Girl With A Pearl Earring Movie Review:


Based on Tracy Chevalier's novel, which imagined an entire story behind the eponymous Vermeer painting, this film is beautifully made right down to the tiniest details ... but it's still just a 17th century chick flick! We're in 1665 Delft, where everyone speaks perfect English: When her father is injured in an accident, Griet (Johansson) is forced to go to work as a maid in the home of the Vermeer family. While Johannes (Firth) stays in his studio creating his next painting, the house bustles with life under the watchful, controlling eye of his mother-in-law (Parfitt). As Griet begins a tentative romance with a local butcher (Murphy), Vermeer notices that she has an eye for light and colour, and soon lures her into his studio to assist him. Then his patron Van Ruijven (Wilkinson) shockingly commissions a portrait of Griet and scandal threatens to engulf them all.

The plot is fairly contrived and melodramatic, like a pulp romance novel with lots of heaving bosoms and barely repressed desires--handsome poor boys, scary rich men, sexy untouchables, controlling old bags and cruelly jealous girls. Every element is here, and yet the story keeps us gripped due to its refusal to give into standard Hollywood plot structures. Meanwhile, the acting is far above average, with Johansson delivering yet another strikingly solid performance as a young girl waking up to the world around her, and making difficult decisions about her future. Firth, Wilkinson and Murphy add life to their rather underwritten roles, while the rest of the women are efficient stereotypes swirling around Griet. The production design is absolutely beautiful--each frame looks like a 17th century Dutch masterpiece! And Webber's direction is artfully light-handed; several scenes take our breath away with their raw beauty, often combined with a strong emotional resonance. So it's a bit frustrating that the film is so portentous; it takes itself so seriously that it's hard for us to really believe it. But in Johansson's remarkably expressive eyes, it still has the power to move us.

Rich Cline

1665 Delft in Holland, Griet (Johansson) starts work as a maid in the house of renowned local artist Johannes Vermeer (Firth). Her duties include the cleaning and tidying of her master’s studio and over the time she becomes fascinated with his work. Without a new commission, Vermeer becomes inspired by Griet’s interest in the art and she becomes his muse. His wife and children become increasing jealous of the attention he is giving the maid but when local patron Van Ruijun (Wilkinson) asks for a portrait of Griet, Vermeer and his mother-in-law Maria Thins (Parfitt) decide to keep the painting a secret.

Inspiration and fascination are explored in a movie about art that looks good enough to be a painting.

Based on Tracy Chevalier’s acclaimed novel, the movie delves into the mystery of one of the greatest ever portraits, Vermeer’s Girl with a Pearl Earring. Here we find out about the fictional life of Griet, the subject of the painting as created by Chevalier from historical clues about Vermeer’s life and studies of his paintings. Her captivating life of service and fascination with her master’s paint, might be pure speculation but it the attention to detail of both the movie and the novel that give these events the possibility of truth.

The performances are first rate. It is easy to forget that there is more to Colin Firth than his romantic comedy roles. He is also a fine dramatic actor and provides an understated, slightly removed performance for a character consumed by his art at the expense of his family. While his wife, children and mother-in-law are motivated by the money his painting generate, only Griet takes an interest in his art and you can see why Vermeer is drawn to her. Firth rises to this challenge by creating two sides to the complex character, a distant, remote side when he is with his family or in a social gathering and a tender, passionate side when he shares his love of art with Griet.
Fine support comes from the always-reliable Tom Wilkinson, as the deviant patron Van Ruijun who has a predilection for young servant girls. Cillian Murphy continues to make a name for himself, with another fine performance. Judy Parfitt as the commanding woman of the house and mother-in-law, Maria Thins would strike fear into any servant or man and Essie Davis excels as the jealous wife, consumed by self-doubt and greed.

This is Scarlet Johansson’s movie however. The young actress is becoming a real star and someone to watch. She is truly captivating in the role of Griet and she looks astonishingly like the inspiration for the famous portrait. It is the pure honesty of her performance that brings the character to life as the actress captures her innocence and passion for art with the skill of a seasoned professional. Superstardom and awards aplenty await this extremely talented performer.

The visuals on this movie are a pure colour pallet for the eye. Fantastic set design, costumes and lighting create a canvas on the screen as the colours illuminate the screen as if they were the original oils used to produce Vermeer’s masterpieces. Director Peter Webber and cinematographer Eduardo Serra have captured the period and the look exquisitely to produce one of the most visually splendid films for many a year. It is a pure visual feast.

What lets the film down is some unnecessary details and subplots. While the interactions between Vermeer and Griet are fascinating, as they grow as people in each other’s presence, there is not enough here to hold the attention. The decision by the writer and filmmakers for the two not to consummate their attraction and bound is a excellent one, adding more to the drama and romance of the piece but many of the other storylines seem totally unnecessary. For example Vermeer’s son’s dislike of Griet, the whole Pieter storyline and the religious overtones of Griet’s character are all voiced but never really followed up on or concluded. If these points had been historically actuate you could have accepted them but as most of the story is based on speculation, it makes it harder to accept as it just feels like filler.

Girl with a Pearl Earring is a fine example of period filmmaking. This is a visually stunning movie that has a captivating story at it’s heart but suffers from been smothered by the surrounding, unnecessary filler. While this doesn’t take too much away from the main story, it does hinder it slightly as you are taken intermittingly away from the real tale it is trying to tell. This is a shame as the excellent visuals and fine performances deserve a lot more.

Star Rating = * * *

Jamie Kelwick

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