It’s like watching [fine art] paint dry.
Girl with a Pearl Earring (2003)
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Reviews Counted:170
Fresh:122
Rotten:48
Average Rating:6.8/10
Consensus: Visually arresting, but the story could be told with a bit more energy.
Theatrical Release:Dec 12, 2003 Limited
Box Office: $11,505,906
Synopsis: Delft, Holland, 1665. After her father, a tile painter, is blinded in a kiln explosion, seventeen-year-old Griet must work to support her family. She becomes a maid in the house of Johannes... Delft, Holland, 1665. After her father, a tile painter, is blinded in a kiln explosion, seventeen-year-old Griet must work to support her family. She becomes a maid in the house of Johannes Vermeer and gradually attracts the master painter's attention. Though worlds apart in upbringing, education and social standing, Vermeer recognizes Griet's intuitive understanding of color and light and slowly draws her into the mysterious world of his paintings. Vermeer is a perfectionist, often taking months to finish a painting. His shrewd mother-in-law, Maria Thins, struggles to maintain the family's lavish lifestyle on the income from his painstakingly meager output. Seeing that Griet inspires Vermeer, she takes the dangerous decision to allow their clandestine relationship to develop. Plunged into a chaotic Catholic household run by Vermeer's volatile wife Catharina, surrounded by an ever-increasing brood of children, Griet is increasingly at risk of exposure or worse. Twelve-year-old Cornelia, a mischievous girl who sees more than she should, quickly grows jealous and suspicious of Griet and is determined to cause trouble. Alone and unprotected, Griet also contends with the attentions of Pieter, a local butcher boy, and Vermeer's patron, the wealthy and lascivious Master van Ruijven, who is frustrated that his money does not buy him control over the artist. While Griet falls increasingly under Vermeer's spell, she cannot be sure of his feelings for her. The Machiavellian van Ruijven, sensing the intimacy between master and maid, gleefully contrives a commission for Vermeer to paint Griet alone. The result will be one of the greatest paintings ever created, but at what cost? [More]
Starring: Scarlett Johansson, Colin Firth, Tom Wilkinson, Cillian Murphy
Starring: Scarlett Johansson, Colin Firth, Tom Wilkinson, Cillian Murphy, Essie Davis, Judy Parfitt, Alakina Mann
Director: Peter Webber
Director: Peter Webber
Screenwriter: Olivia Hetreed
Producer: Andrew Paterson, Anand Tucker
Composer: Alexandre Desplat
Studio: Lions Gate Films
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Reviews for Girl with a Pearl Earring
As a former editor, we might expect Webber to have a better sense of when to cut, but his instincts fail him completely here.
A film so beautiful that it's a treasure to watch and admire, a little like the Old Master himself.
Cinematographer Eduardo Serra supplies painterly setups that should inspire much cooing from the gallery-opening set.
Working from an intelligent, understated screenplay by Olivia Hetreed, director Peter Webber (an acclaimed documentarian) proceeds with a stunning assurance.
Lavish attention to historical detail, the thorough immersion in this unusual world and Johansson's impressive performance make Girl With a Pearl Earring memorable but not a masterpiece.
Johansson ... tops all her previous work with a performance that's almost wordless but intensely expressive.
The quietly tense dilemma crawls along, moving as rapidly as a portrait nailed to a wall.
It offers a credible account of artistic inspiration inside of a blissfully peaceful and painfully lovely shell.
If you're moved by great beauty or the glimpse of another world, or appreciate the subtleties of unspoken love and what inspires it, you'll respond, 'Ah, but what paint.'
For the most part, Girl With a Pearl Earring is simultaneously heaving and static, like the cover of a Harlequin romance novel and about as exciting to contemplate for more than 90 minutes.
The picture itself is gorgeously realized and richly atmospheric, but the subjects within the frame remain still lives.
Girl With a Pearl Earring is a lot like watching exceptionally pretty paint dry.
It’s the shots, not the dialogue or even the fine acting, that will stay with you after you leave the theater.
The film's real pleasures are subterranean, hidden in fleeting glances and demurely loaded body language.
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