"Girl With a Pearl Earring" is a quiet movie,
shaken from time to time by ripples of emotional
turbulence far beneath the surface. It is about
things not said, opportunities not taken,
potentials not realized, lips unkissed. - R.
Ebert
Those expecting a biopic of Johannes Vermeer,
the Dutch master painter from the middle of the
seventeenth century, will be left wanting.
Rather, 'The Girl with the Pearl Earring' starts
with arguably his most famous painting and works
backwards, through conjecture, to decipher who
the subject of the painting may have been. Some
have claimed it was one of his daughters or
perhaps a neighbor. This film poses the
possibility that she may have been a member of
his family's housekeeping staff.
The famous painting is one of the most
intriguing ever created. There is a stillness, a
peace and a wistfulness to it that makes it hard
to turn away from. The film plays in much the
same way.
Griet (Scarlett Johansson) is sent to work in
Vermeer's household as a maid. In the 1600's,
being a maid was tantamount to slavery. Every
waking moment was spent devoted to cleaning and
cooking for the master and mistress of the
house. When Griet first arrives, her sleeping
quarters are in the basement along with the
mice. Her days are spent catering to every whim
of Vermeer's emotionally unstable wife. But
Griet knows her place and is grateful to have a
placement in such a household. She goes about
her business quietly.
One of her assignments is to clean Vermeer's art
studio in which she is told to disturb
absolutely nothing. Soon, however, Vermeer
(Colin Firth) notices her taking interest in
some of his paintings. He sees that she has an
eye for art, and it intrigues him to such an end
that he feels the urge to talk with her about
it. Speaking casually to the help is clearly not
an accepted practice, but he finds in her
someone who 'gets' it. Goodness knows his wife
doesn't.
In many other movies, Vermeer and Griet would
flirt romantically until the throws of passion
took over. But this film restrains itself from
such trivialities. Here they speak politely of
colors and light without ever truly admitting
any attraction to one another. She even helps
with one of his paintings and he accepts her
idea without hesitation.
There are subplots that include an art patron
who commissions work from Vermeer, a child who
treats Griet poorly every chance she gets, and a
butcher's son who falls in love with Griet. But
this film focuses on the unspoken relationship
between Griet and Vermeer which eventually leads
to his painting a portrait of her with one of
his wife's pearl earrings.
Colin Firth plays the Dutch master as a bitter
man who is trapped painting commissioned art for
money rather than being free to paint what he
wishes. He is weighed down by an emotionally
volcanic wife who doesn't trust Griet's presence
in the house. There is a loneliness to this man
despite his large family and undeniable talent.
Firth's performance is measured and internal...
it is a very subtle role.
The subtlety is even more true of Scarlett
Johansson's Griet. This is a largely silent
performance played with almost imperceptible
facial movements and glances of the eyes. She is
magnificent here and deserves Oscar recognition.
Coupled with her masterful turn in 'Lost in
Translation', Johansson has established herself
as one of the very best young actresses of this
generation.
Peter Webber's film is a quietly entrancing one
with great acting, gorgeous cinematography, a
lovely score, and a wistful story of unspoken
lust and love. I highly recommend the film, not
as a Vermeer biopic but as a hypothetical
romance that adds even more intrigue to an
already beautiful painting.
©
Written by TC Candler
Richard
Propes' Comment
n/a
Jacob
Hall's Comment
n/a
