Girl with a Pearl Earring: Review By derekmay

When people think of “art-house” films this is the type of movie that comes to mind. With very little dialogue for a commercial movie and a plot that is more internal than external, it is little wonder why we here in the States divide ourselves by hailing them as works of art but shunning them at the ticket counter.

The story of a young maid in seventeenth century Holland taking a job in the upper-middle class home of a renowned painter is hardly as exciting as the latest “Lord of Rings” or James Bond movie. Yet, it is not so much the story here that makes this film so interesting, but in how it is done. Those familiar with Dutch artists such as Rembrandt and how he and his contemporaries managed to paint beautifully realistic portraits using subtle tones, colors and shadow will immediately recognize the same being shown at twenty-four frames per second. Literally each frame of this film is a precisely arranged painting. The light, the shadow, the dilution of color is perfectly executed to give the impression that we are watching a moving painting. Whether it be something as mundane as Scarlett Johansson’s character walking down a hall or cleaning a window, it is still frame brought to life - a Rembrandt brought to celluloid.

The visual majesty here is supported by an insanely gifted cast. Scarlett Johansson proves she wasn’t a fluke in “Lost in Translation” (though “The Perfect Score” might) by giving an equally moving performance here. The sparsely used dialogue forces the story to come out through the emotions and expressions of the characters (similar to “Translation”) and Johansson manages to keep us involved the whole way. The only person to upstage her might be Colin Firth who seems to only have three lines in the whole film but somehow instills a world of complexity into his character so as to take him on a journey through love, life and art. Tom Wilkinson give us the “Full Monty” in his portrayal of the sinister patron of Firth and lustful pursuer of Johansson.

While not exactly mainstream in its approach, it is certainly enjoyable as a look into the harsh realities of existence for the wealthy, the middle class and for those that serve them. But the real treat is in seeing how director Peter Webber manages to turn a canvas of film into a moving work of Dutch realism with all the subtlety and nuances that made the painters of old so well heralded. If you’re looking for “art” house, look no further, this film could be hung in a gallery.