GIRL WITH A PEARL EARRING
(a film review by Mark R. Leeper)
CAPSULE: Tracy Chevalier's novel is trimmed down to almost a vignette telling the story of the model for Vermeer's most famous painting. The film actually runs a little slow and introspective at 95 minutes. This is art director Christina Schaffer's film really as much as it is director Peter Webber's. Scene after scene seems to look like a Vermeer painting. Rating: high +1 (-4 to +4) or 6/10
Tracy Chevalier's novel GIRL WITH A PEARL EARRING is a much fuller story than is covered by Peter Webber's film version. To bring the story down to a somewhat slow-paced 95-minute film much had to be removed or shortened. The storyline is only what was most central to the book's plot. But it is really art director Christina Schaffer's film. The movie is about Vermeer's paintings and visually it really captures the style of Vermeer's paintings. The subject matter of scenes, the lighting, and the muted tones of the color palate are all chosen to match Vermeer's style. Most frames of the film actually look like Vermeer paintings come to life. In a way this is almost a betrayal of Vermeer. The implication seems to be that his characteristic style is really only photographic realism and the great painter was just being a literalist and was recording what he saw.
The story is quite simple. In Delft Holland in the 1660s, young Griet (Scarlett Johansson of EIGHT-LEGGED FREAKS and LOST IN TRANSLATION) comes to work at the home of Johannes Vermeer. She is little more than a paid slave in this household ruled with a powerful hand by the artist's mother-in-law, Maria Thins (Judy Parfitt). Everyone in the household but Johannes himself treats Griet roughly and unfairly. He is impressed both with Griet's aptitude for the tasks of being an artist and her attractive appeal as a model. The film is even presumptuous enough to have Griet rearrange furniture to improve a painting. Having her willing and able to correct the great artist is perhaps overstating the script's point, but Griet does have talent. Griet's attractiveness is not lost on Van Ruijven (Tom Wilkinson), Vermeer's chief patron. And this too causes Griet trouble. There is some wit in the script as we hear Vermeer's wife and mother-in- law cajole Van Ruijven to increase his patronage.
A familiarity with Vermeer's painting style in general and with "Girl with a Pearl Earring" in particular is not necessary, but it does improve the enjoyment of the film. Director Peter Webber and writer Olivia Hetreed slowly assemble the elements familiar from the painting. We see where the interest in the girl's headgear comes from. We see the pearl earrings on Vermeer's wife's table. We know they will be important in a slow build to the actual painting of the portrait. Even then it is a wait before we get to see the now famous painting, though it will be familiar to some from the cover of the bestseller. Scarlett Johansson is not a perfect match for girl in the painting, but watching the film one does not notice.
Perhaps what is most interesting about the film are the fine points of life in 17th century Holland. It is now standard in films showing other cultures to show what a kitchen looks like and what the food created is. Webber does not make the mistake of making the food look too inviting. Holland would not have had a very exciting diet by modern standards. Griet's best friend, other than occasional visits with her family, is the butcher and his son and on her visits we see the market in detail. The father is impressed with Griet's judgement about meat. The son is interested in the obviously intelligent Griet, even as Vermeer is, and begins to spend time with her.
This is a film in which what one sees is more important than what one hears. Visually the film is worth the admission even if the story could have been more satisfying. I rate GIRL WITH A PEARL EARRING a high +1 on the -4 to +4 scale or 6/10.
Mark R. Leeper
mleeper@optonline.net
Copyright 2004 Mark R. Leeper
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