Girl With A Pearl Earring Review

by David N. Butterworth (dnb AT dca DOT net)
January 5th, 2004
GIRL WITH A PEARL EARRING
A film review by David N. Butterworth
Copyright 2003 David N. Butterworth

**1/2 (out of ****)

    You've probably seen the painting. And you might have read the book (by Tracy Chevalier). Now, thanks to Lion's Gate Films, you can see the movie, a lavish but unnecessary imagining of how Dutch master Johannes Vermeer (1632 1675) might have created his eponymous masterpiece, the one featuring the girl with her hair pulled back off her face by a blue scarf, a pearl earring dangling
from her left ear.

    "Girl with a Pearl Earring," directed by Peter Webber and starring Colin Firth ("Love Actually") as Vermeer and Scarlett Johansson ("Lost in
Translation")
as Griet, the astute peasant girl who comes to work in his house and winds up being the model for his most famous canvas, is cinematically assured, delicately
scored (by Alexandre Desplat), and features impeccable production design by former Peter Greenaway collaborator Ben van Os.

    But the chemistry between Vermeer, who tends to lurk in the shadows, and Griet, whose interference in the painter's opulent Delft household caused a positive scandal, is like watching paint dry. There's no real sense of the genius at work here, no insight into the artist's craft. It's simply another case of beauty inspiring obsession, as Griet takes an inappropriate interest in the artist's work, understands the effects of light and shadow, and is later
taught by Vermeer how to mix hues.

    And behind the film's lush trappings--exquisite costumes and
strategically
placed fruit--the film belabors its rather obvious point, that the life of a servant girl is not an easy one.

    Griet not only suffers the jealous ire of Vermeer's perpetually pregnant wife (an excellent Essie Davis) and condescending mother-in-law (Judy Parfitt, also impressive) but is also felt up by Vermeer's randy patron (Tom
Wilkinson).
Ultimately the film just languishes like a still life, illustrating neither Vermeer's perspiration nor his inspiration.

--
David N. Butterworth
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