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Directed by | |||
| Peter Webber | |||
Writing credits | ||
| Tracy Chevalier | (novel) | |
| Olivia Hetreed | (screenplay) | |
Produced by | |||
| Joep Bannenberg | .... | consulting producer | |
| Bob Bellion | .... | co-producer | |
| Peter Block | .... | executive producer | |
| Anna Campeau | .... | associate producer | |
| Jason Constantine | .... | co-producer | |
| Jimmy de Brabant | .... | co-producer | |
| Nick Drake | .... | executive producer | |
| Philip Erdoes | .... | executive producer | |
| Matthew T. Gannon | .... | co-producer | |
| Rebby Gregg | .... | associate producer | |
| François Ivernel | .... | executive producer | |
| Daria Jovicic | .... | executive producer | |
| Cameron McCracken | .... | executive producer | |
| Tom Ortenberg | .... | executive producer | |
| Andy Paterson | .... | producer | |
| Duncan Reid | .... | executive producer | |
| Guy Tannahill | .... | line producer | |
| Anand Tucker | .... | producer | |
Original Music by | |||
| Alexandre Desplat | |||
Cinematography by | |||
| Eduardo Serra | (director of photography) | ||
Film Editing by | |||
| Kate Evans | |||
Casting by | |||
| Leo Davis | |||
Production Design by | |||
| Ben van Os | |||
Art Direction by | |||
| Christina Schaffer | |||
Set Decoration by | |||
| Cecile Heideman | |||
Costume Design by | |||
| Dien van Straalen | |||
Makeup Department | |||
| Anita Burger | .... | makeup artist | |
| Aurélie Elich | .... | crowd hair | |
| Aurélie Elich | .... | makeup supervisor | |
| René Jordan | .... | assistant hair stylist | |
| René Jordan | .... | assistant makeup artist | |
| Claudine Moureaud | .... | hair assistant | |
| Claudine Moureaud | .... | makeup assistant | |
| Joël Seiller | .... | additional hair stylist | |
| Jenny Shircore | .... | hair designer | |
| Jenny Shircore | .... | makeup designer | |
| Béatrice Stéphany | .... | hair stylist | |
| Béatrice Stéphany | .... | makeup artist | |
Production Management | |||
| Bénédicte Humbel | .... | production manager | |
| Jos van der Linden | .... | production manager | |
| Emma Zee | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Alexandre Brown | .... | additional third assistant director | |
| Ralph Eisenmann | .... | second assistant director | |
| Sébastien Fernandes Tasch | .... | daily third assistant director | |
| Sean Guest | .... | first assistant director | |
| Stefan Magnusson | .... | third assistant director | |
| Andy Paterson | .... | second unit director | |
| Beatrice Pettovich | .... | second assistant director | |
| Jim Probyn | .... | third assistant director | |
| Julian Stevens | .... | additional third assistant director: dailies | |
Art Department | |||
| Boris Bartholomäus | .... | construction manager | |
| Klaus Bienen | .... | propmaker | |
| Gaspard Blet | .... | painter | |
| Claudio Campana | .... | assistant art director | |
| Angela Castro | .... | scenic painter | |
| Manuel Demoulling | .... | stand-by props | |
| François Dickes | .... | props buyer | |
| Thomas Ferrandis | .... | carpenter | |
| Ricardo Galvao | .... | art department assistant | |
| Annett 'Gogo' Golinski | .... | draper | |
| Svet Hrouchoff | .... | carpenter | |
| François Mast | .... | carpenter | |
| Joel Mast | .... | carpenter | |
| Graham Mitchell | .... | carpenter | |
| Edouard Pallardy | .... | head painter | |
| Barbara Prati | .... | painter | |
| Stephanie Rass | .... | art department assistant | |
| Laurent Schuster | .... | painter | |
| Rosie Stapel | .... | assistant head painter | |
| Todd Van Hulzen | .... | set designer | |
Sound Department | |||
| Dirk Bombey | .... | boom operator | |
| Peter Burgis | .... | foley artist | |
| Arthur Graley | .... | foley editor | |
| Arthur Graley | .... | sound editor | |
| Nigel Heath | .... | sound re-recording mixer | |
| Dan Morgan | .... | dialogue editor | |
| Jamie Roden | .... | adr mixer | |
| James Seddon | .... | dolby consultant | |
| Julian Slater | .... | supervising sound editor | |
| Carlo Thoss | .... | production sound mixer | |
| Seppe van Groeningen | .... | boom operator | |
Special Effects by | |||
| Alain Couty | .... | special effects coordinator | |
| Clive R. Kay | .... | special effects contact lenses | |
| Lawrence Michael | .... | special effects technician | |
Visual Effects by | |||
| Tim Baxter | .... | film recording | |
| Charles Darby | .... | matte paintings | |
| Paul Edwards | .... | visual effects producer: Cinesite | |
| James Eggleton | .... | digital I/O support: Cinesite | |
| Stuart Pitcher | .... | digital compositor | |
| Dan Victoire | .... | digital I/O support | |
| Kathy Wise | .... | digital systems manager | |
| Aviv Yaron | .... | 2D technical director: Cinesite | |
| Roma O'Connor | .... | bidding producer (uncredited) | |
| Courtney Vanderslice | .... | head of production: Cinesite (uncredited) | |
Camera and Electrical Department | |||
| Alex Aach | .... | clapper loader | |
| Benny Ashoff | .... | focus puller: "b" camera | |
| Jaap Buitendijk | .... | still photographer | |
| Gilbert Degrand | .... | best boy | |
| Dieter Depypere | .... | epk camera operator | |
| Pierre Dermience | .... | electrician | |
| Kevin Dresse | .... | electrician | |
| Johnny Feurer | .... | focus puller: "b" camera | |
| Svet Hrouchoff | .... | grip assistant | |
| Max Jacoby | .... | clapper loader: "b" camera | |
| Helder Loureiro Alves Da Silva | .... | lighting technician | |
| Nunes Neto Ornei | .... | grip | |
| José Alberto Pinto de Jesus | .... | electrician | |
| Mike Proudfoot | .... | camera operator | |
| Mike Roberts | .... | video assist operator | |
| Alf Tramontin | .... | Steadicam operator | |
| Alf Tramontin | .... | camera operator: "b" camera | |
| Tony Turner | .... | key grip | |
| Wolfgang Wesemann | .... | assistant camera | |
Casting Department | |||
| Louis Elman | .... | adr voice casting | |
Costume and Wardrobe Department | |||
| Vesna Libric | .... | wardrobe assistant | |
| Magdalena Marczynska | .... | wardrobe assistant | |
| Jovana Sujdovic | .... | wardrobe assistant | |
| Aleksandra Valozic | .... | wardrobe | |
| Katja Wolf | .... | daily wardrobe assistant | |
Editorial Department | |||
| Steve Farman | .... | negative cutter | |
| Matt Gauci | .... | avid technical support | |
| Andrew Melhuish | .... | first assistant editor | |
Music Department | |||
| Sam Okell | .... | assistant scoring engineer | |
Transportation Department | |||
| Gaby Meyers | .... | facility/truck driver | |
| Francois Muller | .... | truck driver | |
| Igor Pecirep | .... | driver: Tom Wilkinson | |
| Otfried Suppin | .... | driver | |
| Kevan Willis | .... | driver: cast | |
Other crew | |||
| Bob Bellion | .... | financial manager | |
| Peter Brown | .... | production secretary | |
| Natasha Coombs | .... | script supervisor | |
| Linda Gamble | .... | unit publicist | |
| Ambroise Gayet | .... | production assistant | |
| Charles Howes | .... | tutor | |
| Andrew Jack | .... | dialect coach | |
| Paula Jalfon | .... | production executive | |
| Joe Kotroczo | .... | location assistant | |
| Patricia Kretschmer | .... | assistant: Mr. de Brabant | |
| Maurice Landsberger | .... | production accountant | |
| Roberto Longobardi | .... | production accountant | |
| Richard Morrison | .... | title designer | |
| Francois Muller | .... | facilities | |
| Sébastien Peiffer | .... | location manager | |
| Olivier Printz | .... | location assistant | |
| Joanne Reichling | .... | production coordinator | |
| Sarah Trowse | .... | assistant accountant: Luxembourg | |
| Susan Weeks | .... | tutor chaperone | |
| Susanna Wyatt | .... | head of physical production: Pathé Pictures | |
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| Gone with the Wind | The Good Earth | Madame Bovary | An Education | Giant |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Biography section | IMDb UK section |
Girl with a Pearl Earring is based on the novel by Tracy Chevalier, who tells the story of a forbidden love affair (pardon the cliché) between painting master, Johannes Vermeer (Colin Firth), and the only woman who seemed to appreciate his work, a timid young maid named Grit (Scarlett Johansson).
Grit is hired to work in the Vermeer household. Had you not known anything about Vermeer prior to viewing the film, it seems as though he is some deformed creature the family wishes to keep secret. The family always linger near the door to Vermeer's studio, as though something dangerous was contained within. And, as the story goes along, you might get the impression that he is a nasty fellow, the way everyone approaches the studio so delicately, careful not to disturb anything. Says one maid to Grit, he doesn't like people bothering him when he is working.
In a way, Johannes is a real bastard to his wife, children, and mother-in-law. As a painter, they're never sure whether he is going to get the commissions from the arrogant, but jolly rich patron Van Ruijven (Tom Wilkinson), or whether they'll be escaping debtors by fleeing in the middle of the night.
Grit is curious, and at the same time, smitten with Johannes Vermeer, probably because of the initial mystery. She gains an interest in Vermeer, and in a way, also becomes his painting apprentice, helping him to mix paints, making creative suggestions about the paintings, and so forth. Vermeer introduces her to a rather different world that Grit has never known. And the two for a silent bond, a love for each other. Johannes appreciate's Grits company as a comfortable contrast to his mother-in-law, children, and especially his wife, he only seem to try to discourage his silly hobbies.
But, Johannes and Grit cannot act on their feelings for each other, at least not aloud. Divorce was highly out of the question, for one thing. But second, Johanne's was dependent on the arrogant Van Rijn for his commissions, and Van Rijn wanted Grit. Disgusted as Johannes may have been, and only slightly able to protect her (you'll see what I mean in the finale), he can't totally reject his financer. Plus, there is the barrier of master and maid, presenting a rigid social structure. And for Grit, she can only play out her affair with Johannes vicariously through her boyfriend, the Butcher.
Even if the story is not grounded in fact, or is based on little fact, the story of how Vermeer's painting, The Girl With a Pearl Earring came to be is one that presents a little mystery and romance to a painting. You can find something to appreciate it, beyond just consideration of the artistic elements of lighting or coloring, etc. In fact, art is always more fun with an intriguing story behind it (consider the controversy behind Whistler's 'Peacock Room').
I thought the movie did a fantastic job of recreating 17th century Netherlands. But what you may not know without having seen many 17 century painting, is that nearly every scene in the movie is constructed from 17 th century paintings, of Vermeers, Frans Halls, Van Dyke, and many others. The entire movie is, as one other viewer coined it, a "cinematic painting," but not just because it is a movie about the beauty of one painting, but because it is a movie entirely constructed from paintings. It was really incredible how precise everything is. Lighting, placement of figures. The actors would have to walk around a room and then at one point, hit their points precisely (props and all) to capture that one moment reflected in the painting from which it was taken from. This is really a great film for the art direction alone.