Girl With a Pearl Earring
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Movie Reviews of Girl With a Pearl Earring
Movie Review: GWAPE is a Vermeer painting come to life.
Summary: 5 Stars
It is a joy to watch this definitive art movie, helped with one of the most exceptional cinemaphotagraphy ever made. The entire film was like stepping into a painting and each scene is like a painting in itself. It always amazes me how good a movie can be with so little dialogue spoken. A good actor can speak volumes with just a glance. A stolen glance, or a seemingly accidental touch between the two central characters---the artist Johannes Vermeer and his iridescent house maid Griet, communicated more subtly than any words could ever. I have always loved Flemish paintings for their simplicity and the use of light. And this is story telling at its best, a movie with heart and soul...about a painting many art critics call "The Mona Lisa of the North."
This is not a fast paced movie. Vermeer's paintings are incredibly hypnotic, drawing us into a time and place that no longer exists. The elementally envigorating music mixes well with the time and place. It's good to be transported several centuries back to live for a moment through the eyes of Griet (Johanson) and Vermeer (Firth). They played well the repressed passion between the two that was so thrilling where the film stayed so close to the plot of the book. I would recommend this film to anyone who has an eye for beauty or films that involve thought and emotion rather than just gratuitous explosions of violence and random sex...despite some flawed pieces in the story line: In the film, as in the book, the painting is commissioned by the patron Van Ruiven specifically because he is in lust with Griet, and Van Ruiven carefully specified who he wanted to be in it (Griet). Katarina's (Vermeer's wife) fury towards the end of the film therefore doesn't make sense at all.
Also Vermeer's gift to Griet of the pearl earrings is not believable. At the end of the film (and story), Vermeer would have known that after several years, Griet was married and living comfortably, while his eleven children were going to be destitute when he is gone. It is hard to believe that he would have given away valuable pearls to a former maid, even under the strength of his feelings for her, when the earrings weren't even his to give; they belonged to his wife.
Still the movie is a stunning visual experience. GWAPE is a Vermeer painting come to life. The cinematography was marvelous, but the editing and direction didn't live up to what could have been a more magical film about obsession, love, beauty and art. Not that the film doesn't work, because it does...it just feels incomplete as a whole. I ended watching the movie wanting more out of the experience. All of this said, it is still a gorgeous, worthwhile film... just one that isn't as great in the end as it should have been. It won't go down as a great film, but there is a great film lurking somewhere inside it.
Colin Firth brings his considerable repertoire of talents as the enigmatic Johannes Vermeer and makes him a formidable figure with sparse dialogue. Scarlet is the perfect Greit. Perhaps it is Scarlet Johanson's movie, and it may very well be. But Firth has the film in his own quiet and strong competent grasp. All the actors are outstanding...and this memorable movie is worthy to be seen again and again.
5 out of 5
Movie Review: A film worthy of Vermeer's artistic genius
Summary: 5 Stars
Johannes Vermeer is now considered to be one of the great Dutch master-painters. But shortly after his death in 1675, his work was all but forgotten. It wasn't until the late 19th century that his astonishing stroke was once more familiar in the psyche of art historians the world over, despite only a fraction of his paintings still existing.
I hardly consider myself to be much of an art scholar, but I must say Vermeer's artwork has always caught my eye. His stellar proficiency in capturing not only space and composition, but also the intangible, has long snared a parcel of intrigue in my mind.
Sure, Vermeer was extraordinary at casting everything visible to the naked eye to canvas, but I am more impressed with his ability to capture allegory and inner radiance in his oil productions. Iconography is the word I seek. In fact, there is one Vermeer painting that to this day nearly moves me to tears for this reason. The magnum opus is aptly referred to as "Girl with a Pearl Earring," the focal point of the motion picture by the same title.
"Girl with a Pearl Earring," is a gloriously photographed fictional account of Vermeer (Colin Firth) and his infamous subject (Scarlett Johansson). Adapted from the novel by Tracy Chevalier, "Girl with a Pearl Earring," it marks Peter Webber's filmmaking debut.
Although admittedly slow - audible snoozing was evident in the theater - the film glimmers with breathtaking beauty. Every shot is a virtual representation of a Vermeer painting.
Besides the astounding photography, "Girl with a Pearl Earring" acts as a flawless period piece. The costuming, set design and dialogue are all perfect. It truly feels as though the spectator is whisked away to 17th century Holland.
The acting is phenomenal. Truth be told, it troubles me that Johansson was shunned by the Academy for her role as a bashful, yet strong-willed maid providing for Master Vermeer and his materialistic spouse.
Tom Wilkinson also puts forth a stunning performance as the artist's chief benefactor. In those days, it was customary for the artists to thank their benefactors with a feast. One wonders if he backs Vermeer out of appreciation for his art or out of his desire for a hearty meal.
In addition, the forbidden romance shared between Vermeer and the simple-minded chambermaid is one of outright resplendence. Vermeer's wife fails to gather the implications of his craft, but it is the maid that fully understands the significance of every layer, every square millimeter, of paint that coats the canvas. When Vermeer asks her to describe the color of the clouds, she at first says white. Then, on second glance, the colors yellow, blue and gray roll off her tongue.
We have no way of knowing for sure whether such an affair ever took place, as little is known of Vermeer's life. But in his work "Girl with a Pearl Earring," Vermeer casts the subject in such a gloriously pristine light that surely the model meant something to the painter.
Movie Review: A Portrait Comes to Life and Captures the Viewer's Heart
Summary: 5 Stars
This film captures social, cultural and everyday life in 17th Century Holland beautifully and artistically through the eyes of Griet, a young hired servant who works in the household of a famous Dutch artist. Her emotions are captured superbly by the camera through long and short shots of her facial features. Griet is perfectly portrayed by Scarlett Johanssen. Essentially, the film is about the relationship that develops very gradually and subtley between the artist Johannes Vermeer and Griet as she learns about creating art. She is sent by her family to work in their house because her father is ill and the family needs the money. Griet learns a lot about different lifestyles and class differences by living with this family. She sees how the artist and his family totally depend on the patron for their living. They plan a grand dinner for the patron, Van Ruijven and his family to unveil the completion of a portrait of his wife and also to celebrate the birth of a baby into the Vermeer household. The dependency of the artist and his family on the patron, the absolute need to accomodate to his personal tastes and wishes, no matter what his character and behavior ... even to the point of compromise and deception within the Vermeer family is very well shown. Griet's own limited choices in life, her budding friendship with the butcher's son, the possibility for romance and a future together is nicely presented.
The flow of life within the Vermeer household is artistically filmed using different color schemes and shadings of light ... portrayng the life of the servants contrasted with the life of the family. Colin Firth plays Vermeer, the quiet, handsome, brooding and thoughtful artist ... He shuts himself off in his studio to paint, to create artistic pieces using elegant color and light, capturing distinct moods and feelings. His wife Catherine is less artistic and more shallow. She is viewed as the dependent, spoiled wife of the artist, whose wit and charm can have a razor sharp edge when they are crossed. Her instincts register a threat after Griet's sleeping quarters are moved to the artists studio although the move is done to provide privacy for another servant. When Catherine again becomes pregnant ... Catherine's mother makes clear that everyone depends on Vermeer for their livlihoods - she is not averse to deceiving her own daughter by letting Johannes paint Griet in order to continue their lifestyle. Griet is warned by Pietr, the butcher's son, "you are a fly in his web". The character of Van Ruijven is very well explored ... catering to his whims and procliviites. There are several episodes within the film where Catherine's shrewish jealous fits are sure signs that Griet's future is not assured within this family structure. Rumors surface at the marketplace about Griet and the artist. Amazingly, there is a magnificent conclusion to the events of Griet's relationship with Johannes Vermeer. The ending is quite touching and sensitively filmed. For this viewer, it was a total surprise.
Erika Borsos (pepper flower)
Movie Review: Four ways to appreciate this beautiful film
Summary: 5 Stars
This excellent film can be enjoyed at four different levels. Of course not every level is appreciated by all viewers, as evidenced by some of the reviews.
The film can be viewed as a smoldering and mismatched romance; an essay on class difference and the loborious life of the 17th century for the poor; an art historical film; or a beautiful film that evokes Delft Holland in the 1600's with amazing grace and beauty.
First, the young working girl, Griet, played very sensitively by Scarlett Johanssen, is caught between the attentions of a smoldering, moody Johannes Vermeer and a handsome butcher's assistant, who is her own age and class. Colin Firth plays the part of Vermeer very well. He appreciates intelligence and beauty and he sees these qualities in Griet. She is gradually asked to assume more duties of the artist assistant as well as her duties cleaning the Vermeer home. Vermeer is married however with 5 or 6 kids (they keep popping up and it is hard to keep count). His aristocratic wife Maria grows more jealous of Griet as her husband's appreciation and attention toward Griet increase. When Maria is told by her oldest daughter that Vermeer has been secretly painting Greit's portrait as a commission from his patron, Master van Ruijven, she has a major melt-down which results in Griet being fired from her job and thus ending the budding love between Griet and Vermeer. This is a blessing. Now nothing should stand in the way of Griet's attraction with the butcher boy, her match in beauty, wit, class, and age.
Second, the working poor in the 17th century never got a break. Cooking and cleaning consumed long 16 hour days. Since there was no refrigeration in spring, summer, and autumn, cooking was a daily ritual of buying food in the market, preparing it ;such as beheading the animals and skinning them before putting them on a work burning hearth. Poor Greit sweeps, mops, cleans, scrubs,shops, cooks, serves table, feeds kids, etc all day long until she is allowed to sleep in a ratty basement or freezing attic. The film realistically captures the terrible amount of labor the working poor had to endure.
Third, the films was excellent art history, explaining the camera obscura technique as well as giving a good explantion of the underpainting process that Vermeer used to create his small masterpieces. The range of pigments and the hard work of grinding the paint pigments into paint paste was very well done. Even the artists of the time had to labor just to produce the products they used in production of a painting.
Fourth, the film itself is superbly beautiful. The slower pace captures the 17th century. The settings, both interior and exterior were beautiful and probably the best art direction of 2004.
I hate mindless action films full of murder and sarcastic testosterone filled bullys ; so you can see my attraction to an intelligent and beautiful film.
Movie Review: For the attention to detail & catharsis it is a real keeper
Summary: 5 Stars
Girl With a Pearl Earring is proof positive that history is narrative. Conjuring a tale of deceit and passion Tracy Chevalier's invents a narrative of the origins of the portrait of the same name. Perhaps, yes, Girl With A Pearl Earring uses an accurate historical backdrop to create a complicated fictional account of reason over passion. In this rendition Jan Vermeer lets his passion run into his paintings as he paints a woman other than his wife. The counterbalance in this existential invented examination (coupled of course with loads of social commentary) Griet is the offspring of a Protestant artisan who has not had the best of luck. Griet is then sent out to make a living as a servant, in the Vermeer's household. Griet is sucked into a whole world outside of her control turns into the mechanism that causes the tenuous social balance of Vermeer's to disentangle. Griet, intrigued by the enigmatic artist's studio is quickly transformed to helper as `she understands' Vermeer's work. Becoming the focus of his unrequited passion, Vermeer subsumes his passion by painting Griet using the wife's pearl earrings - a move that would prove catastrophic for everyone concerned. At first glance the story seems to revolve around the painting... however, closer examination of the movie reveals its many layers. There is, primarily the tension caused by Vermeer's lack of inspiration. The tension that is caused by his lack of productivity is apparent as the Vermeer household begins to suffer. This painting is a commission he needs. Vermeer's mother in law represents the pragmatic, almost opportunistic, representation in the movie. She fully understands the connection happening via shared enthrallment and common curiosity concerning art. Griet and Vermeer become completely entwined with in the artistic process. Griet fill the void as both focus of the painting and aide in his shop. On another level, Vermeer's wife feels that she is suddenly on hand more often than seems healthy. On another level, there is certainly the class divide that separates the two artistic souls. Perhaps I did not see it but if there was indeed a passion between the two it was overshadowed by their shared interest in art and color. Griet becomes the space of contention and it all falls on her. She is the focus of an errant patron Van Ruijven (Tom Wilkinson) who is trying to understand what inspires of Vermeer, she takes the brunt of a wife Catherina (Essie Davis)who is so disconnected from her husband , she is seen as the last hope by an opportunistic mother-in-law Maria (Judy Parfitt), and indeed she is target of a paranoid daughter (Alakina Mann) out to protect her mother. In effect, all those who vent their spleen on Griet personify the range of emotions that inhabit and surface at such a tight and constraining space... If for the attention to detail and cathartic element, it is a real keeper.
Miguel Llora