Dir. Peter Webber, 2004, UK/Luxembourg, 103 mins
Cast: Colin Firth, Scarlett Johansson, Tom Wilkinson, Judy Parfitt, Cillian Murphy, Essie Davis
Girl With a Pearl Earring is universally recognized as one of Johannes Vermeer's greatest paintings. For centuries, art historians worldwide have debated as to the identity of that girl and how she came to be painted by Vermeer. Tracy Chevalier's best-selling novel of the same name is a fictional attempt to unravel that mystery. Adapted by screenwriter Olivia Hetreed and directed by Peter Webber, the film successfully brings the 'Girl' to cinematic life.
Seventeen year old Griet (Johansson) takes up a job as a maid in Vermeer's (Firth) house. Very quickly Vermeer realises that Griet has an appreciation for his work; an appreciation lacking in Vermeer's wife, the forever-pregnant and jealous Catharina (Davis). So, Vermeer arranges clandestine meetings with Griet so that she can assist him.
Vermeer's mother-in-law Maria Thins (Parfitt) spots the growing closeness between the two. However she turns a blind eye as she realises that Vermeer - not known for his speed in producing bankable work - inspired by Griet starts working more diligently. Both Griet and Vermeer feel strongly attracted to each other, but keep a professional distance. Despite her confused feelings, Griet continues to court the advances of the local butcher's son Pieter (Murphy). This however does not stop the gossips; that there is something more sexual between them.
Matters are made more complicated when Vermeer's lecherous patron Van Ruijven (Wilkinson) commissions Vermeer to paint Griet for Van Ruijven's own private collection. Griet and Vermeer struggle to keep control of their feelings resulting with them having to confront the jealousies of those closest to them; and Vermeer creating a painting that will fascinate for centuries to come.
This is the most gorgeous film visually you're likely to see this year. Every single frame is beautifully crafted with light and colour that captures the atmosphere and mood of the Vermeer paintings themselves. A lot of the scenes take place in Vermeer's house and although the interiors are dark, the lighting allows the colours and textures to appear visibly rich, adding a strong, tactile quality.
However, if you like your films dripping in dialogue and the action fast and furious, then this isn't for you. The dialogue is sparse, the pace is low and cinematically there isn't much of a story. But that takes nothing away from the erotic power of the story. Webber teases his audiences with the imposed silences and no more so than in the scenes between Griet and Vermeer. The grinding of the paint; Vermeer asking her to lick her lips; the piercing of Griet's ear are all highly erotic. The chemistry between the artist and his muse begs you to scream: "Snog her Vermeer!!!", and leaves you totally frustrated when he doesn't.
The audience might want a sweaty, writhing consummation on the studio floor. Webber opts for purity. And it works brilliantly.
Sandi Chaitram
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