Girl With a Pearl Earring

Not much is known about the Dutch master Johannes Vermeer except that he painted an extraordinary collection of household scenes under the patronage of wealthy donors in the seventeenth century. Only 35 of his paintings remain and one of them (arguably his greatest masterpiece) was the subject of a bestselling book by Tracy Chevalier, first published in 1999. Chevalier fictionalised what might have been the inspiration for this painting, and now, in his feature-length debut, director Peter Webber transforms her novel impressively to the big screen.

Delft, 1665. A young servant Griet (Scarlett Johansson) is sent to work in the household of the renowned painter Vermeer (Colin Firth). The work is hard and long, and life is made more difficult by the petty jealousies of her fellow servant Tanneke (Joanna Scanlan). The biggest problem however is Vermeer's family: a severe grandmother (Essie Davis), a hypertense and constantly pregnant wife (Judy Parfitt), and a brood of spoiled children. The family is on the verge of bankruptcy and desperate to maintain its lavish lifestyle. Only their rich patron Van Ruijven (Tom Wilkinson) provides any means of visible support and his whims are a constant worry for the Vermeers.

Griet keeps her head down, but her stillness and striking poise attracts both Vermeer and Van Ruijven - the former for her aesthetic possibilities on canvas, the latter for more carnal desires. The businessman chooses her as the subject of his next commission in order to have his wicked way with her, and an unlikely bond develops between master and servant.

Peter Webber gets nearly everything right in his screen adaptation. Olivia Hetreed's screenplay is skilful and deft, allowing silence and the unspoken often to carry more weight than the dialogue itself. This may essentially be a study of a single event in history, but Webber's camera and editing make it into a compelling and always interesting story. The period settings, production design and photography all convey the flavour of the great painter's work.

The cast are more than equal to the surroundings they find themselves in. Scarlett Johansson comes of age in a mature performance that belies her years. She is awkward and gangly but has an incredible onscreen luminescence that attracts both the audience and the painter. After coming to attention in films such as Ghost World, she is on Hollywood's radar for her first leading roles in bigger films, and with rave reviews already under her belt for her other new film Lost in Translations it seems that the proof is in the pudding. She seems set to become one of the major actresses of the next ten years.

Recent film outings have not been too kind for Colin Firth, too often lazily cast as the romantic interest in some below-par rom com ( or What A Girl Wants anyone?). However he excels here as the brooding painter, ill-at-ease at the world he finds himself in. The scenes between the two are particularly well played, and surrounded by a supporting cast that hits its mark every time.

Only a desultory romance with a local butcher's boy (Cillian Murphy) slows down the film's pace, eventually going nowhere. But the film should strongly appeal to anyone looking for an upscale and intelligent evening's entertainment (and it is entertaining throughout). Let's hope this is one British director who has plenty still left to show us.

TISCALI ENTERTAINMENT

Girl With A Pearl Earring -

A review by a Colin Firth fan

I wrote this report after having seen The Man Himself at the London Film Festival gala premiere and then the movie on a public screening the day after. I'll just try to make sense of my words now...

The book starts off with a scene where a couple visits Griet's family at their house. No name mentioned, but I knew immediately this would be the Vermeers. When I started reading, I actually had wet eyes because I had a picture of Colin in my head. So I was slightly disappointed they changed that scene and it was in fact only Griet on screen for the first few minutes.

But I have to admit that the story took the audience right into the dark, cold, difficult 17^th century Delft and developed more and more towards a real masterpiece of cinematography. During the movie I found myself actually thinking several times: they have produced real paintings on the screen! I won't go too much into the story here as there are loads of professional reviews around.

The most important question: what about Colin? Beyond words, in fact... Sexy and forceful, like one journalist expressed it? Definitely. The whole relationship between Vermeer and Griet is brought about in glances, looks, and gestures, with a perfect camera eye on this, and is building up an erotic pressure, even though they hardly ever touch each other. And Scarlett and Colin really have this on-screen chemistry!

What I noticed are the two totally different faces of Mr. Firth you get to see in so many films. One is the shy, dark, silent Darcy-character. The other one I would describe as much more of the real Colin, the one with the dimples, this heavenly smile and the witty humour. We see this side when he is relaxed, joking, amused by Griet’s shy, uneducated, but intelligent and understanding questions.

Colin looks kind of weird with this filthy wig, but it makes him even more convincing as Vermeer. And he shows a lot of different emotions throughout the film, like anxiety about his or Griet’s future, concern for his family, loving his children and hating them, loving his wife (passionately and naturally) and detesting her (just because she does not have the artistic view), silent or even open joy when he discovers Griet actually understands what he is all about, what he sees, what he tries to put on the canvas, how to work with light and colours. And his feelings towards her as a woman are on a totally different level than the ones towards his wife. Almost “holy” compared to the natural/possessing way he touches his wife.

It is pure Colin throughout the movie and yet again a totally different one. There is also a big focus on his – well, the artist’s – hands which I have never seen before and which I can’t get enough of. Always had a thing about hands...

I was absolutely tense throughout the whole movie, anxious not to miss the smallest detail. I was amazed at how silent a sold-out cinema of 2000 seats can be! Just twice, I think, clearly provoked by Peter Webber, there were some amused sounds to be heard throughout the room. I don’t know if this is common sense as I have never been to a film festival before, but the audience applauded when the final screen – the painting with the title – appeared. It felt perfectly right there. And I was not the only one who actually had wet eyes... The end was a bit short, though, it felt more complete in the novel. Made a lot of sense in the film, too, nevertheless.

Coming out of the cinema I hadn’t wanted it to end, but it was definitely over. So I was happy sad to have experienced it and not knowing when I’ll be able to see that movie again. To conclude with, this is truly a movie to watch several times on the big screen – I wish I could! And then, when it hopefully comes out on DVD one day a definite candidate for both watching it all through the way and Colin scene selection! Over and over again, hmmm...

Girl With a Pearl Earring By CFFan
Being, naturally, a Colin Firth fan, I have looked forward to seeing this movie forever. I was lucky enough to catch it at The Austin Film Festival on October 12, and can not wait for it to be released for all to see. They even gave me the movie poster they used during the Festival, it is hanging on my wall. And yes, I have read the book.

One could not have picked a better trained actor to portray Vermeer. If you have seen a lot of his movies, Colin Firth is genuinely fantastic in this type roll. Much conveyed with little dialog. The portrayal was more than I could have asked for. You can just feel the suppressed emotions forming between Griet and Vermeer until it all boils down to the visually erotic ear piercing at the end. Truly left to the imagination is the significance of the act. Scarlett Johannsen does a wonderfully complimentary turn as a young woman unsure of the emotions welling inside her. Her answer to relieve the unrequited feelings for her master is understood by those who follow the story with an acute eye. It has been state din one review that in another time these two would be lovers.
Aside from the two top performances the movie is, for me, well written, directed and shot. I recommend this to everyone and am keeping my eye on the ever changing opening date for Austin. I am hoping it plays here. It was shown and well received at the film festival.

		...... Colin Firth is sexy and forceful as Johannes Vermeer...." -Owen Gleiberman, Entertainment Weekly
RUN TIME: 95 Minutes		BASED ON: "Girl With A Pearl Earring" by Tracy Chevalier

FILMING LOCATIONS: Delft, Zuid-Holland, Netherlands Amsterdam, Noord-Holland, Netherlands Luxembourg Damme, Belgium		AKA: La Jeune fille a la perle - France

Donostia - San Sebastian International Film Festival Jury Award For Best Photography : Eduardo Serra) C.I.C.A.E. AWARD DONOSTIA 2003: Girl With a Pearl Earring "For the way in which it has succeeded in understanding the essence of the work of a master of the art of painting, via an art called cinema. Also, for its command of the overall technical and artistic elements which in an opera prima conveys the 'secret' of a creation". The Jury members Mima Fleurent Jean Ospital Pedro Bandiera Freire Donostia-San Sebastian, 26 Sept. 2003 Dinard Festival of British Film 2003 Won Hitchcock D'Or Award Grand Prize Best Film Won Hitchcock D'Argent Award Audience Award Best Film Los Angeles Film Critics Award Won: Best Cinematography: Eduardo Serra San Diego Film Critics Society Award Won: Best Cinematography: Eduardo Serra Cameraimage Won: Bronze Frog: Eduardo Serra AUSTIN FILM FESTIVAL Special Recognition For Excellence In Filmmaking *Girl With A Pearl Earring* NOMINATIONS: GOLDEN GLOBES Best Actress Drama: Scarlett Johansson Best Original Score: Alexandre Desplat NOMINATIONS BAFTA Anthony Asquith Award for Film Music: Alexandre Desplat Best Screenplay (Adapted): Olivia Hetreed Best Performance by an Actress in a Leading Role: Scarlett Johansson Best Production Design: Ben van Os Best Performance by an Actress in a Supporting Role: Judy Parfitt Alexander Korda Award for Best British Film: Andy Paterson, Anand Tucker, Peter Webber Best Cinematography: Eduardo Serra Best Make Up/Hair: Jenny Shircore Best Costume Design: Dien van Straalen Carl Foreman Award for the Most Promising Newcomer: Peter Webber (director) NOMINATIONS ACADEMY AWARDS Best Achievement in Art Direction: Ben van O's & Cecile Heideman Best Achievement in Cinematography: Eduardo Serra Best Achievement in Costume Design: Dien van Straalen NOMINATIONS ART DIRECTORS GUILD *Excellence in Production Design Award - Feature Film - Period or Fantasy :* Ben van O's NOMINATIONS GOLDEN SATELLITE AWARDS Best Cinematography: Eduardo Serra NOMINATIONS ONLINE FILM CRITICS SOCIETY AWARDS Best Art Direction Best Costume Design Best Cinematography**		RELEASE DATES: USA - 31 August 2003 (Telluride Film Festival) Canada - 7 September 2003 (Toronto Film Festival) Spain - 26 September 2003 (San Sebastián Film Festival) France - 5 October 2003 (Festival Du Film Britannique De Dinard) USA - 6 October 2003 (Mill Valley Film Festival) USA - 12 October 2003 (Austin Film Festival) UK - 30 October 2003 (London Film Festival) USA - 23 November 2003 (St. Louis Film Festival) USA - 10 December 2003 (limited, LA Premiere) USA - 12 December 2003 (limited, NY Premiere) USA - 26 December 2003 (limited, Chicago/SF) Portugal - 26 December 2003 USA - 9 January 2004 (select cities) UK - 16 January 2004 Israel - 22 January 2004 Sweden - 27 January 2004 (Gothenburg Film Festival) Italy - 20 February 2004 Spain - 20 February 2004 Greece - 27 February 2004 France - 3 March 2004 Belgium - 3 March 2004 Mexico - 5 March 2004 (Muestra Internacional de Cine) Norway - 5 March 2004 Sweden - 5 March 2004 Australia - 11 March 2004 Turkey - 26 March 2004 Japan - 10 April 2004 (Tokyo) Netherlands - 15 April 2004 Finland - 7 May 2004 Netherlands - 13 May 2004 Poland - 21 May 2004 Germany - 14 October 2004 Click picture for Video of Colin "smouldering" in GWAPE He is just so good at it!!!

DIRECTOR: Peter Webber		WRITER: Olivia Hetreed (screenplay), Tracy Chevalier (novel)
PRODUCER: Peter Block, Nick Drake, Phillip Erdoes, Matthew T Gannon, Rebby Gregg, Francois Ivernel, Daria Jovicic, Cameron McCracken, Tom Ortenberg, Andy Paterson, Duncan Reid, Guy Tannahill, Anand Tucker, Jimmy de Brabant		CINEMATOGRAPHER: Eduardo Serra

Cast - in credits order Colin Firth ... Johannes Vermeer Scarlett Johansson ... Griet Tom Wilkinson ... Pieter Van Ruijven Judy Parfitt ... Maria Thins Cillian Murphy ... Pieter Essie Davis ... Catharina Joanna Scanlan ... Tanneke Alakina Mann ... Cornelia Chris McHallem ... Griet's Father Gabrielle Reidy ... Griet's Mother Rollo Weeks ... Frans David Morrissey ... Van leeuwenhoek Anna Popplewell ... Maertge Anais Nepper ... Lisbeth Melanie Meyfroyd ... Aleydis Nathan Nepper ... Johannes Lola & Charlotte Carpenter ... Baby Franciscus Olivia Chauveau ... Baby Franciscus Geoff Bell ... Paul The Butcher Virginie Colin ... Emilie Van Ruijven Sarah Drews ... Van Ruijven's Daughter Christelle Bulckaen ... Wet Nurse John McEnery ... Apothecary Gintare Parulyte ... Model Claire Johnston ... Whit Haired Woman Marc Maes ...Old Gentleman Pere Robert Sibennaler ... Priest Dustin James ... Servant 1 Joe Reavis ... Servant 2 Martin Serene ... Sergeant Chris Kelly ... Gay Blade Leslie Woodhall ... Neighbour		Production Companies Archer Street Productions Delux Productions Film Fund Luxembourg Pathe Pictures Ltd. UK Film Council Wild Bear Films Distributors A-Film Distribution (2004) (Netherlands) Lions Gate Films Inc. Pathe Distribution Ltd. (UK) Svensk Filmindustri (SF) AB (Scandinavia) Special Effects SFX Factory S.A. Technical Specifications Color info: Color Camera: Arriflex 535B / Arriflex 535 Laboratory: Technicolor, London, UK Negative format: 35 mm Process: Super 35 Printed format: 35 mm (anamorphic) Aspect ratio: 2.35 : 1

MUSIC: Girl With a Pearl Earring Griet's Theme A New Life The Master's House Camera Obscura The Birth Feast Cornelia Vermeer's Studio Winter Nights Van Ruijven Home Coulours in the Clouds The Master is Painting By the Canal with Pieter Catharina's Pearls Coulours in the Clouds (Strings) Girl With a Pearl Earring (Reprise) Silence and Light (Piano Solo) Griet's Theme (Reprise) Griet Remembers		Click picture for another video of Colin "smouldering"

SYNOPSIS: Delft, Holland, 1665. Young Griet (Johanssen) becomes a maid in the house of Johannes Vermeer (Firth). He, recognizing Griet's intuitive understanding of colour and light, slowly draws her into the mysterious world of his painting. Maria Thins, (Parfitt) Vermeer's mother-in-law, seeing that Griet inspires Vermeer, decides to allow their clandestine relationship in the hope that her son-in-law will increase his meagre output. Though unsure of his feelings for her, Griet falls increasingly under Vermeer's spell. Finally, the Machiavellian Van Ruijven,(Wilkinson) sensing the intimacy between master and maid, gleefully contrives a commission for Vermeer to paint Griet alone. The result will be one of the greatest paintings ever created, but at what cost to Griet?