The story, which Davis also scripted, relies upon imagination to create events that never happened but are used to give the film plot momentum, such as a contest in which the major artists of the time compete. There is also a heated rivalry between Modigliani and Picasso, which is pumped up for dramatic effect and provides enjoyable moments, although there is a certain amount of vulgarization.

Art historians may have their quarrels, but the film is extremely involving because of its subject matter and flair, and Elsa Zylberstein as Jeanne, the woman who loved him through all the angst, looks uncannily like the artist’s portraits, long neck and all. She gives a lovely, impassioned performance. After Modigliani died suddenly, Jeanne committed suicide, and the film shows their joint tomb. It is a sad and moving addendum to the love story that is a dramatic center to the overall tale.

“Modigliani” has been a project that Garcia was passionate about seeing come to fruition, as he made clear during a press conference at the Toronto Festival, and his performance justified his faith, exemplified by the color that he has been able to bring to the part. There is always a caveat when an actor is determined to play a role and a film is built around that obsession. But this is clearly a case in which an actor has had something vital to contribute and it is obvious that Garcia has put his heart and soul into the part.