Besides having the feeling of the whole film is literally like a painting -- cinematically delivered in shades of subtle colors and painterly light, Alexandre Desplat's score for "The Girl With a Pearl Earring" is simply entrancing. The music elegantly flowing -- leading us from one scene to the next, be it Scarlett Johansson's Griet in the kitchen or backyard, basement or attic, braving the hailing snow or leisurely walking along the tree-lined river path with Pieter (Cillian Murphy), and, of course, in the artist's studio with Vermeer (Colin Firth) -- satisfying enchanting moments easily experienced.
What a filmic idea conceived around practically just one hauntingly beautiful painting by Vermeer. How the story is weaved and spun into intriguing vignettes, spiced with rude strokes when Tom Wilkinson's Van Ruijven appears, setting off uneasiness similar to having to perhaps erase or paint over uneven hues and hence the compromise. It's the resulting intensity and passion to complete the masterpiece of a work forever intriguing to look at -- as the haunting refrains repeatedly enhance the progression of the film.
It's not a grand film per se like the scope of say, "Cold Mountain" or full of drama and action like "The Last Samurai," but I felt so good after viewing the "Girl With A Pearl Earring" -- I was simply smiling beside myself. What an enjoyable movie experience. You might say it's quietly beautiful and intriguing at the same time. My filmic appetite was thoroughly satisfied that afternoon.
Scarlett Johansson's superbly sensitive portrayal (as the girl with traumatic experience over her loving horse) in Robert Redford's "The Horse Whisperer" 1998, impressed me more than the Thomas-Redford pairing. Then in Terry Zwigoff's "Ghost World" 2000, a complementary supporting role to Thora Birch, but front and center as the defiantly determined daughter in Eva Gárdos' "An American Rhapsody" 2001, opposite Nastassja Kinski. Same year, she played another maturing young lady role opposite Billy Bob Thornton in Coen Brothers' "The Man Who Wasn't There". Of course, in 2003, her much praised performance opposite Bill Murray in Sofia Coppola's "Lost in Translation" -- and Scarlett's only a 19 year old in Nov '03. Her portrayals are always so poignantly vulnerable and strong at the same time. Her first 2004 release will be "The Perfect Score," a group of late teens hacker-like movie (along side Erika Christensen of "Traffic" fame), seems like a reprieve from her string of 'pseudo adult' roles.
Colin Firth in costume roles -- very first one comes to mind is his Mr. Darcy opposite Jennifer Ehle in A&E series of "Pride and Prejudice" 1995. He was Valmont opposite Annette Bening in Milos Forman's "Valmont" 1989. Of course, the unforgettable modern day Mr. Darcy opposite Renée Zellweger and Hugh Grant in "Bridget Jones's Diary" 2001, and in the stellar ensemble cast of "Love Actually" in 2003, as a writer chasing after a Spanish-speaking love of his life -- comedic tempo, he also has. To see Firth in an intense suspenseful leading role, try Martin Donovan's psycho thriller (NFE) "Apartment Zero" 1988, set in Buenos Aires.
What a filmic idea conceived around practically just one hauntingly beautiful painting by Vermeer. How the story is weaved and spun into intriguing vignettes, spiced with rude strokes when Tom Wilkinson's Van Ruijven appears, setting off uneasiness similar to having to perhaps erase or paint over uneven hues and hence the compromise. It's the resulting intensity and passion to complete the masterpiece of a work forever intriguing to look at -- as the haunting refrains repeatedly enhance the progression of the film.
It's not a grand film per se like the scope of say, "Cold Mountain" or full of drama and action like "The Last Samurai," but I felt so good after viewing the "Girl With A Pearl Earring" -- I was simply smiling beside myself. What an enjoyable movie experience. You might say it's quietly beautiful and intriguing at the same time. My filmic appetite was thoroughly satisfied that afternoon.
Scarlett Johansson's superbly sensitive portrayal (as the girl with traumatic experience over her loving horse) in Robert Redford's "The Horse Whisperer" 1998, impressed me more than the Thomas-Redford pairing. Then in Terry Zwigoff's "Ghost World" 2000, a complementary supporting role to Thora Birch, but front and center as the defiantly determined daughter in Eva Gárdos' "An American Rhapsody" 2001, opposite Nastassja Kinski. Same year, she played another maturing young lady role opposite Billy Bob Thornton in Coen Brothers' "The Man Who Wasn't There". Of course, in 2003, her much praised performance opposite Bill Murray in Sofia Coppola's "Lost in Translation" -- and Scarlett's only a 19 year old in Nov '03. Her portrayals are always so poignantly vulnerable and strong at the same time. Her first 2004 release will be "The Perfect Score," a group of late teens hacker-like movie (along side Erika Christensen of "Traffic" fame), seems like a reprieve from her string of 'pseudo adult' roles.
Colin Firth in costume roles -- very first one comes to mind is his Mr. Darcy opposite Jennifer Ehle in A&E series of "Pride and Prejudice" 1995. He was Valmont opposite Annette Bening in Milos Forman's "Valmont" 1989. Of course, the unforgettable modern day Mr. Darcy opposite Renée Zellweger and Hugh Grant in "Bridget Jones's Diary" 2001, and in the stellar ensemble cast of "Love Actually" in 2003, as a writer chasing after a Spanish-speaking love of his life -- comedic tempo, he also has. To see Firth in an intense suspenseful leading role, try Martin Donovan's psycho thriller (NFE) "Apartment Zero" 1988, set in Buenos Aires.