Girl with a Pearl Earring

Griet is a young maid in the household of painter Johannes Vermeer. She is responsible for cleaning his studio when he is not working but eventually Vermeer sees her carrying out her tasks and is taken by the imagery and beauty of her. He convinces her to pose for him to paint, although it must be done in secret due to tensions within the Vermeer household as well as gossips and slanderers on the streets.

The Girl with a Pearl Earring was one of those films that I knew I should watch but that sat on my HDD for quite some time. It was a windy Bank Holiday that finally moved it to the top of my viewing list. In a way I felt vindicated of both my delay and my decision to watch it because the film does have flaws and strengths that make it worth seeing but not a brilliant film. The fictional story is quite simple and short but engaging nonetheless – a lot of emphasis is put on the feelings and characters to carry the story rather than events or action but it does work. What helps the slow pace is how convincing the sets and costumes all are – you never doubt the period and the direction works with this very well.

The cast are the key to it working and thankfully they are mostly good. I'm not a massive fan of Johansson because I do think that there is an element of "fortunate blonde starlet" about her career that isn't always backed up by performance. Here though she is very good and is suitably restrained and innocent. This allows Firth to be more of a presence with her and this dynamic is important. Support from Davis and Wilkinson is good and they do add to the passions of the story with their characters and delivery.

The Girl with a Pearl Earring is a slow paced but quite rewarding film. Those looking for action or energy should leave this on the shelf for another time but, when you are in the mood for how it works then it is a most enjoyable film with a simple but well-delivered story.

I can't imagine a lot of people, especially anyone under 40, sitting through this extremely slow film....but I thought it was excellent. However, I am biased because I love great cinematography and stories about famous painters. Sometimes the cameras stay on subject longer than normal, affording the viewer time to really soak it up.

If you can stay awake, this film offers some of the prettiest images I've ever seen on film. Scene after scene looks like a classic painting come to life. Scarlet Johannson says very little but is fascinating to watch. For the first-time viewer, there a tension that builds throughout the film leaving wondering what bad thing is about to happen. The story is not an upbeat one, yet not depressing either.

One time, I watched this film very early in the morning, something I rarely do, and with the subtitles on. It wasn't a bad way to watch it - a quiet film in the quiet of the pre-dawn hours . The film offers another demonstration of why doesn't have to shed all their clothes to be erotic. This inspired me to read the book, and I enjoyed that, too.

Young woman in Holland circa 1665, innocent and wide-eyed but hard working, leaves home for job as scullery maid to a painter named Vermeer and his family; soon, she becomes the artist's secret assistant and muse, eventually posing for Vermeer's famous title-named portrait. Stunning art direction, lively pacing and an absorbing narrative all make up for a few key performances which seem too modern, and minor instances where the editing isn't as sharp as one might hope. The maid's many entrances and exits are repetitive, but Scarlett Johansson proves to be an intuitive actress who excels in a role with very little dialogue. Quite good overall, and with a finale that smartly leaves the breathless viewer wondering...asking...wanting more. *** from ****

Johannes Vermeer was a silent man. Being equipped with immense talent, brush and palette, there really was no need for words. Such philosophy is greatly dwelt upon in Peter Webber's adaptation of Tracy Chevalier's novel.

The film is breathtaking alone in the fact that the production team, led by cinematographer Eduardo Serra, production designer Ben Van Os, and art director Christina Shaeffer, manages to capture Vermeer's filling, oil-based colors, and light into every scene.

The story is exemplary as well. We are taken into a brief era in Vermeer's life in 17th century Delft. Much of the film's premise is true: Vermeer was a reticent and brilliant painter who attempted to balance his genius and deep-rooted, innate calling to art and solitude with the often overbearing demands of a bourgeoisie, Venetian society, as well as the malignant pressures posted by a sadistic commissioner, and the pressures of being the head of a massive household (when he died in 1675, he left behind his wife and 11 children).

In 1665, however, he painted a mysterious masterpiece. It's mysterious because much scholarship has since been dedicated to uncovering the identity of the model who posed for it. It has been suggested that the subject is one of his daughters, although this theory is met today with much skepticism. And this is where the film spends most of its fictional focus: that of creating an imaginary story to help speculate on what we know as factual about Vermeer's life. Enter a young, beautiful servant girl, Grit (Scarlett Johansson), who through no fault of her own, finds that her classic beauty attracts Vermeer's sensibilities-as a man and as an artist-to such a degree that he has no choice but to capture her on oil and canvas.

Vermeer (Colin Firth) spends a lot of time in this film standing quietly in the shadows and peeking around corners. There's great symbolism in many of these shots-his body is often half-covered, half-exposed, representing the dichotomy he must have felt in his life-that of being in perpetual conflict with his spiritual, artistic longings and the more human qualities of a man.

Whereas Vermeer' silence is a result of his being reluctant to communicate with the external world, mostly due to artistic self-absorption, Griet similarly is cut off from humanity, but rather out of innocence, naivety, beauty, and the unfortunate side effect of being at the low end of a rather oppressive Delft caste system where she has little voice outside of the disturbance her beauty stimulates in others. Together, the two characters find an unspoken solace, a type of kinetic energy that can only be conveyed through Vermeer's art. Indeed, one of the film's more touching moments comes when the artist reveals his portrait of her and Griet replies, 'You've seen into me.' Another memorable moment, if not altogether breathtaking, comes when Vermeer is instructing Griet in how to hold her face at the proper angle in order to catch the appropriate reflection of light on her mouth, and also when he is instructing her in how to mix his paints and their hands, for a split second, brush together. It is in such moments that Firth brilliantly conveys the tormenting dissonance present in a man not in whose base desires are overshadowing his artistic being, but rather the opposite-as a virtuoso experiencing a rare moment of temporary carnal pleasure.

All philosophy aside, is the film any good? I'd say it's extraordinary, although if you're not one to gravitate toward the biography of an artist, this may not be the film for you. However, I do believe that the human story element her is valuable, entertaining, and worthwhile.

I have just seen "Girl with a pearl earring" and I am already willing to see it again. The feeling is very much the same as wanting another tour in a gallery of paintings of old Dutch masters, to enjoy repeatedly the beauty of light and shadow and colours. Scarlett Johansson is both very pretty and talented and the camera lovingly moves around her, searching for her beautiful eyes and puffy lustful lips, very much reminding me of Bertolucci's love for the beauty of Liv Tyler in "Stealing beauty". Colin Firth is again producing a most powerful impact by his tall dominating figure, deep beautiful voice and reserved yet sensual and passionate attitude. A strikingly good picture in the ocean of mediocre productions.