Johannes Vermeer was a painter awash in mystery. We know that he lived in Delft, Holland, in the middle part of the 17th century. We know that he worked slowly and a meager 34 paintings can firmly be attributed to his name. However, the details of his artistic life — who exactly he painted, for example, can only be inferred at best. Nevertheless, the timeless quality to his work (serene, domestic scenes calmly lit by natural light), has survived the passing centuries.
“Girl with a Pearl Earring,” based on the excellent book by Tracy Chevalier, suggests the story behind one of Vermeer’s most famous and enigmatic paintings. Griet (Scarlet Johansson, “Lost in Translation”), a young girl from a poor family, is hired as a maid in the house of Vermeer (Colin Firth, A&E’s “Pride and Prejudice”). She spends her long days at the worst of the household chores and her nights sleeping in a dank, lonely cellar.
One day she is asked to clean Vermeer’s studio. She must perform this task without moving a single object, so as not to disturb the scene being painted. When she is washing the windowpanes, in the soft light of the late afternoon, Vermeer enters the studio and asks her to hold her pose. Nothing is said, but everything is implied and this exquisite scene begins the subtle relationship between Vermeer and Griet.
Vermeer recognizes Griet’s artistic eye for color and her attention to detail. He requests her help with mixing paints in the studio. A strong attraction grows between them, the sad ache of longing in their eyes.
Vermeer is a Catholic and married to a former beauty, who is jealous and insecure. They have several children. Vermeer is always one patronage away from bankruptcy. Griet is a poor maid, without money or position. Their passion can never come to fruition. However, it is this very passion that pushes Vermeer to paint his best work, and Griet to rise above the trappings of her life.
It is a fine tribute to “Girl with a Pearl Earring” that it manages to capture this delicate relationship with subtlety, honesty and grace. Scarlett Johansson and Colin Firth are both excellent, and some of their scenes together are brimming with an erotic tension not seen in any movie for a long time. First-time director Peter Webber shows remarkable command of tone and trusts his audience to understand how less is many times more.
The cinematography was justly nominated for an Academy Award. Gorgeously shot scenes are captured alternately in moody shadows and exquisite light. The composition of the scenes and the way the light falls are clearly influenced by Vermeer’s paintings. Some of the shots are jaw-droppingly beautiful. Seventeenth-century Delft is brought vividly to life.
Combined with the remarkable leads, there is an excellent supporting cast. Tom Wilkinson (“In the Bedroom”) struts about as Vermeer’s lusty patron, Van Ruijven. Cillian Murphy (“28 Days Later”) plays a butcher’s son who falls for Griet. In addition, Essie Davis, of the two Matrix sequels, turns in a fine performance as Vermeer’s wife, Catharina.
“Girl with a Pearl Earring” succeeds on multiple levels. On one level, it is a love story of startling depth and subtlety. On another, it is an involving portrait of an interesting place and time. And on a third level, it shows us how Vermeer looked at the world. How clouds are never white, but shades of blue, yellow and gray. How slanted light falling on an overturned cheek is a work of art in itself. This vision, this way of viewing the world, is what stays with you as you walk out of the theater and into the winter night.
Grade: A