogue: 0,2:36:20.79,2:36:25.35,Default,,0000,0000,0000,,I wasn't myself.\NShe was in me, in my blood.
Dialogue: 0,2:36:28.07,2:36:31.43,Default,,0000,0000,0000,,Inger promised for all of us
Dialogue: 0,2:36:32.11,2:36:33.95,Default,,0000,0000,0000,,that we'd be true to God.
Dialogue: 0,2:36:39.19,2:36:42.95,Default,,0000,0000,0000,,{\i1}Strindberg first offers Dagny Juel\Nto the student Lidforss{\i0}
Dialogue: 0,2:36:43.07,2:36:45.23,Default,,0000,0000,0000,,{\i1}who is known to be in love with her.{\i0}
Dialogue: 0,2:36:45.39,2:36:48.87,Default,,0000,0000,0000,,{\i1}But Lidforss tells Strindberg\Nthat he cannot accept.{\i0}
Dialogue: 0,2:36:49.19,2:36:51.43,Default,,0000,0000,0000,,{\i1}He is suffering from syphilis.{\i0}
Dialogue: 0,2:37:00.39,2:37:03.67,Default,,0000,0000,0000,,{\i1}Strindberg then turns to\Nhis next alternative{\i0}
Dialogue: 0,2:37:03.83,2:37:07.31,Default,,0000,0000,0000,,{\i1}Doctor Ludwig Schleich,\Na habitué of the Black Pig.{\i0}
Dialogue: 0,2:37:07.71,2:37:09.99,Default,,0000,0000,0000,,{\i1}Schleich accepts.{\i0}
Dialogue: 0,2:37:10.55,2:37:11.91,Default,,0000,0000,0000,,A man can't live
Dialogue: 0,2:37:12.07,2:37:15.87,Default,,0000,0000,0000,,more than three or four years\Nwith the same woman.
Dialogue: 0,2:37:16.31,2:37:21.11,Default,,0000,0000,0000,,One must make new discoveries.
Dialogue: 0,2:37:21.51,2:37:28.15,Default,,0000,0000,0000,,By loving one, can't we love\Nmany at the same time?
Dialogue: 0,2:37:28.63,2:37:30.43,Default,,0000,0000,0000,,You want to be men,
Dialogue: 0,2:37:30.67,2:37:32.03,Default,,0000,0000,0000,,not human beings.
Dialogue: 0,2:37:32.19,2:37:34.79,Default,,0000,0000,0000,,One should strive\Nto be a human being.
Dialogue: 0,2:37:35.75,2:37:39.43,Default,,0000,0000,0000,,Both men and women\Nderive strength
Dialogue: 0,2:37:40.19,2:37:42.75,Default,,0000,0000,0000,,from being united\Nin front of everyone.
Dialogue: 0,2:37:44.39,2:37:47.07,Default,,0000,0000,0000,,Women have become\Nmore and more manly.
Dialogue: 0,2:37:47.47,2:37:53.07,Default,,0000,0000,0000,,They strive for humanity but\Nin that they see only manliness.
Dialogue: 0,2:38:01.03,2:38:05.39,Default,,0000,0000,0000,,Has anyone tried to love a woman\Nwho walks like a man,
Dialogue: 0,2:38:06.15,2:38:10.35,Default,,0000,0000,0000,,talks like a man, moves like a man?
Dialogue: 0,2:38:11.31,2:38:14.67,Default,,0000,0000,0000,,It's like loving a man\Nwho acts like a woman.
Dialogue: 0,2:38:15.31,2:38:16.43,Default,,0000,0000,0000,,Disgusting!
Dialogue: 0,2:38:27.71,2:38:30.07,Default,,0000,0000,0000,,{\i1}Przybyszewski says of this painting:{\i0}
Dialogue: 0,2:38:30.39,2:38:32.91,Default,,0000,0000,0000,,{\i1}"A man broken in spirit{\i0}
Dialogue: 0,2:38:33.03,2:38:36.27,Default,,0000,0000,0000,,{\i1}"on his neck the face\Nof a biting vampire."{\i0}
Dialogue: 0,2:38:36.39,2:38:41.11,Default,,0000,0000,0000,,{\i1}"There is something terribly silent,\Npassionless about this picture.{\i0}
Dialogue: 0,2:38:55.11,2:38:58.91,Default,,0000,0000,0000,,{\i1}"The man spins around and around,\Npowerless.{\i0}
Dialogue: 0,2:38:59.39,2:39:04.03,Default,,0000,0000,0000,,{\i1}"He cannot rid himself\Nof that vampire nor of the pain{\i0}
Dialogue: 0,2:39:04.19,2:39:09.31,Default,,0000,0000,0000,,{\i1}"and the woman will always sit there,\Nwill bite eternally."{\i0}
Dialogue: 0,2:39:19.11,2:39:22.19,Default,,0000,0000,0000,,{\i1}In his canvas\NDeath in the Sickroom{\i0}
Dialogue: 0,2:39:22.31,2:39:27.15,Default,,0000,0000,0000,,{\i1}contrasted to the detailed, staring\Nface of his younger sister Inger{\i0}
Dialogue: 0,2:39:27.67,2:39:29.23,Default,,0000,0000,0000,,{\i1}Munch depicts himself{\i0}
Dialogue: 0,2:39:29.39,2:39:35.27,Default,,0000,0000,0000,,{\i1}turned away, in profile,\Nhis face a blank mask.{\i0}
Dialogue: 0,2:39:35.55,2:39:39.83,Default,,0000,0000,0000,,He was very happy that Edvard\Nhad received the scholarship.
Dialogue: 0,2:39:40.87,2:39:46.47,Default,,0000,0000,0000,,But he was sorry he had forgotten\Nto send Edvard's Bible.
Dialogue: 0,2:39:48.99,2:39:52.23,Default,,0000,0000,0000,,I've written to Edvard\Nto say he must buy one.
Dialogue: 0,2:39:54.47,2:39:56.03,Default,,0000,0000,0000,,{\i1}At this period{\i0}
Dialogue: 0,2:39:56.19,2:40:00.31,Default,,0000,0000,0000,,{\i1}as he paints Mrs Heiberg\Nstanding outside her summer cottage{\i0}
Dialogue: 0,2:40:00.43,2:40:02.87,Default,,0000,0000,0000,,{\i1}her shadow looming large{\i0}
Dialogue: 0,2:40:02.99,2:40:07.99,Default,,0000,0000,0000,,{\i1}the psychic and sexual tension of\NEdvard Munch is at an unbearable peak.{\i0}
Dialogue: 0,2:40:08.47,2:40:11.03,Default,,0000,0000,0000,,{\i1}Constantly his nerves\Nare at breaking point{\i0}
Dialogue: 0,2:40:11.19,2:40:14.03,Default,,0000,0000,0000,,{\i1}as he struggles to find\Nthe artistic solution{\i0}
Dialogue: 0,2:40:14.19,2:40:16.11,Default,,0000,0000,0000,,{\i1}to expressing his feelings.{\i0}
Dialogue: 0,2:40:17.79,2:40:22.71,Default,,0000,0000,0000,,{\i1}He is isolated from his family,\Nseparated for ever from his father.{\i0}
Dialogue: 0,2:40:22.83,2:40:25.99,Default,,0000,0000,0000,,{\i1}His work is rejected\Nin his own country.{\i0}
Dialogue: 0,2:40:26.11,2:40:30.95,Default,,0000,0000,0000,,{\i1}He watches his mistress, Dagny Juel,\Npass from one hand to another.{\i0}
Dialogue: 0,2:40:31.27,2:40:36.03,Default,,0000,0000,0000,,{\i1}His bronchial condition is worsening.\NHe is drinking heavily.{\i0}
Dialogue: 0,2:40:36.59,2:40:40.79,Default,,0000,0000,0000,,It's far too dangerous\Nto share a woman with another man.
Dialogue: 0,2:40:40.99,2:40:48.19,Default,,0000,0000,0000,,If a man mounts a woman\Nwho has just been with another man,
Dialogue: 0,2:40:48.51,2:40:54.79,Default,,0000,0000,0000,,the preceding man's sperm will enter\Nthe organ of the man now mounting her.
Dialogue: 0,2:40:57.35,2:41:02.23,Default,,0000,0000,0000,,{\i1}He believes that he is going insane,\Nthat he is about to die.{\i0}
Dialogue: 0,2:41:30.79,2:41:33.43,Default,,0000,0000,0000,,{\i1}The affair between Dagny Juel\Nand Ludwig Schleich{\i0}
Dialogue: 0,2:41:33.75,2:41:37.19,Default,,0000,0000,0000,,{\i1}lasts, again, for only two weeks.{\i0}
Dialogue: 0,2:41:37.71,2:41:41.83,Default,,0000,0000,0000,,{\i1}Strindberg then agrees to help\NSchleich pass Dagny on to another man{\i0}
Dialogue: 0,2:41:41.95,2:41:45.79,Default,,0000,0000,0000,,{\i1}and now offers her\Nto Stanislaw Przybyszewski.{\i0}
Dialogue: 0,2:41:45.95,2:41:48.71,Default,,0000,0000,0000,,{\i1}Strindberg himself is in good spirits\Nat this time.{\i0}
Dialogue: 0,2:41:48.83,2:41:51.39,Default,,0000,0000,0000,,{\i1}He is about to leave Berlin\Nfor his marriage.{\i0}
Dialogue: 0,2:41:51.67,2:41:53.79,Default,,0000,0000,0000,,{\i1}He declares himself to be in love{\i0}
Dialogue: 0,2:41:53.91,2:41:57.15,Default,,0000,0000,0000,,{\i1}and glad to be rid of\Nthe "wretched woman DJ."{\i0}
Dialogue: 0,2:42:10.23,2:42:14.27,Default,,0000,0000,0000,,You're disfiguring yourself!\NYou'll die. Ugly and stinking.
Dialogue: 0,2:42:15.55,2:42:19.39,Default,,0000,0000,0000,,And I, I shall drink wine\Nwith exultant women.
Dialogue: 0,2:42:20.03,2:42:21.27,Default,,0000,0000,0000,,I shall laugh
Dialogue: 0,2:42:21.87,2:42:23.43,Default,,0000,0000,0000,,even more!
Dialogue: 0,2:42:28.19,2:42:32.71,Default,,0000,0000,0000,,{\i1}At this time in Berlin,\Na party is held in "The Black Pig."{\i0}
Dialogue: 0,2:42:33.47,2:42:39.95,Default,,0000,0000,0000,,{\i1}Accompanied by the sound of the sea\NOda Krohg and an ex-lover of Strindberg{\i0}
Dialogue: 0,2:42:40.11,2:42:45.39,Default,,0000,0000,0000,,{\i1}dance in the centre of the room\Nwith crab-tails placed in their hair.{\i0}
Dialogue: 0,2:43:14.07,2:43:19.35,Default,,0000,0000,0000,,{\i1}With Sigbjørn Obstfelder,\NEdvard Munch briefly visits Kristiania.{\i0}
Dialogue: 0,2:43:20.19,2:43:22.71,Default,,0000,0000,0000,,{\i1}At the same time, in Berlin{\i0}
Dialogue: 0,2:43:22.79,2:43:27.31,Default,,0000,0000,0000,,{\i1}Dagny Juel is marrying\NStanislaw Przybyszewski.{\i0}
Dialogue: 0,2:43:42.19,2:43:45.51,Default,,0000,0000,0000,,This can't go on.\NI can't put up with any more.
Dialogue: 0,2:43:50.51,2:43:54.11,Default,,0000,0000,0000,,Emotions. I can't have emotions.
Dialogue: 0,2:43:57.39,2:44:02.63,Default,,0000,0000,0000,,I wait and then she comes\Nand simply walks past with a smile.
Dialogue: 0,2:44:13.43,2:44:17.03,Default,,0000,0000,0000,,"I look. I look at the white sky.
Dialogue: 0,2:44:17.19,2:44:21.95,Default,,0000,0000,0000,,"I look at the Grey-blue clouds.\NI look at the bloody sun.
Dialogue: 0,2:44:22.99,2:44:27.27,Default,,0000,0000,0000,,"So this is the world.\NThis is the home of the planets.
Dialogue: 0,2:44:28.03,2:44:29.63,Default,,0000,0000,0000,,"A drop of rain.
Dialogue: 0,2:44:29.87,2:44:32.39,Default,,0000,0000,0000,,"I look at the high buildings.
Dialogue: 0,2:44:32.51,2:44:36.91,Default,,0000,0000,0000,,"I look at the thousand windows,\Nat the distant church spire.
Dialogue: 0,2:44:37.39,2:44:41.47,Default,,0000,0000,0000,,"So this is the world.\NSo this is the home of mankind.
Dialogue: 0,2:44:42.07,2:44:45.75,Default,,0000,0000,0000,,"The Grey-blue clouds gather.\NThe sun disappears.
Dialogue: 0,2:44:46.27,2:44:49.75,Default,,0000,0000,0000,,"I look at well-dressed gentlemen.\NI look at smiling ladies.
Dialogue: 0,2:44:49.99,2:44:55.03,Default,,0000,0000,0000,,"I look at leaning horses\Nand the Grey-blue clouds grow heavy.
Dialogue: 0,2:44:55.71,2:44:57.91,Default,,0000,0000,0000,,"I look. I look.
Dialogue: 0,2:44:58.43,2:45:02.59,Default,,0000,0000,0000,,"I must have come to the wrong globe.\NEverything is so strange."
Dialogue: 0,2:45:05.71,2:45:11.19,Default,,0000,0000,0000,,{\i1}In late 1893, using pastel\Non a base of cardboard{\i0}
Dialogue: 0,2:45:11.35,2:45:14.83,Default,,0000,0000,0000,,{\i1}Edvard Munch creates The Shriek.{\i0}
Dialogue: 0,2:45:18.23,2:45:22.95,Default,,0000,0000,0000,,{\i1}December 1893. A gallery on\Nthe Unter den Linden in Berlin.{\i0}
Dialogue: 0,2:45:23.27,2:45:26.39,Default,,0000,0000,0000,,{\i1}Edvard Munch's 24th exhibition.{\i0}
Dialogue: 0,2:45:26.75,2:45:30.23,Default,,0000,0000,0000,,{\i1}Amongst the works exhibited\Nare 5 of his Life Frieze{\i0}
Dialogue: 0,2:45:30.39,2:45:33.11,Default,,0000,0000,0000,,{\i1}listed in the catalogue\Nunder the title{\i0}
Dialogue: 0,2:45:33.23,2:45:36.19,Default,,0000,0000,0000,,{\i1}Studies for a Series on Love.{\i0}
Dialogue: 0,2:45:36.75,2:45:40.79,Default,,0000,0000,0000,,I placed the paintings together\Nand it was as though
Dialogue: 0,2:45:40.99,2:45:43.55,Default,,0000,0000,0000,,each was connected to the others.
Dialogue: 0,2:45:44.99,2:45:52.35,Default,,0000,0000,0000,,Then came a tone, a musical tone,\Nlinking the pictures together.
Dialogue: 0,2:45:55.59,2:46:01.55,Default,,0000,0000,0000,,So, if a relationship between\Ntwo people is to be sound
Dialogue: 0,2:46:01.71,2:46:03.51,Default,,0000,0000,0000,,and I think it can be so
Dialogue: 0,2:46:03.75,2:46:05.55,Default,,0000,0000,0000,,even if not for ever,
Dialogue: 0,2:46:07.79,2:46:10.99,Default,,0000,0000,0000,,it must be based on mutual regard,
Dialogue: 0,2:46:13.43,2:46:15.15,Default,,0000,0000,0000,,on tolerance.
Dialogue: 0,2:46:19.79,2:46:24.95,Default,,0000,0000,0000,,{\i1}In the wards of Oscar Kokoschka,\Nthe Austrian Expressionist painter{\i0}
Dialogue: 0,2:46:26.19,2:46:30.79,Default,,0000,0000,0000,,{\i1}"It was given to Edvard Munch's\Ndeeply probing mind{\i0}
Dialogue: 0,2:46:30.91,2:46:33.99,Default,,0000,0000,0000,,{\i1}"to diagnose 'panic dread'{\i0}
Dialogue: 0,2:46:34.11,2:46:37.43,Default,,0000,0000,0000,,{\i1}"in what was apparently\Nsocial progress."{\i0}
Dialogue: 0,2:46:45.47,2:46:48.83,Default,,0000,0000,0000,,{\i1}One member of the public\Nwrites in his catalogue{\i0}
Dialogue: 0,2:46:49.07,2:46:53.43,Default,,0000,0000,0000,,{\i1}that the exhibition is\N"the world's greatest swindle.{\i0}
Dialogue: 0,2:46:54.03,2:46:58.87,Default,,0000,0000,0000,,{\i1}"Junk! Take it all\Nto the insane asylum!"{\i0}
Dialogue: 0,2:47:01.43,2:47:04.03,Default,,0000,0000,0000,,{\i1}And Munch himself has written{\i0}
Dialogue: 0,2:47:04.19,2:47:08.47,Default,,0000,0000,0000,,{\i1}in pencil in the red sky\Nof The Shriek{\i0}
Dialogue: 0,2:47:09.67,2:47:13.39,Default,,0000,0000,0000,,{\i1}"Could only have been painted\Nby a madman."{\i0}
Dialogue: 0,2:47:23.95,2:47:25.79,Default,,0000,0000,0000,,{\i1}1894.{\i0}
Dialogue: 0,2:47:26.19,2:47:29.11,Default,,0000,0000,0000,,{\i1}A canvas entitled Anxiety.{\i0}
Dialogue: 0,2:47:30.23,2:47:31.95,Default,,0000,0000,0000,,{\i1}The faces of Edvard Munch{\i0}
Dialogue: 0,2:47:32.27,2:47:36.15,Default,,0000,0000,0000,,{\i1}Stanislaw Przybyszewski\Nand Dagny Juel.{\i0}
Dialogue: 0,2:47:36.87,2:47:38.87,Default,,0000,0000,0000,,{\i1}Here, as in "The Shriek"{\i0}
Dialogue: 0,2:47:38.99,2:47:43.83,Default,,0000,0000,0000,,{\i1}the individual is in the grip of\Nsomething far beyond his control.{\i0}
Dialogue: 0,2:48:14.91,2:48:19.03,Default,,0000,0000,0000,,I have a friend who got married.
Dialogue: 0,2:48:19.23,2:48:22.19,Default,,0000,0000,0000,,After two months he was a mess!
Dialogue: 0,2:48:22.51,2:48:23.55,Default,,0000,0000,0000,,As if his wife
Dialogue: 0,2:48:23.83,2:48:25.83,Default,,0000,0000,0000,,had drawn his teeth.
Dialogue: 0,2:48:26.19,2:48:28.07,Default,,0000,0000,0000,,And his wife, then?
Dialogue: 0,2:48:28.27,2:48:30.83,Default,,0000,0000,0000,,She was a dreadful bitch!
Dialogue: 0,2:48:31.27,2:48:32.51,Default,,0000,0000,0000,,That's what she was!
Dialogue: 0,2:48:32.63,2:48:34.35,Default,,0000,0000,0000,,Wasn't she disappointed?
Dialogue: 0,2:48:34.95,2:48:39.47,Default,,0000,0000,0000,,She took everything from him.\NShe treated him like a dog.
Dialogue: 0,2:48:40.07,2:48:43.35,Default,,0000,0000,0000,,She said come and he came.\NShe said go
Dialogue: 0,2:48:43.59,2:48:44.83,Default,,0000,0000,0000,,and he wanted to go.
Dialogue: 0,2:48:44.91,2:48:48.55,Default,,0000,0000,0000,,We had to pull him out\Nof her embrace
Dialogue: 0,2:48:48.79,2:48:51.07,Default,,0000,0000,0000,,from between her breasts.
Dialogue: 0,2:48:53.27,2:48:57.15,Default,,0000,0000,0000,,His eyes were quite ashen.\NThey were empty!
Dialogue: 0,2:48:57.95,2:48:59.95,Default,,0000,0000,0000,,She was a dreadful bitch!
Dialogue: 0,2:49:07.03,2:49:09.23,Default,,0000,0000,0000,,{\i1}Munch has now completed\Nanother three canvases:{\i0}
Dialogue: 0,2:49:11.03,2:49:14.35,Default,,0000,0000,0000,,{\i1}a woman pressed into\Nthe embrace of Death{\i0}
Dialogue: 0,2:49:15.11,2:49:18.99,Default,,0000,0000,0000,,{\i1}the gaunt face of Przybyszewski\Nabove his skeleton arm{\i0}
Dialogue: 0,2:49:19.75,2:49:22.35,Default,,0000,0000,0000,,{\i1}and Dagny Juel, poised...{\i0}
Dialogue: 0,2:49:23.23,2:49:24.91,Default,,0000,0000,0000,,{\i1}inviting.{\i0}
Dialogue: 0,2:49:46.91,2:49:49.35,Default,,0000,0000,0000,,You talk about your friend.
Dialogue: 0,2:49:51.43,2:49:58.91,Default,,0000,0000,0000,,How do you think his wife felt\Nafter an unsuccessful relationship?
Dialogue: 0,2:49:59.39,2:50:04.23,Default,,0000,0000,0000,,Has she emerged from it proudly,\Nundamaged? Is she not marked?
Dialogue: 0,2:50:04.39,2:50:05.99,Default,,0000,0000,0000,,She is thriving.
Dialogue: 0,2:50:12.39,2:50:17.23,Default,,0000,0000,0000,,{\i1}Przybyszewski has himself\Npublished a short novel in which{\i0}
Dialogue: 0,2:50:17.67,2:50:20.71,Default,,0000,0000,0000,,{\i1}the hero gives his wife to an artist{\i0}
Dialogue: 0,2:50:20.87,2:50:24.47,Default,,0000,0000,0000,,{\i1}and luxuriates in the feelings\Nof hate and jealousy{\i0}
Dialogue: 0,2:50:24.79,2:50:27.11,Default,,0000,0000,0000,,{\i1}that he has aroused in himself.{\i0}
Dialogue: 0,2:50:37.39,2:50:44.79,Default,,0000,0000,0000,,English doctors have proved that,\Nif two children lie together,
Dialogue: 0,2:50:44.91,2:50:50.35,Default,,0000,0000,0000,,the weaker will absorb strength\Nfrom the stronger.
Dialogue: 0,2:50:52.15,2:50:55.63,Default,,0000,0000,0000,,Which of them loses by it?\NIn bed, I mean.
Dialogue: 0,2:50:56.63,2:50:57.95,Default,,0000,0000,0000,,The stronger.
Dialogue: 0,2:50:58.43,2:50:59.55,Default,,0000,0000,0000,,And the male is
Dialogue: 0,2:50:59.75,2:51:01.31,Default,,0000,0000,0000,,the one who is stronger?
Dialogue: 0,2:51:03.07,2:51:03.91,Default,,0000,0000,0000,,Yes.
Dialogue: 0,2:51:17.79,2:51:22.87,Default,,0000,0000,0000,,{\i1}August Strindberg describes Munch's\Ncanvas The Kiss as{\i0}
Dialogue: 0,2:51:24.39,2:51:26.91,Default,,0000,0000,0000,,{\i1}"the fusion of two beings{\i0}
Dialogue: 0,2:51:26.99,2:51:30.79,Default,,0000,0000,0000,,{\i1}"the smaller of which,\Nshaped like a carp{\i0}
Dialogue: 0,2:51:30.95,2:51:33.99,Default,,0000,0000,0000,,{\i1}"seems on the point\Nof devouring the larger{\i0}
Dialogue: 0,2:51:34.11,2:51:36.03,Default,,0000,0000,0000,,{\i1}"as is the habit of vermin{\i0}
Dialogue: 0,2:51:36.31,2:51:39.95,Default,,0000,0000,0000,,{\i1}"microbes, vampires\Nand women."{\i0}
Dialogue: 0,2:51:50.87,2:51:54.59,Default,,0000,0000,0000,,Who did he get those ideas from?
Dialogue: 0,2:51:56.51,2:51:59.99,Default,,0000,0000,0000,,Why does he see things like that?
Dialogue: 0,2:52:00.59,2:52:02.63,Default,,0000,0000,0000,,I don't understand.
Dialogue: 0,2:52:02.99,2:52:06.39,Default,,0000,0000,0000,,If you love a woman\Nand she loves you
Dialogue: 0,2:52:06.99,2:52:09.63,Default,,0000,0000,0000,,it's a reciprocal relationship.
Dialogue: 0,2:52:09.99,2:52:14.63,Default,,0000,0000,0000,,The tension which passes\Nfrom one to the other
Dialogue: 0,2:52:14.99,2:52:18.91,Default,,0000,0000,0000,,also goes in the opposite direction.
Dialogue: 0,2:52:19.59,2:52:22.07,Default,,0000,0000,0000,,I can't understand him.
Dialogue: 0,2:52:23.43,2:52:25.27,Default,,0000,0000,0000,,But the future...
Dialogue: 0,2:52:26.67,2:52:29.91,Default,,0000,0000,0000,,Must there be a struggle\Nbetween the sexes?
Dialogue: 0,2:52:31.07,2:52:34.87,Default,,0000,0000,0000,,Must it be man against woman,\Nwoman against man?
Dialogue: 0,2:52:37.03,2:52:41.91,Default,,0000,0000,0000,,Since our souls were saved\Ntogether for Jesus' sake,
Dialogue: 0,2:52:42.67,2:52:45.87,Default,,0000,0000,0000,,God be with you, Sophie,
Dialogue: 0,2:52:46.47,2:52:49.63,Default,,0000,0000,0000,,little pale Edvard, Andreas
Dialogue: 0,2:52:49.83,2:52:51.15,Default,,0000,0000,0000,,and Inger
Dialogue: 0,2:52:52.07,2:52:57.31,Default,,0000,0000,0000,,and you, my kind, dear, unforgettable\Nself-sacrificing husband.
Dialogue: 0,2:53:01.55,2:53:08.75,Default,,0000,0000,0000,,I have also written something\Nto Edvard, my eldest son.
Dialogue: 0,2:53:12.15,2:53:16.47,Default,,0000,0000,0000,,"Do not covet that\Nwhich is on earth,
Dialogue: 0,2:53:16.99,2:53:19.31,Default,,0000,0000,0000,,"but rather that\Nwhich is in heaven.
Dialogue: 0,2:53:20.19,2:53:21.95,Default,,0000,0000,0000,,"Keep watch and pray.
Dialogue: 0,2:53:23.99,2:53:25.55,Default,,0000,0000,0000,,"Your mother."
Dialogue: 0,2:53:40.79,2:53:43.95,Default,,0000,0000,0000,,{\i1}Munch creates yet another version\Nof Melancholy.{\i0}
Dialogue: 0,2:53:45.31,2:53:49.79,Default,,0000,0000,0000,,{\i1}"Blank against the twisting,\Nsinuous shore of Åsgårdstrand.{\i0}
Dialogue: 0,2:53:50.39,2:53:54.67,Default,,0000,0000,0000,,{\i1}"two rocks, like the black eyes\Nof a snake{\i0}
Dialogue: 0,2:53:54.91,2:53:56.71,Default,,0000,0000,0000,,{\i1}"stare at him."{\i0}
Dialogue: 0,2:54:05.59,2:54:07.31,Default,,0000,0000,0000,,I can't go on.
Dialogue: 0,2:54:12.87,2:54:15.87,Default,,0000,0000,0000,,{\i1}A predominant characteristic\Nof Munch's work in this period{\i0}
Dialogue: 0,2:54:16.03,2:54:20.39,Default,,0000,0000,0000,,{\i1}is the lack of contact between\Nthe human beings in his paintings.{\i0}
Dialogue: 0,2:54:20.71,2:54:22.39,Default,,0000,0000,0000,,{\i1}People remain isolated{\i0}
Dialogue: 0,2:54:22.67,2:54:25.79,Default,,0000,0000,0000,,{\i1}even though in direct\Nphysical contact.{\i0}
Dialogue: 0,2:54:26.15,2:54:28.79,Default,,0000,0000,0000,,{\i1}The sensory organs disappear{\i0}
Dialogue: 0,2:54:28.87,2:54:30.75,Default,,0000,0000,0000,,{\i1}faces become blank{\i0}
Dialogue: 0,2:54:30.87,2:54:34.35,Default,,0000,0000,0000,,{\i1}hands are clubs or curved hooks{\i0}
Dialogue: 0,2:54:34.67,2:54:38.07,Default,,0000,0000,0000,,{\i1}as the features of human contact\Nare eliminated.{\i0}
Dialogue: 0,2:54:39.15,2:54:40.99,Default,,0000,0000,0000,,{\i1}For Edvard Munch himself{\i0}
Dialogue: 0,2:54:41.11,2:54:44.19,Default,,0000,0000,0000,,{\i1}human contact\Nis becoming a matter of fear{\i0}
Dialogue: 0,2:54:44.35,2:54:48.11,Default,,0000,0000,0000,,{\i1}fear of his own ego\Ndissolving into the psyche{\i0}
Dialogue: 0,2:54:48.19,2:54:50.39,Default,,0000,0000,0000,,{\i1}and into the body of another.{\i0}
Dialogue: 0,2:55:07.03,2:55:14.15,Default,,0000,0000,0000,,Colours, brushwork\Nand lines express so much.
Dialogue: 0,2:55:15.67,2:55:21.91,Default,,0000,0000,0000,,They're fantastic.\NNo artist can compete with him.
Dialogue: 0,2:55:24.23,2:55:28.51,Default,,0000,0000,0000,,To be honest, I don't like\Nthese paintings at all.
Dialogue: 0,2:55:28.71,2:55:32.91,Default,,0000,0000,0000,,I'm no art expert\Nbut they don't say anything to me.
Dialogue: 0,2:55:33.11,2:55:35.59,Default,,0000,0000,0000,,I don't like his art at all.
Dialogue: 0,2:55:35.99,2:55:42.99,Default,,0000,0000,0000,,So unnatural, the colours are\Nnot natural: blue trees...
Dialogue: 0,2:55:43.99,2:55:46.23,Default,,0000,0000,0000,,I don't like it.
Dialogue: 0,2:55:46.75,2:55:50.79,Default,,0000,0000,0000,,His figures are\Nno more than suggested.
Dialogue: 0,2:55:52.31,2:55:55.75,Default,,0000,0000,0000,,Munch makes\Na powerful impression on me.
Dialogue: 0,2:55:55.99,2:56:00.15,Default,,0000,0000,0000,,He reflects a great deal\Nof humanity in his paintings
Dialogue: 0,2:56:01.27,2:56:05.75,Default,,0000,0000,0000,,and shows brutal reality,
Dialogue: 0,2:56:05.99,2:56:07.83,Default,,0000,0000,0000,,as life is.
Dialogue: 0,2:56:08.83,2:56:14.83,Default,,0000,0000,0000,,I'm a compatriot of Munch\Nand I've heard it said of him
Dialogue: 0,2:56:15.47,2:56:19.63,Default,,0000,0000,0000,,that he's an awful,\Ndreadful man. But I like it.
Dialogue: 0,2:56:19.83,2:56:23.95,Default,,0000,0000,0000,,He says something\Nabout human beings
Dialogue: 0,2:56:24.11,2:56:26.03,Default,,0000,0000,0000,,and he speaks to me.
Dialogue: 0,2:56:27.31,2:56:32.83,Default,,0000,0000,0000,,I know a little about the situation.\NI feel that he speaks the truth.
Dialogue: 0,2:56:34.55,2:56:37.39,Default,,0000,0000,0000,,This is how I really believe it is.
Dialogue: 0,2:57:01.39,2:57:05.83,Default,,0000,0000,0000,,{\i1}Working in hotel bedrooms,\Non park and railway station benches{\i0}
Dialogue: 0,2:57:05.95,2:57:07.99,Default,,0000,0000,0000,,{\i1}in bars and restaurants{\i0}
Dialogue: 0,2:57:08.15,2:57:11.47,Default,,0000,0000,0000,,{\i1}using the small piece of copper\Nwhich he carries in his pocket{\i0}
Dialogue: 0,2:57:11.75,2:57:14.79,Default,,0000,0000,0000,,{\i1}Edvard Munch begins\Nhis first engraving{\i0}
Dialogue: 0,2:57:14.95,2:57:18.35,Default,,0000,0000,0000,,{\i1}the theme which he captured\Nthe prior year on his canvas{\i0}
Dialogue: 0,2:57:18.67,2:57:20.71,Default,,0000,0000,0000,,{\i1}Death And The Maiden.{\i0}
Dialogue: 0,2:57:20.83,2:57:24.07,Default,,0000,0000,0000,,{\i1}A naked woman,\Nstretched on tip-toe{\i0}
Dialogue: 0,2:57:24.19,2:57:28.07,Default,,0000,0000,0000,,{\i1}presses her full body\Ninto the embrace of Death.{\i0}
Dialogue: 0,2:57:36.43,2:57:38.83,Default,,0000,0000,0000,,{\i1}Towards the end of the 19th century{\i0}
Dialogue: 0,2:57:38.99,2:57:42.23,Default,,0000,0000,0000,,{\i1}a new interest has developed\Nin the medium of the graphic.{\i0}
Dialogue: 0,2:57:42.39,2:57:44.27,Default,,0000,0000,0000,,{\i1}In Germany, Munch{\i0}
Dialogue: 0,2:57:44.39,2:57:48.27,Default,,0000,0000,0000,,{\i1}here in the company of a professor\Nof graphic art at Berlin University{\i0}
Dialogue: 0,2:57:48.39,2:57:51.75,Default,,0000,0000,0000,,{\i1}studies the latest trends\Nin copper engraving.{\i0}
Dialogue: 0,2:57:51.87,2:57:54.99,Default,,0000,0000,0000,,{\i1}In particular, the widely\Npublished etchings{\i0}
Dialogue: 0,2:57:55.11,2:57:57.31,Default,,0000,0000,0000,,{\i1}of the German Max Klinger.{\i0}
Dialogue: 0,2:57:58.07,2:58:03.79,Default,,0000,0000,0000,,{\i1}Here his cycle of eight developing\Nstudies entitled "Eine Liebe" -{\i0}
Dialogue: 0,2:58:03.91,2:58:05.31,Default,,0000,0000,0000,,{\i1}A Love.{\i0}
Dialogue: 0,2:58:07.19,2:58:09.27,Default,,0000,0000,0000,,{\i1}The technical brilliance\Nof Klinger's work{\i0}
Dialogue: 0,2:58:09.39,2:58:14.35,Default,,0000,0000,0000,,{\i1}its painstakingly studied detail,\Nits use of black and white masses{\i0}
Dialogue: 0,2:58:14.47,2:58:17.35,Default,,0000,0000,0000,,{\i1}its fashionable though\Nsuperficially treated themes{\i0}
Dialogue: 0,2:58:17.47,2:58:21.31,Default,,0000,0000,0000,,{\i1}of eroticism and despair,\Nintrigue Munch{\i0}
Dialogue: 0,2:58:21.47,2:58:25.19,Default,,0000,0000,0000,,{\i1}and reinforces his desire\Nto treat a similar cycle{\i0}
Dialogue: 0,2:58:25.35,2:58:28.99,Default,,0000,0000,0000,,{\i1}on afar deeper\Nand more expressive level.{\i0}
Dialogue: 0,2:58:33.83,2:58:35.71,Default,,0000,0000,0000,,I met a young woman
Dialogue: 0,2:58:37.07,2:58:39.11,Default,,0000,0000,0000,,on the street one evening.
Dialogue: 0,2:58:39.55,2:58:41.63,Default,,0000,0000,0000,,Her eyes attracted me.
Dialogue: 0,2:58:42.15,2:58:44.39,Default,,0000,0000,0000,,They were large childish eyes.
Dialogue: 0,2:58:45.19,2:58:49.83,Default,,0000,0000,0000,,I looked at her. She turned\Nand we walked together.
Dialogue: 0,2:58:51.63,2:58:54.47,Default,,0000,0000,0000,,"Do you want to come up?" I said.
Dialogue: 0,2:58:55.75,2:58:59.59,Default,,0000,0000,0000,,In my room she seemed\Na little shabbily dressed.
Dialogue: 0,2:58:59.99,2:59:04.35,Default,,0000,0000,0000,,Her face was a little harrowed\Nbut her eyes
Dialogue: 0,2:59:04.55,2:59:06.19,Default,,0000,0000,0000,,were beautiful.
Dialogue: 0,2:59:06.79,2:59:08.59,Default,,0000,0000,0000,,"Why did you come with me?" I said.
Dialogue: 0,2:59:09.99,2:59:12.19,Default,,0000,0000,0000,,"That's why I walk the streets."
Dialogue: 0,2:59:26.99,2:59:32.07,Default,,0000,0000,0000,,{\i1}Munch writes in his diary:\N"Ill, ill and lonely.{\i0}
Dialogue: 0,2:59:33.03,2:59:34.67,Default,,0000,0000,0000,,{\i1}"He wanted to put his tired head{\i0}
Dialogue: 0,2:59:34.99,2:59:36.79,Default,,0000,0000,0000,,{\i1}"on a soft lady's breast{\i0}
Dialogue: 0,2:59:38.39,2:59:42.03,Default,,0000,0000,0000,,{\i1}"smell her perfume,\Nhear her heartbeat.{\i0}
Dialogue: 0,2:59:42.39,2:59:46.35,Default,,0000,0000,0000,,{\i1}"Feel her soft curved breasts\Nto his cheek.{\i0}
Dialogue: 0,2:59:46.67,2:59:49.71,Default,,0000,0000,0000,,{\i1}"And, when he looked up,\Nmeet her look above him{\i0}
Dialogue: 0,2:59:50.19,2:59:55.07,Default,,0000,0000,0000,,{\i1}"and then he would close his eyes\Nand feel her warm deep look{\i0}
Dialogue: 0,2:59:55.19,2:59:58.03,Default,,0000,0000,0000,,{\i1}"and her soft, lustful smile.{\i0}
Dialogue: 0,2:59:58.87,3:00:02.83,Default,,0000,0000,0000,,{\i1}"And then she would stroke\Nhis hair softly downwards...{\i0}
Dialogue: 0,3:00:04.11,3:00:05.75,Default,,0000,0000,0000,,{\i1}"downwards..."{\i0}
Dialogue: 0,3:00:35.99,3:00:38.87,Default,,0000,0000,0000,,{\i1}In Munch's diaries\Nappear these words:{\i0}
Dialogue: 0,3:00:39.47,3:00:41.23,Default,,0000,0000,0000,,{\i1}"I greeted.{\i0}
Dialogue: 0,3:00:41.35,3:00:43.83,Default,,0000,0000,0000,,{\i1}"The girlfriend laughed a little.{\i0}
Dialogue: 0,3:00:43.99,3:00:46.43,Default,,0000,0000,0000,,{\i1}"The pale one smiled a bit, too.{\i0}
Dialogue: 0,3:00:46.75,3:00:49.47,Default,,0000,0000,0000,,{\i1}"May I introduce myself? Painter.{\i0}
Dialogue: 0,3:00:49.79,3:00:52.87,Default,,0000,0000,0000,,{\i1}"I take the liberty...\NI want to paint you.{\i0}
Dialogue: 0,3:00:53.99,3:00:57.67,Default,,0000,0000,0000,,{\i1}"I bought half a bottle of port\Nand went to the studio with them."{\i0}
Dialogue: 0,3:01:06.83,3:01:08.79,Default,,0000,0000,0000,,"Then you'll come tomorrow?"
Dialogue: 0,3:01:09.75,3:01:10.91,Default,,0000,0000,0000,,Yes.
Dialogue: 0,3:01:12.39,3:01:14.15,Default,,0000,0000,0000,,She hid the flowers.
Dialogue: 0,3:01:14.35,3:01:17.47,Default,,0000,0000,0000,,Neither her sister\Nor father had noticed.
Dialogue: 0,3:01:18.55,3:01:20.83,Default,,0000,0000,0000,,They would have laughed.
Dialogue: 0,3:01:22.91,3:01:25.55,Default,,0000,0000,0000,,He thought of her all day.
Dialogue: 0,3:01:27.19,3:01:29.15,Default,,0000,0000,0000,,She looked tired.
Dialogue: 0,3:01:30.23,3:01:31.83,Default,,0000,0000,0000,,But she was kind.
Dialogue: 0,3:01:32.91,3:01:34.19,Default,,0000,0000,0000,,Was it true?
Dialogue: 0,3:01:50.91,3:01:52.03,Default,,0000,0000,0000,,{\i1}"They stopped.{\i0}
Dialogue: 0,3:01:52.43,3:01:56.39,Default,,0000,0000,0000,,{\i1}"Brandt looked at the large house\Nsombre-looking between the trees.{\i0}
Dialogue: 0,3:01:57.11,3:01:59.35,Default,,0000,0000,0000,,{\i1}"The maids had gone to bed.{\i0}
Dialogue: 0,3:01:59.47,3:02:02.03,Default,,0000,0000,0000,,{\i1}"Then it was as if he was supposed\Nto say something{\i0}
Dialogue: 0,3:02:02.19,3:02:04.31,Default,,0000,0000,0000,,{\i1}"but was unable to find the words.{\i0}
Dialogue: 0,3:02:05.19,3:02:08.07,Default,,0000,0000,0000,,{\i1}"'I have to go,' she said slowly.{\i0}
Dialogue: 0,3:02:08.71,3:02:12.15,Default,,0000,0000,0000,,{\i1}"He put out his hand\Nand took hers without shaking it.{\i0}
Dialogue: 0,3:02:13.35,3:02:16.23,Default,,0000,0000,0000,,{\i1}"'Goodbye then,' he said and left."{\i0}
Dialogue: 0,3:02:48.19,3:02:50.39,Default,,0000,0000,0000,,{\i1}"She was a swan.{\i0}
Dialogue: 0,3:02:50.71,3:02:54.39,Default,,0000,0000,0000,,{\i1}"I lived down in the water\Namong slime and horrible animals{\i0}
Dialogue: 0,3:02:55.99,3:02:58.75,Default,,0000,0000,0000,,{\i1}"remembered a time\Nwhen I lived up there.{\i0}
Dialogue: 0,3:02:59.03,3:03:02.39,Default,,0000,0000,0000,,{\i1}"I forced myself up,\Nreached for the swan.{\i0}
Dialogue: 0,3:03:03.03,3:03:04.75,Default,,0000,0000,0000,,{\i1}"Couldn't reach it.{\i0}
Dialogue: 0,3:03:04.99,3:03:08.31,Default,,0000,0000,0000,,{\i1}"I saw my face, terribly pale.{\i0}
Dialogue: 0,3:03:08.47,3:03:13.19,Default,,0000,0000,0000,,{\i1}"I heard a shriek and I knew\Nit was I who had cried.{\i0}
Dialogue: 0,3:03:14.35,3:03:17.39,Default,,0000,0000,0000,,{\i1}"The swan was far away."{\i0}
Dialogue: 0,3:03:33.79,3:03:38.79,Default,,0000,0000,0000,,{\i1}During the two years of 1893\Nand 1894, sometimes alone{\i0}
Dialogue: 0,3:03:38.99,3:03:42.71,Default,,0000,0000,0000,,{\i1}sometimes with the help of\NAdolf Paul, biographer of Strindberg{\i0}
Dialogue: 0,3:03:42.83,3:03:46.99,Default,,0000,0000,0000,,{\i1}Edvard Munch lists, labels,\Nchecks, crates and dispatches{\i0}
Dialogue: 0,3:03:47.11,3:03:49.91,Default,,0000,0000,0000,,{\i1}upwards of 50 or 60 canvases{\i0}
Dialogue: 0,3:03:50.07,3:03:53.83,Default,,0000,0000,0000,,{\i1}to each of nearly\Na dozen major exhibitions:{\i0}
Dialogue: 0,3:03:53.99,3:03:58.11,Default,,0000,0000,0000,,{\i1}Dresden, Breslau, Hamburg,\NBerlin, Frankfurt.{\i0}
Dialogue: 0,3:03:58.39,3:04:01.67,Default,,0000,0000,0000,,{\i1}He travels hundreds of miles\Nby train.{\i0}
Dialogue: 0,3:04:01.99,3:04:06.55,Default,,0000,0000,0000,,Sorrow... Sunset...
Dialogue: 0,3:04:06.99,3:04:09.67,Default,,0000,0000,0000,,{\i1}Countless hotel bedrooms{\i0}
Dialogue: 0,3:04:09.79,3:04:13.91,Default,,0000,0000,0000,,{\i1}often working on three or four\Ncanvases simultaneously{\i0}
Dialogue: 0,3:04:14.31,3:04:16.79,Default,,0000,0000,0000,,{\i1}and always under attack.{\i0}
Dialogue: 0,3:05:14.03,3:05:17.67,Default,,0000,0000,0000,,{\i1}In July 1894, at the age of 31{\i0}
Dialogue: 0,3:05:18.23,3:05:22.67,Default,,0000,0000,0000,,{\i1}having painted for 14 years,\Ncreated some 80 canvases{\i0}
Dialogue: 0,3:05:23.15,3:05:25.35,Default,,0000,0000,0000,,{\i1}organised 30 exhibitions{\i0}
Dialogue: 0,3:05:25.71,3:05:30.39,Default,,0000,0000,0000,,{\i1}Edvard Munch receives his first\Nserious recognition as an artist{\i0}
Dialogue: 0,3:05:30.99,3:05:34.07,Default,,0000,0000,0000,,{\i1}500 miles from his own homeland.{\i0}
Dialogue: 0,3:05:34.79,3:05:37.23,Default,,0000,0000,0000,,{\i1}The publication in Berlin\Nof four essays{\i0}
Dialogue: 0,3:05:37.87,3:05:41.11,Default,,0000,0000,0000,,{\i1}by the influential art-critic\NJulius Meier-Graefe{\i0}
Dialogue: 0,3:05:41.27,3:05:42.67,Default,,0000,0000,0000,,{\i1}Stanislaw Przybyszewski{\i0}
Dialogue: 0,3:05:43.31,3:05:44.99,Default,,0000,0000,0000,,{\i1}and two other German critics.{\i0}
Dialogue: 0,3:05:47.71,3:05:50.43,Default,,0000,0000,0000,,{\i1}The first evaluation\Nof Edvard Munch's art{\i0}
Dialogue: 0,3:05:50.79,3:05:53.67,Default,,0000,0000,0000,,{\i1}and its importance\Nfor the contemporary age.{\i0}
Dialogue: 0,3:05:56.91,3:05:59.75,Default,,0000,0000,0000,,{\i1}Constantly seeking other forms\Nof graphic art{\i0}
Dialogue: 0,3:06:00.07,3:06:02.95,Default,,0000,0000,0000,,{\i1}Munch moves to etching and aquatint{\i0}
Dialogue: 0,3:06:03.07,3:06:05.87,Default,,0000,0000,0000,,{\i1}the use of acid to bite the image{\i0}
Dialogue: 0,3:06:05.99,3:06:10.07,Default,,0000,0000,0000,,{\i1}and a base of cooked resin powder\Nto give added texture.{\i0}
Dialogue: 0,3:06:10.31,3:06:13.95,Default,,0000,0000,0000,,{\i1}His theme, a man comforting\Na crying woman.{\i0}
Dialogue: 0,3:06:16.91,3:06:20.35,Default,,0000,0000,0000,,What would I not give\Nif only I could once
Dialogue: 0,3:06:20.55,3:06:25.79,Default,,0000,0000,0000,,put my arms about him and\Ntell him how fond of him I am.
Dialogue: 0,3:06:26.51,3:06:29.39,Default,,0000,0000,0000,,Shyness always came between us.
Dialogue: 0,3:06:30.99,3:06:33.39,Default,,0000,0000,0000,,{\i1}At this time, Strindberg is in Paris{\i0}
Dialogue: 0,3:06:34.19,3:06:38.39,Default,,0000,0000,0000,,{\i1}already separated from his wife,\Nliving in the utmost poverty{\i0}
Dialogue: 0,3:06:38.67,3:06:43.91,Default,,0000,0000,0000,,{\i1}engaged in chemical experiments\Ntrying to make gold from copper{\i0}
Dialogue: 0,3:06:44.03,3:06:47.75,Default,,0000,0000,0000,,{\i1}about to begin the writing\Nof his short story Inferno{\i0}
Dialogue: 0,3:06:48.19,3:06:51.79,Default,,0000,0000,0000,,{\i1}an autobiographical study\Nof psychological collapse.{\i0}
Dialogue: 0,3:06:52.15,3:06:58.19,Default,,0000,0000,0000,,He had a stroke on Monday evening\Nand died three days later.
Dialogue: 0,3:07:01.07,3:07:03.83,Default,,0000,0000,0000,,The book written by Meier-Graefe,
Dialogue: 0,3:07:04.51,3:07:08.67,Default,,0000,0000,0000,,Przybyszewski and\Nthe two other critics
Dialogue: 0,3:07:09.43,3:07:12.19,Default,,0000,0000,0000,,becomes a milestone
Dialogue: 0,3:07:13.15,3:07:17.31,Default,,0000,0000,0000,,in understanding\NEdvard Munch's work.
Dialogue: 0,3:07:18.71,3:07:24.55,Default,,0000,0000,0000,,A paraphrase of a line by Goethe
Dialogue: 0,3:07:25.39,3:07:30.79,Default,,0000,0000,0000,,provides the best formula
Dialogue: 0,3:07:30.91,3:07:35.23,Default,,0000,0000,0000,,for the impression\Nwhich it radiates:
Dialogue: 0,3:07:35.43,3:07:38.43,Default,,0000,0000,0000,,"Here and now
Dialogue: 0,3:07:38.63,3:07:46.23,Default,,0000,0000,0000,,"a new phase begins\Nin the history of art
Dialogue: 0,3:07:46.51,3:07:50.67,Default,,0000,0000,0000,,"and you can say\Nthat you witnessed it."
Dialogue: 0,3:07:59.15,3:08:01.15,Default,,0000,0000,0000,,{\i1}1894.{\i0}
Dialogue: 0,3:08:01.39,3:08:04.15,Default,,0000,0000,0000,,{\i1}President Carnot of France\Nassassinated.{\i0}
Dialogue: 0,3:08:05.31,3:08:08.07,Default,,0000,0000,0000,,{\i1}Alfred Dreyfus arrested.{\i0}
Dialogue: 0,3:08:08.79,3:08:12.43,Default,,0000,0000,0000,,{\i1}In Sicily, food riots,\Nmartial law{\i0}
Dialogue: 0,3:08:12.99,3:08:15.95,Default,,0000,0000,0000,,{\i1}suppression of the Italian\Nsocialist parties.{\i0}
Dialogue: 0,3:08:16.31,3:08:19.79,Default,,0000,0000,0000,,{\i1}Japan declares war on China.{\i0}
Dialogue: 0,3:08:26.55,3:08:29.43,Default,,0000,0000,0000,,"How dark it grew at once.
Dialogue: 0,3:08:29.83,3:08:32.75,Default,,0000,0000,0000,,"How vast and black the sky grew.
Dialogue: 0,3:08:33.75,3:08:38.39,Default,,0000,0000,0000,,"Endless, listening,\Nthe stillness of death.
Dialogue: 0,3:08:38.91,3:08:44.47,Default,,0000,0000,0000,,"Close, close and far, far away.
Dialogue: 0,3:08:46.47,3:08:50.07,Default,,0000,0000,0000,,"How dark it grew.\NStay with me tonight.
Dialogue: 0,3:08:50.51,3:08:53.83,Default,,0000,0000,0000,,"My soul is frightened and anxious.
Dialogue: 0,3:08:54.67,3:08:55.79,Default,,0000,0000,0000,,"The dark holds
Dialogue: 0,3:08:55.91,3:08:57.79,Default,,0000,0000,0000,,"such strange shadows
Dialogue: 0,3:08:58.55,3:09:01.75,Default,,0000,0000,0000,,"and the stillness\Nsuch strange tones.
Dialogue: 0,3:09:03.31,3:09:09.19,Default,,0000,0000,0000,,"My friends leave and I sit alone,\Ndeep into the night.
Dialogue: 0,3:09:11.55,3:09:14.55,Default,,0000,0000,0000,,"What grows bright\Nover the mountains?
Dialogue: 0,3:09:14.99,3:09:19.03,Default,,0000,0000,0000,,"What glows over the sea?\NWhat glints in the dark?
Dialogue: 0,3:09:19.39,3:09:21.47,Default,,0000,0000,0000,,"What burns in the wind?
Dialogue: 0,3:09:23.15,3:09:25.67,Default,,0000,0000,0000,,"Not clouds against the red sky.
Dialogue: 0,3:09:25.87,3:09:29.03,Default,,0000,0000,0000,,"Not the reflected light\Nof a dead day.
Dialogue: 0,3:09:29.43,3:09:33.23,Default,,0000,0000,0000,,"It is fire which licks\Nand blood which runs
Dialogue: 0,3:09:33.67,3:09:36.83,Default,,0000,0000,0000,,"A fiery sword and a fire-red river.
Dialogue: 0,3:09:37.27,3:09:41.39,Default,,0000,0000,0000,,"It is the anguish of doomsday\Nand the torments of death.
Dialogue: 0,3:09:41.75,3:09:45.67,Default,,0000,0000,0000,,"A scripture which blazes\Nthrough the halls of night.
Dialogue: 0,3:09:46.03,3:09:49.11,Default,,0000,0000,0000,,"With the mysterious anguish of life.
Dialogue: 0,3:09:51.47,3:09:54.71,Default,,0000,0000,0000,,"Deep in the night I sat alone.
Dialogue: 0,3:09:55.47,3:09:59.91,Default,,0000,0000,0000,,"I felt how a pain-filled scream
Dialogue: 0,3:10:00.19,3:10:03.83,Default,,0000,0000,0000,,"passed over the\NGodforsaken world."
Dialogue: 0,3:10:11.27,3:10:13.39,Default,,0000,0000,0000,,{\i1}October 1894.{\i0}
Dialogue: 0,3:10:13.67,3:10:18.35,Default,,0000,0000,0000,,{\i1}The first exposure of Munch's work\Nin Sweden, the land of Strindberg.{\i0}
Dialogue: 0,3:10:18.67,3:10:21.15,Default,,0000,0000,0000,,{\i1}With one exception,\Nthe critics are merciless{\i0}
Dialogue: 0,3:10:21.27,3:10:23.91,Default,,0000,0000,0000,,{\i1}even discovering points of similarity{\i0}
Dialogue: 0,3:10:24.03,3:10:27.91,Default,,0000,0000,0000,,{\i1}in the erotomaniac drawings\Nof the mentally deranged.{\i0}
Dialogue: 0,3:10:32.43,3:10:35.15,Default,,0000,0000,0000,,{\i1}Edvard Munch returns to Berlin.{\i0}
Dialogue: 0,3:10:35.71,3:10:39.95,Default,,0000,0000,0000,,{\i1}The Swedish Academy officially\Nrepudiates Munch's work, stating{\i0}
Dialogue: 0,3:10:40.19,3:10:44.19,Default,,0000,0000,0000,,{\i1}that the Academy allies itself\Nwith "the verdict of rejection{\i0}
Dialogue: 0,3:10:44.35,3:10:48.35,Default,,0000,0000,0000,,{\i1}"of which Edvard Munch has become\Nthe object on the continent."{\i0}
Dialogue: 0,3:10:49.63,3:10:55.87,Default,,0000,0000,0000,,All the others, some with faces\Nred from tears and others white,
Dialogue: 0,3:10:56.75,3:11:00.95,Default,,0000,0000,0000,,rang in Christmas,\Nwhile outside the bells tolled.
Dialogue: 0,3:11:02.63,3:11:06.39,Default,,0000,0000,0000,,In the other room stood\Nthe Christmas tree,
Dialogue: 0,3:11:06.59,3:11:09.35,Default,,0000,0000,0000,,so gay and so sad.
Dialogue: 0,3:11:09.99,3:11:11.43,Default,,0000,0000,0000,,Jesus, help me.
Dialogue: 0,3:11:12.39,3:11:14.71,Default,,0000,0000,0000,,Will I go to heaven if I die?
Dialogue: 0,3:11:15.83,3:11:19.43,Default,,0000,0000,0000,,I think so, my boy,\Nif you have faith.
Dialogue: 0,3:11:21.91,3:11:25.03,Default,,0000,0000,0000,,{\i1}Much of the tension in Edvard Munch\Nduring these years{\i0}
Dialogue: 0,3:11:25.87,3:11:29.19,Default,,0000,0000,0000,,{\i1}is his search for a "knot"\Nto tie together{\i0}
Dialogue: 0,3:11:29.35,3:11:32.15,Default,,0000,0000,0000,,{\i1}the disparate themes\Nof his Life Frieze{\i0}
Dialogue: 0,3:11:32.91,3:11:35.87,Default,,0000,0000,0000,,{\i1}to explain and clarify\Nand unite them.{\i0}
Dialogue: 0,3:11:36.15,3:11:38.99,Default,,0000,0000,0000,,{\i1}Now, a theme emerges.{\i0}
Dialogue: 0,3:11:39.79,3:11:43.39,Default,,0000,0000,0000,,{\i1}The triple aspect of Munch's\Nfeelings for Woman:{\i0}
Dialogue: 0,3:11:44.15,3:11:46.83,Default,,0000,0000,0000,,{\i1}the Temptress, the Devourer{\i0}
Dialogue: 0,3:11:46.99,3:11:49.79,Default,,0000,0000,0000,,{\i1}for whom he has both a revulsion\Nand a deep longing{\i0}
Dialogue: 0,3:11:52.67,3:11:54.39,Default,,0000,0000,0000,,{\i1}the Virgin, the Innocent{\i0}
Dialogue: 0,3:11:54.71,3:11:56.99,Default,,0000,0000,0000,,{\i1}for whom he has respect{\i0}
Dialogue: 0,3:11:57.71,3:12:01.39,Default,,0000,0000,0000,,{\i1}the Giver of Life, the Mother,\Nthe Sacrifice{\i0}
Dialogue: 0,3:12:01.75,3:12:03.99,Default,,0000,0000,0000,,{\i1}for whom he has compassion.{\i0}
Dialogue: 0,3:12:05.11,3:12:05.99,Default,,0000,0000,0000,,{\i1}The complexity{\i0}
Dialogue: 0,3:12:06.11,3:12:09.15,Default,,0000,0000,0000,,{\i1}of Munch's suffering, of his art{\i0}
Dialogue: 0,3:12:09.39,3:12:13.47,Default,,0000,0000,0000,,{\i1}is that each of these three images,\Nfor him...{\i0}
Dialogue: 0,3:12:14.91,3:12:17.75,Default,,0000,0000,0000,,{\i1}are one and the same woman.{\i0}
Dialogue: 0,3:12:21.99,3:12:24.35,Default,,0000,0000,0000,,{\i1}April 19, 1895.{\i0}
Dialogue: 0,3:12:25.27,3:12:29.35,Default,,0000,0000,0000,,{\i1}Munch's younger brother Peter Andreas\Nmarries Johanne Kinck{\i0}
Dialogue: 0,3:12:29.43,3:12:32.83,Default,,0000,0000,0000,,{\i1}age 22, daughter of a headmaster{\i0}
Dialogue: 0,3:12:32.99,3:12:37.83,Default,,0000,0000,0000,,{\i1}with, it is said,\Nthe mental age of a girl of 12.{\i0}
Dialogue: 0,3:12:38.11,3:12:42.07,Default,,0000,0000,0000,,{\i1}Munch writes: "He should not\Nhave gone through with it.{\i0}
Dialogue: 0,3:12:42.23,3:12:46.07,Default,,0000,0000,0000,,{\i1}"From father's side of the family\Nwe inherited poor nerves.{\i0}
Dialogue: 0,3:12:46.31,3:12:49.67,Default,,0000,0000,0000,,{\i1}"Then there was mother's\Nlung weakness..."{\i0}
Dialogue: 0,3:12:57.23,3:12:59.19,Default,,0000,0000,0000,,{\i1}The year 1895.{\i0}
Dialogue: 0,3:12:59.35,3:13:02.71,Default,,0000,0000,0000,,{\i1}H. G. Wells writes\NThe Time Machine.{\i0}
Dialogue: 0,3:13:02.83,3:13:06.11,Default,,0000,0000,0000,,{\i1}Sigmund Freud founds\Npsychoanalysis.{\i0}
Dialogue: 0,3:13:06.47,3:13:09.15,Default,,0000,0000,0000,,{\i1}Italian troops advance into Ethiopia.{\i0}
Dialogue: 0,3:13:09.91,3:13:13.19,Default,,0000,0000,0000,,{\i1}And Edvard Munch creates\Na new lithograph{\i0}
Dialogue: 0,3:13:13.35,3:13:16.75,Default,,0000,0000,0000,,{\i1}Self-portrait with Skeleton Arm.{\i0}
Dialogue: 0,3:13:24.15,3:13:30.19,Default,,0000,0000,0000,,{\i1}"Then I thanked her shortly\Nand accompanied her to the gate.{\i0}
Dialogue: 0,3:13:31.07,3:13:36.19,Default,,0000,0000,0000,,{\i1}- "'Won't you come inside?'\N- 'No, thanks, it's getting late. '{\i0}
Dialogue: 0,3:13:37.15,3:13:40.19,Default,,0000,0000,0000,,{\i1}"She looked a little bit\Ndisappointed, I thought.{\i0}
Dialogue: 0,3:13:41.19,3:13:45.19,Default,,0000,0000,0000,,{\i1}"I went home quickly,\Nrather satisfied with myself.{\i0}
Dialogue: 0,3:13:46.07,3:13:49.07,Default,,0000,0000,0000,,{\i1}"I felt I had got a small revenge."{\i0}
Dialogue: 0,3:13:52.75,3:13:54.99,Default,,0000,0000,0000,,{\i1}"A lady dressed in black.{\i0}
Dialogue: 0,3:13:55.39,3:13:58.27,Default,,0000,0000,0000,,{\i1}"He quickly walked up\Nthe street after her.{\i0}
Dialogue: 0,3:13:58.39,3:14:03.11,Default,,0000,0000,0000,,{\i1}"He started to run, ran like mad,\Npushing people away.{\i0}
Dialogue: 0,3:14:03.67,3:14:08.39,Default,,0000,0000,0000,,{\i1}"He stopped, short of breath.\NHe was ashamed, running like that.{\i0}
Dialogue: 0,3:14:08.67,3:14:11.31,Default,,0000,0000,0000,,{\i1}"Fool. It wasn't her after all."{\i0}
Dialogue: 0,3:14:14.99,3:14:17.83,Default,,0000,0000,0000,,{\i1}"At times the blood ran\Ndown the sheets.{\i0}
Dialogue: 0,3:14:18.47,3:14:21.91,Default,,0000,0000,0000,,{\i1}"His father was on his knees\Nin front of the bed praying.{\i0}
Dialogue: 0,3:14:22.03,3:14:26.07,Default,,0000,0000,0000,,{\i1}"His hands stretched upward.\NHis voice husky from crying.{\i0}
Dialogue: 0,3:14:26.39,3:14:29.27,Default,,0000,0000,0000,,{\i1}"'Lord, I beg you.\NI demand from you.{\i0}
Dialogue: 0,3:14:29.39,3:14:32.23,Default,,0000,0000,0000,,{\i1}"'Don't let him die today.\NHe is not prepared.{\i0}
Dialogue: 0,3:14:32.39,3:14:35.35,Default,,0000,0000,0000,,{\i1}"'I beg you, have mercy on us.\NLet him live.{\i0}
Dialogue: 0,3:14:35.47,3:14:39.11,Default,,0000,0000,0000,,{\i1}"'He will always serve you.\NHe has promised me that. '"{\i0}
Dialogue: 0,3:14:52.51,3:14:55.35,Default,,0000,0000,0000,,Can't you stay?\NIt's so lovely here.
Dialogue: 0,3:14:56.07,3:14:59.43,Default,,0000,0000,0000,,- No, I can't.\N- Don't you want to?
Dialogue: 0,3:15:01.07,3:15:02.35,Default,,0000,0000,0000,,No.
Dialogue: 0,3:15:04.19,3:15:07.35,Default,,0000,0000,0000,,How strange you are.\NNot like others.
Dialogue: 0,3:15:11.47,3:15:14.51,Default,,0000,0000,0000,,He slept little that night.\NHis lips burned.
Dialogue: 0,3:15:16.55,3:15:21.19,Default,,0000,0000,0000,,He pressed his hand against them.\NHe was back amongst the trees.
Dialogue: 0,3:15:22.43,3:15:23.47,Default,,0000,0000,0000,,He felt again
Dialogue: 0,3:15:23.75,3:15:25.79,Default,,0000,0000,0000,,how she gave way,
Dialogue: 0,3:15:26.15,3:15:29.51,Default,,0000,0000,0000,,how everything disappeared
Dialogue: 0,3:15:30.15,3:15:33.07,Default,,0000,0000,0000,,and the tickling\Nsoftness against his mouth.
Dialogue: 0,3:15:58.43,3:16:00.87,Default,,0000,0000,0000,,How often have you sat at home
Dialogue: 0,3:16:01.47,3:16:05.43,Default,,0000,0000,0000,,and waited for your wife,\Nlistened for every step?
Dialogue: 0,3:16:07.95,3:16:12.47,Default,,0000,0000,0000,,She said she was going\Nto meet a woman friend...
Dialogue: 0,3:16:12.63,3:16:14.99,Default,,0000,0000,0000,,a woman friend she seldom met.
Dialogue: 0,3:16:17.19,3:16:19.67,Default,,0000,0000,0000,,{\i1}October 1895.{\i0}
Dialogue: 0,3:16:19.99,3:16:22.87,Default,,0000,0000,0000,,{\i1}The Blomqvist gallery in Kristiania.{\i0}
Dialogue: 0,3:16:23.43,3:16:28.27,Default,,0000,0000,0000,,{\i1}Munch exhibits 40 works.\NAmongst them, The Life Frieze.{\i0}
Dialogue: 0,3:16:28.39,3:16:31.11,Default,,0000,0000,0000,,{\i1}The exhibition is heavily attacked.{\i0}
Dialogue: 0,3:16:31.23,3:16:36.23,Default,,0000,0000,0000,,{\i1}The newspaper Morgenbladet states:\N"so much nonsense and ugliness...{\i0}
Dialogue: 0,3:16:36.39,3:16:40.87,Default,,0000,0000,0000,,{\i1}"dreadful... low and repulsive...\Ngrimacing and confused...{\i0}
Dialogue: 0,3:16:40.99,3:16:43.79,Default,,0000,0000,0000,,{\i1}"crude and shrieking hideousness."{\i0}
Dialogue: 0,3:16:44.19,3:16:45.91,Default,,0000,0000,0000,,{\i1}The newspaper Aftenposten{\i0}
Dialogue: 0,3:16:46.07,3:16:48.07,Default,,0000,0000,0000,,{\i1}attacks The Life Frieze as being{\i0}
Dialogue: 0,3:16:48.35,3:16:53.79,Default,,0000,0000,0000,,{\i1}"a number of sensual fantasies,\Nthe hallucinations of a sick mind."{\i0}
Dialogue: 0,3:16:54.19,3:16:59.11,Default,,0000,0000,0000,,{\i1}A boycott of the building is called for\Nand the police are summoned.{\i0}
Dialogue: 0,3:17:00.07,3:17:01.23,Default,,0000,0000,0000,,This is amongst
Dialogue: 0,3:17:01.39,3:17:05.23,Default,,0000,0000,0000,,the worst I've seen.\NI don't understand any of it.
Dialogue: 0,3:17:05.39,3:17:06.83,Default,,0000,0000,0000,,The colours are so ugly.
Dialogue: 0,3:17:07.39,3:17:09.91,Default,,0000,0000,0000,,Besides, it's highly immoral.
Dialogue: 0,3:17:10.23,3:17:15.71,Default,,0000,0000,0000,,One almost has to sneak in\Nby the backdoor.
Dialogue: 0,3:17:16.27,3:17:21.67,Default,,0000,0000,0000,,How can a young man who looks\Nso nice create things like this?
Dialogue: 0,3:17:22.07,3:17:27.23,Default,,0000,0000,0000,,One can't take one's family along\Nand enjoy the art.
Dialogue: 0,3:17:27.71,3:17:33.35,Default,,0000,0000,0000,,I don't advocate censorship\Nbut why should this be exhibited?
Dialogue: 0,3:17:33.47,3:17:35.27,Default,,0000,0000,0000,,Children might see them.
Dialogue: 0,3:17:37.75,3:17:40.75,Default,,0000,0000,0000,,{\i1}Edvard Munch returns to Berlin.{\i0}
Dialogue: 0,3:17:41.51,3:17:49.67,Default,,0000,0000,0000,,Abroad people will wonder\Nwhat sort of morals we have.
Dialogue: 0,3:17:49.95,3:17:51.59,Default,,0000,0000,0000,,It's not just ugly.
Dialogue: 0,3:17:52.59,3:17:54.55,Default,,0000,0000,0000,,He paints such unpleasant things
Dialogue: 0,3:17:54.67,3:17:58.59,Default,,0000,0000,0000,,that one doesn't speak of,\Nat least my husband and me.
Dialogue: 0,3:17:59.11,3:18:03.55,Default,,0000,0000,0000,,I regard this as something\Nwhich must come to an end.
Dialogue: 0,3:18:06.75,3:18:09.71,Default,,0000,0000,0000,,{\i1}In late November,\NPeter Andreas Munch{\i0}
Dialogue: 0,3:18:09.83,3:18:13.39,Default,,0000,0000,0000,,{\i1}now married for six months,\Nwrites to his family{\i0}
Dialogue: 0,3:18:13.87,3:18:16.67,Default,,0000,0000,0000,,{\i1}"I can't stand life anymore..."{\i0}
Dialogue: 0,3:18:17.83,3:18:20.35,Default,,0000,0000,0000,,{\i1}and 3 weeks later is dead.{\i0}
Dialogue: 0,3:18:26.95,3:18:30.03,Default,,0000,0000,0000,,{\i1}Many of Munch's contemporaries\Nnow rally to his support{\i0}
Dialogue: 0,3:18:30.19,3:18:32.35,Default,,0000,0000,0000,,{\i1}realising that his art\Nis probing into{\i0}
Dialogue: 0,3:18:32.47,3:18:36.39,Default,,0000,0000,0000,,{\i1}a new and revolutionary\Nunderstanding of the human psyche.{\i0}
Dialogue: 0,3:18:36.59,3:18:41.35,Default,,0000,0000,0000,,Munch seeks peculiarity,\Nmystery in everything he sees.
Dialogue: 0,3:18:42.03,3:18:47.15,Default,,0000,0000,0000,,He sees the world in wave-lines,\Ntrees, shorelines,
Dialogue: 0,3:18:47.63,3:18:49.99,Default,,0000,0000,0000,,female hair, trembling bodies.
Dialogue: 0,3:18:51.43,3:18:53.83,Default,,0000,0000,0000,,Like no other Norwegian painter,
Dialogue: 0,3:18:54.11,3:18:58.55,Default,,0000,0000,0000,,Munch aims at making\Nour innermost tremble.
Dialogue: 0,3:19:03.75,3:19:06.43,Default,,0000,0000,0000,,{\i1}Working on the theme\Nof the staring, isolated faces{\i0}
Dialogue: 0,3:19:06.75,3:19:09.39,Default,,0000,0000,0000,,{\i1}in his oil on canvas Anxiety{\i0}
Dialogue: 0,3:19:09.67,3:19:13.75,Default,,0000,0000,0000,,{\i1}Munch now turns to the final of the\Ngraphic arts that he is to conquer:{\i0}
Dialogue: 0,3:19:14.15,3:19:15.43,Default,,0000,0000,0000,,{\i1}woodcut.{\i0}
Dialogue: 0,3:19:15.75,3:19:18.47,Default,,0000,0000,0000,,{\i1}Already he has seen the use\Nmade by Paul Gauguin{\i0}
Dialogue: 0,3:19:18.75,3:19:21.19,Default,,0000,0000,0000,,{\i1}of the grain and texture in wood{\i0}
Dialogue: 0,3:19:21.99,3:19:24.87,Default,,0000,0000,0000,,{\i1}the stark and simple\Noutlines of the blocks{\i0}
Dialogue: 0,3:19:25.03,3:19:26.75,Default,,0000,0000,0000,,{\i1}cut in Tahiti.{\i0}
Dialogue: 0,3:19:30.03,3:19:31.39,Default,,0000,0000,0000,,{\i1}The Japanese use{\i0}
Dialogue: 0,3:19:31.75,3:19:34.27,Default,,0000,0000,0000,,{\i1}of differently coloured\Ncontours of wood.{\i0}
Dialogue: 0,3:19:34.75,3:19:36.95,Default,,0000,0000,0000,,{\i1}The instant impact in the use{\i0}
Dialogue: 0,3:19:37.11,3:19:38.99,Default,,0000,0000,0000,,{\i1}of primary white and black{\i0}
Dialogue: 0,3:19:39.19,3:19:41.75,Default,,0000,0000,0000,,{\i1}by the Frenchman Paul Valloton.{\i0}
Dialogue: 0,3:19:45.87,3:19:49.75,Default,,0000,0000,0000,,{\i1}In this field Munch perhaps\Nsurpasses all his other work.{\i0}
Dialogue: 0,3:19:49.99,3:19:53.23,Default,,0000,0000,0000,,{\i1}He invents a method of\Ncutting out individual pieces of wood{\i0}
Dialogue: 0,3:19:53.35,3:19:56.11,Default,,0000,0000,0000,,{\i1}shaped to various contours\Nin the picture{\i0}
Dialogue: 0,3:19:56.35,3:19:58.79,Default,,0000,0000,0000,,{\i1}inking the pieces\Nin their different colours{\i0}
Dialogue: 0,3:19:58.95,3:20:00.79,Default,,0000,0000,0000,,{\i1}and then fitting them\Nback together again{\i0}
Dialogue: 0,3:20:00.87,3:20:03.43,Default,,0000,0000,0000,,{\i1}like a jigsaw, ready for printing.{\i0}
Dialogue: 0,3:20:03.91,3:20:05.95,Default,,0000,0000,0000,,{\i1}He uses the grain in the wood{\i0}
Dialogue: 0,3:20:06.07,3:20:10.07,Default,,0000,0000,0000,,{\i1}and takes again the familiar themes\Nof the Frieze of Life{\i0}
Dialogue: 0,3:20:10.19,3:20:13.87,Default,,0000,0000,0000,,{\i1}reducing them to\Nan essential force and simplicity{\i0}
Dialogue: 0,3:20:13.95,3:20:17.43,Default,,0000,0000,0000,,{\i1}for which he has been searching\Nfor 10 years.{\i0}
Dialogue: 0,3:20:28.87,3:20:31.11,Default,,0000,0000,0000,,{\i1}Seeking for more effective ways\Nof spreading{\i0}
Dialogue: 0,3:20:31.23,3:20:33.43,Default,,0000,0000,0000,,{\i1}his philosophy of life and death{\i0}
Dialogue: 0,3:20:34.39,3:20:37.07,Default,,0000,0000,0000,,{\i1}constantly fighting against\Nwhat he sees as{\i0}
Dialogue: 0,3:20:37.23,3:20:39.99,Default,,0000,0000,0000,,{\i1}the suppression of\Nhis own personality{\i0}
Dialogue: 0,3:20:40.15,3:20:42.35,Default,,0000,0000,0000,,{\i1}Edvard Munch turns more and more{\i0}
Dialogue: 0,3:20:42.67,3:20:45.47,Default,,0000,0000,0000,,{\i1}to graphic art\Nwith its multiple prints.{\i0}
Dialogue: 0,3:20:45.75,3:20:48.67,Default,,0000,0000,0000,,{\i1}Within one year\Nhis graphic output has tripled{\i0}
Dialogue: 0,3:20:48.75,3:20:52.39,Default,,0000,0000,0000,,{\i1}as he turns from dry-point\Nto etching to wood-cut{\i0}
Dialogue: 0,3:20:52.71,3:20:56.19,Default,,0000,0000,0000,,{\i1}to lithography\Nin black and white and colour.{\i0}
Dialogue: 0,3:24:31.67,3:24:35.39,Default,,0000,0000,0000,,{\i1}In a letter written by\Nthe nurse of Peter Andreas Munch{\i0}
Dialogue: 0,3:24:36.03,3:24:37.71,Default,,0000,0000,0000,,{\i1}were these words:{\i0}
Dialogue: 0,3:24:39.03,3:24:42.67,Default,,0000,0000,0000,,{\i1}"He asked me to read a little\Nto him on the Friday afternoon.{\i0}
Dialogue: 0,3:24:42.79,3:24:45.87,Default,,0000,0000,0000,,{\i1}"He wanted Christ's speech\Nfrom the summit.{\i0}
Dialogue: 0,3:24:46.67,3:24:50.79,Default,,0000,0000,0000,,{\i1}"With each attack of suffocation\NI had to give him a shot of naphtha.{\i0}
Dialogue: 0,3:24:50.91,3:24:53.91,Default,,0000,0000,0000,,{\i1}"In the last attack three shots.{\i0}
Dialogue: 0,3:24:54.43,3:24:59.23,Default,,0000,0000,0000,,{\i1}"On the Saturday night, we put him\Nin his bridegroom clothes."{\i0}
Dialogue: 0,3:25:01.75,3:25:06.47,Default,,0000,0000,0000,,Your paper has mentioned\NMunch's paintings as
Dialogue: 0,3:25:06.63,3:25:10.71,Default,,0000,0000,0000,,"confused and inarticulate,\Ndreadful
Dialogue: 0,3:25:10.91,3:25:13.07,Default,,0000,0000,0000,,or nauseating distortions."
Dialogue: 0,3:25:13.15,3:25:13.99,Default,,0000,0000,0000,,Yes.
Dialogue: 0,3:25:14.99,3:25:17.39,Default,,0000,0000,0000,,Isn't that rather strong language?
Dialogue: 0,3:25:17.51,3:25:23.55,Default,,0000,0000,0000,,Yes, it is. What we feel\Nfor Munch's painting is expressed
Dialogue: 0,3:25:23.67,3:25:28.99,Default,,0000,0000,0000,,in a footnote I added\Npersonally to our review:
Dialogue: 0,3:25:29.47,3:25:35.43,Default,,0000,0000,0000,,"It is true the public is annoyed\Nby these disgusting works.
Dialogue: 0,3:25:36.31,3:25:42.11,Default,,0000,0000,0000,,"How regrettable then that\Nsuch exhibitions draw full houses.
Dialogue: 0,3:25:42.47,3:25:46.71,Default,,0000,0000,0000,,"An empty gallery would best\Ncontrol these extravagances."
Dialogue: 0,3:25:48.55,3:25:54.19,Default,,0000,0000,0000,,I agree with Aftonposten.\NThis is not art, it is dirt.
Dialogue: 0,3:26:25.71,3:26:28.95,Default,,0000,0000,0000,,{\i1}For the next 14 years,\NEdvard Munch is to lead a life{\i0}
Dialogue: 0,3:26:29.11,3:26:32.11,Default,,0000,0000,0000,,{\i1}of increasing pain and isolation.{\i0}
Dialogue: 0,3:26:32.19,3:26:37.43,Default,,0000,0000,0000,,{\i1}His illness, aggravated by smoking\Nand alcohol, is to grow worse.{\i0}
Dialogue: 0,3:26:37.87,3:26:41.35,Default,,0000,0000,0000,,{\i1}He is torn by the themes\Nof jealousy and suffering{\i0}
Dialogue: 0,3:26:41.71,3:26:43.63,Default,,0000,0000,0000,,{\i1}by the thought of\Nhis own death{\i0}
Dialogue: 0,3:26:43.79,3:26:46.39,Default,,0000,0000,0000,,{\i1}and his descent into a literal Hell.{\i0}
Dialogue: 0,3:27:02.95,3:27:06.11,Default,,0000,0000,0000,,{\i1}The conservative press is to\Ncontinue its attacks on his work{\i0}
Dialogue: 0,3:27:06.35,3:27:10.27,Default,,0000,0000,0000,,{\i1}and other than for periods\Nspent at Åsgårdstrand{\i0}
Dialogue: 0,3:27:10.35,3:27:12.95,Default,,0000,0000,0000,,{\i1}where he once met\Nwith Mrs Heiberg{\i0}
Dialogue: 0,3:27:13.03,3:27:15.35,Default,,0000,0000,0000,,{\i1}he is to spend most of 14 years{\i0}
Dialogue: 0,3:27:15.67,3:27:19.23,Default,,0000,0000,0000,,{\i1}travelling endlessly\Nfrom one country to another.{\i0}
Dialogue: 0,3:27:20.35,3:27:23.75,Default,,0000,0000,0000,,{\i1}He is to paint a major theme,\NThe Dance of Life{\i0}
Dialogue: 0,3:27:23.87,3:27:26.35,Default,,0000,0000,0000,,{\i1}in which the couples\Ndo not see each other.{\i0}
Dialogue: 0,3:27:40.95,3:27:42.79,Default,,0000,0000,0000,,Look at these streets.
Dialogue: 0,3:27:43.11,3:27:45.95,Default,,0000,0000,0000,,Human creatures\Nset upon one another.
Dialogue: 0,3:27:46.15,3:27:49.15,Default,,0000,0000,0000,,Buses run with\Ncountless human souls.
Dialogue: 0,3:27:50.31,3:27:54.55,Default,,0000,0000,0000,,They look indifferently on\Nthe happy man, alone outside.
Dialogue: 0,3:28:37.23,3:28:41.79,Default,,0000,0000,0000,,{\i1}Though most of his work is to deal with\Nthe problems of human communication{\i0}
Dialogue: 0,3:28:42.03,3:28:45.67,Default,,0000,0000,0000,,{\i1}Munch is to try again\Nwith two more relationships{\i0}
Dialogue: 0,3:28:45.79,3:28:50.19,Default,,0000,0000,0000,,{\i1}one of which will result in\Nphysical and psychic injury{\i0}
Dialogue: 0,3:28:50.27,3:28:54.15,Default,,0000,0000,0000,,{\i1}And following a nervous breakdown,\Nhe will finally place himself{\i0}
Dialogue: 0,3:28:54.23,3:28:59.35,Default,,0000,0000,0000,,{\i1}into a psychiatric clinic\Nin Copenhagen in 1908.{\i0}
Dialogue: 0,3:29:06.75,3:29:09.83,Default,,0000,0000,0000,,{\i1}At the same time,\NMunch is to be notified{\i0}
Dialogue: 0,3:29:09.95,3:29:11.87,Default,,0000,0000,0000,,{\i1}that he has been made a Knight{\i0}
Dialogue: 0,3:29:12.03,3:29:15.27,Default,,0000,0000,0000,,{\i1}of the Royal Norwegian Order\Nof St. Olav.{\i0}
Dialogue: 0,3:29:32.75,3:29:35.07,Default,,0000,0000,0000,,Did you notice me much before?
Dialogue: 0,3:29:40.51,3:29:42.59,Default,,0000,0000,0000,,Yes, I often looked at you.
Dialogue: 0,3:29:46.39,3:29:48.31,Default,,0000,0000,0000,,I thought you looked like Christ.
Dialogue: 0,3:29:58.55,3:29:59.91,Default,,0000,0000,0000,,Sit here.
Dialogue: 0,3:30:33.83,3:30:36.07,Default,,0000,0000,0000,,We wish to thank the men, women and\Nchildren of Oslo and Åsgårdstrand
Dialogue: 0,3:30:36.15,3:30:37.79,Default,,0000,0000,0000,,who appear in this film.
Dialogue: 0,3:30:50.87,3:30:55.03,Default,,0000,0000,0000,,Director of Photography
Dialogue: 0,3:30:55.23,3:30:59.15,Default,,0000,0000,0000,,Lighting Supervisors\NSound Supervisors
Dialogue: 0,3:30:59.27,3:31:04.03,Default,,0000,0000,0000,,Production Designer\NProperties Supervisor
Dialogue: 0,3:31:04.23,3:31:08.07,Default,,0000,0000,0000,,Costume Design\NMake-Up
Dialogue: 0,3:31:16.59,3:31:19.03,Default,,0000,0000,0000,,Production Manager
Dialogue: 0,3:31:19.19,3:31:23.63,Default,,0000,0000,0000,,We are very grateful\Nfor invaluable help from
Dialogue: 0,3:31:23.75,3:31:29.23,Default,,0000,0000,0000,,Additional thanks
Dialogue: 0,3:31:29.43,3:31:32.15,Default,,0000,0000,0000,,We wish to thank the staff at\Nthe Munch Museum in Oslo
Dialogue: 0,3:31:32.27,3:31:35.75,Default,,0000,0000,0000,,without whose help this film\Ncould not have been made.
Dialogue: 0,3:31:35.91,3:31:38.03,Default,,0000,0000,0000,,Directed and Edited by PETER WATKINS\Nand written in collaboration
Dialogue: 0,3:31:38.15,3:31:40.87,Default,,0000,0000,0000,,with the cast, many of whom express\Ntheir own opinions.
Dialogue: 0,3:31:44.11,3:31:47.67,Default,,0000,0000,0000,,{\i1}Edvard Munch's aunt, Karen Bjølstad{\i0}
Dialogue: 0,3:31:48.07,3:31:49.67,Default,,0000,0000,0000,,{\i1}will never marry.{\i0}
Dialogue: 0,3:31:50.91,3:31:54.83,Default,,0000,0000,0000,,{\i1}His sister Inger will never marry.{\i0}
Dialogue: 0,3:31:56.23,3:32:00.31,Default,,0000,0000,0000,,{\i1}Laura Munch will withdraw\Ndeeper into her isolation{\i0}
Dialogue: 0,3:32:00.39,3:32:04.95,Default,,0000,0000,0000,,{\i1}and will spend a brief period\Nin a clinic.{\i0}
Dialogue: 0,3:32:06.67,3:32:09.35,Default,,0000,0000,0000,,{\i1}Oda Lasson is to break with\Nwith Gunnar Heiberg{\i0}
Dialogue: 0,3:32:09.71,3:32:12.95,Default,,0000,0000,0000,,{\i1}and to become the lover\Nof a Norwegian doctor{\i0}
Dialogue: 0,3:32:13.35,3:32:17.15,Default,,0000,0000,0000,,{\i1}while remaining married\Nto Christian Krohg.{\i0}
Dialogue: 0,3:32:19.39,3:32:22.31,Default,,0000,0000,0000,,{\i1}Åse Carlsen will remain married{\i0}
Dialogue: 0,3:32:22.43,3:32:26.31,Default,,0000,0000,0000,,{\i1}until her death at the age of 40.{\i0}
Dialogue: 0,3:32:26.95,3:32:31.43,Default,,0000,0000,0000,,{\i1}Dagny Juel, accompanied by\NStanislaw Przybyszewski{\i0}
Dialogue: 0,3:32:31.91,3:32:36.15,Default,,0000,0000,0000,,{\i1}will go to Tiflis\Nto meet with a Russian lover{\i0}
Dialogue: 0,3:32:36.87,3:32:39.03,Default,,0000,0000,0000,,{\i1}who will shoot her through the head.{\i0}
Dialogue: 0,3:32:40.83,3:32:47.71,Default,,0000,0000,0000,,{\i1}The woman known as "Mrs Heiberg" will\Ndivorce for the second time in 1911.{\i0}
Dialogue: 0,3:32:48.79,3:32:52.43,Default,,0000,0000,0000,,{\i1}She and Edvard Munch\Nwill never meet again.{\i0}
Dialogue: 0,3:33:05.35,3:33:09.35,Default,,0000,0000,0000,,{\i1}"I felt as if there were\Ninvisible threads between us.{\i0}
Dialogue: 0,3:33:09.95,3:33:13.27,Default,,0000,0000,0000,,{\i1}"I felt as if invisible threads\Nfrom her hair{\i0}
Dialogue: 0,3:33:13.43,3:33:16.67,Default,,0000,0000,0000,,{\i1}"still twisted themselves\Naround me.{\i0}
Dialogue: 0,3:33:18.27,3:33:22.19,Default,,0000,0000,0000,,{\i1}"And when she completely\Ndisappeared there, over the ocean{\i0}
Dialogue: 0,3:33:22.75,3:33:28.79,Default,,0000,0000,0000,,{\i1}"then I felt still how it hurt,\Nwhere my heart bled{\i0}
Dialogue: 0,3:33:29.75,3:33:33.91,Default,,0000,0000,0000,,{\i1}"because the threads\Ncould not be broken."{\i0}