| Photos (see all 33 | slideshow) | Videos (see all 2) |
Réalisé par | |||
| Peter Webber | |||
Scénaristes | ||
| Tracy Chevalier | (novel) | |
| Olivia Hetreed | (screenplay) | |
Musique originale | |||
| Alexandre Desplat | |||
Image | |||
| Eduardo Serra | (director of photography) | ||
Montage | |||
| Kate Evans | |||
Distribution des rôles | |||
| Leo Davis | |||
Création des décors | |||
| Ben van Os | |||
Direction artistique | |||
| Christina Schaffer | |||
Décorateur de plateau | |||
| Cecile Heideman | |||
Création des costumes | |||
| Dien van Straalen | |||
Maquillage | |||
| 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 | |
Directeur de production | |||
| Bénédicte Humbel | .... | production manager | |
| Jos van der Linden | .... | production manager | |
| Emma Zee | .... | post-production supervisor | |
Assistant réalisateur | |||
| 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 | |
| Claudio Campana | .... | assistant art director | |
| Manuel Demoulling | .... | stand-by props | |
| François Dickes | .... | props buyer | |
| Ricardo Galvao | .... | art department assistant | |
| Annett 'Gogo' Golinski | .... | draper | |
| Svet Hrouchoff | .... | carpenter | |
| François Mast | .... | carpenter | |
| Edouard Pallardy | .... | head painter | |
| Barbara Prati | .... | painter | |
| Stephanie Rass | .... | art department assistant | |
| Rosie Stapel | .... | assistant head painter | |
| Todd Van Hulzen | .... | set designer | |
Technicien du son | |||
| 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 | |
| Julian Slater | .... | supervising sound editor | |
| Carlo Thoss | .... | production sound mixer | |
| Seppe van Groeningen | .... | boom operator | |
Effets spéciaux | |||
| Alain Couty | .... | special effects coordinator | |
| Clive R. Kay | .... | special effects contact lenses | |
| Lawrence Michael | .... | special effects technician | |
Visual Effects | |||
| 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 | |
| Kevin Dresse | .... | electrician | |
| Johnny Feurer | .... | focus puller: "b" camera | |
| Svet Hrouchoff | .... | grip assistant | |
| Max Jacoby | .... | clapper loader: "b" camera | |
| 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 | |
Divers | |||
| Bob Bellion | .... | financial manager | |
| 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 | Giant | Frida | The Song of Bernadette | The Prime of Miss Jean Brodie |
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| Full cast and crew | Company credits | External reviews |
| IMDb Biographie section | IMDb UK section | Add this title to MyMovies |
Is this an incredibly dull movie about a single painting - or is it a mesmerising and penetrating insight into art and a particular 17th century Dutch artist? It probably depends on your point of view.
Griet is a poor young girl who goes to work for the great Vermeer as a humble servant. She is pushed around emotionally by his overwrought and jealous wife, mischievous children and all-powerful lustful patron. Yet the biggest force in her life, gradually teasing out her own artistic sensibilities, is the Master himself. Griet becomes the subject of his most famous painting, lured by a mixture of dread and fascination.
For Vermeer the artist, his work is all-consuming. Every part of his world the welfare of his family, his eccentricities, his whole energy and purpose in life, is concentrated into his work. That is not to say he lacks morals but simply that his work is his higher calling. To justify such a character, we could look to the role of art and its importance. Art can be worshipped for its own sake, like some wicked effigy, and used to excuse all manner of moral turpitude in its creator; or it can be seen as the entrance by which light can enter our soul, illuminate thought and our world in a way that cold logic alone would deny us, move us beyond the bounds of our immediate impressions and let us see the world about us in a new way, inspired and informed.
Griet carries this seed, to see beauty where others see only common place things, and it is a seed that the Master nourishes. There are times when Vermeer protects Griet from the people around he,r to whom she is so vulnerable, but is his concern towards her concern for her welfare, secret desire, or just a tool, an exquisite tool, of his trade?
Cinema is also being part of this artistic spectrum, if we allow it to be, affecting us in ways that let the viewer grow rather than just be entertained. Girl With a Pearl Earring certainly has sufficient integrity to do that, but if one just wanted to be entertained then it probably falls short. The art direction beautifully recreates Holland of the period and Scarlett Johansson gives a very well-tempered performance as young Griet. Costumes, music and overall cinematography are accomplished and haunting without loss of subtlety, producing a memorable film for lovers of art and cinema; but if paintings don't do anything for you, this film might not either.