Nobody ever says what they think in this house, except for Maria, whose thoughts are all too obvious, anyway. In the end she does do this. Griet is forced into work when her father, a tile painter, loses his eyes in a kiln explosion and she needs to help her family raise money to eat. In the strictly stratified society of the time, this is a fall in status because of the bad reputation that maids have for stealing, spying and sleeping with their employers. Consider transferring direct quotations to. Fortunately, Vermeer likes the change and applies it to his painting.
Griet describes the painting to her father and also witnesses its creation in closer detail now that she is helping in the studio. In the epilogue, ten years later, the reader learns that when Griet ran away from Vermeer's household, she ran into the arms of Pieter the son, whom she later married. On her eighteenth birthday, Maria tells her that Catharina has gone out for the day and that the session with the earring will take place while she is gone. In the first 15 minutes of the movie, Griet already starts inspiring Vermeer for a new painting. Girl with a Pearl Earring is a fictional account of how Jan Vermeer may have conceived and painted his best-known and loved work of the same name. Later, Catharina flies into a rage upon discovering Griet used her earrings.
It becomes clear that Griet is intelligent in a natural way, but has no idea what to do with her ideas. In addition, it too started from an attempt to decipher the enigmatic look of the sitter in a painting of the period. He would make her a good husband, in this world where status and opportunity are assigned by caste. She is given no choice by her parents over whether or where she will work. The website reported the critical consensus as visually arresting, but the story could be told with a bit more energy. The film ends with a slow reveal of the real-life painting,.
Vermeer and Griet formed a bond, which culminated in his creating a painting of her. In North America it was distributed by. The screenplay was adapted by screenwriter , based on the 1999 by. D, M Humanist worldview with an undercurrent of forbidden lust and unrequited love within allegedly repressed Dutch society; one profanity and one obscenity; young woman slaps girl, man tries to rape young woman and leaves strangle marks on her neck; fully clothed intercourse and sexual references; no nudity; drinking; smoking; and, a faithless view of a religious culture. At their home, she befriends the family's oldest daughter, Maertge, but is never on good terms with the spiteful Cornelia, a younger daughter who takes after her class-conscious mother, Catharina.
Sometimes two people will regard each other over a gulf too wide to ever be bridged, and know immediately what could have happened, and that it never will. Griet arouses the suspicions of Catharina, but Vermeer's mother-in-law, , recognizes Griet's presence as a steadying and catalyzing force in Vermeer's career and connives at the domestic arrangements that allow her to devote more time to his service. The film's scenarios may be unsurprising, but Webber's solemn evocation of art in a grey world gives his story an apt, unspoken gravity. Griet is soon the object of obsession of Vermeer's art buyer, Van Ruijven. You could nod off without missing a beat. Griet's ability to suggest to Vermeer how to improve a painting demands one stretch of the reader's imagination.
The fact that they were working so closely together had to be kept a secret from the family, especially from Catharina, who would certainly be jealous. . The subject of one of Johannes Vermeer's most enduring portraits becomes the focus of this biographical period piece from director. Griet, the maid in the painting, came from a very poor family. Griet goes to the house later the day, and is met by some of the younger children.
The time spent with Vermeer also begins to foster an attraction towards him, but, unable to express her desire, Griet channels this attraction into her encounters with Pieter instead. Very little is known about Vermeer. The novel is narrated in the first person by a sixteen-year-old girl named , who lives in the Dutch city of Delft. While she is on a routine shopping trip outside the house, a butcher's son, Pieter , notices Griet and is drawn to her. The only flaws are the wooden direction by Peter Webber, and that we never find out more about the characters, and what happens to them in the end of the film. This is perhaps symbolic of his innate traits as a man.
Sometimes we stood side by side in the small room, me grinding white lead, him washing lapis. She never saw Vermeer again, and heard that he passed away, leaving behind eleven children and a great deal of debt. This is where the movie spins with much interesting twists. It even changes that much, that she tends to act like the people in the household as well. She must clean his study while not moving anything out of its place. As a tile-painter, her father is a member of the , so employment is found for her as a maid in painter Johannes Vermeer's household. When she gets out of the house, Griet pierces her ears and wears the earring.
Griet and Vermeer are therefore reluctant to fulfil this request and eventually Vermeer comes up with a compromise. To avoid this, Vermeer reluctantly agrees to paint a portrait of Griet alone, which he begins early in 1666. Ten years later, long after Griet has married Pieter and settled into life as a mother and butcher's wife, she is called back to the house following Vermeer's death. Although, that is what Griet thinks. She must somehow secretly pose for the crucial painting without the knowledge of Vermeer's wife, avoid Van Ruijven's grasp, and protect herself from the cruel gossip of the world of a 17th century servant. In conclusion, Griet transformed from a shy, introvert girl to an almost bold, but most of all outspoken maid.