Tyttö Ja Helmikorvakoru - Girl With a Pearl Earring

畫意私情

荷蘭代爾夫特 1665 年。十七歲的格里特是約翰內斯·維米爾 (Johannes Vermeer) 家的女僕，在那裡她逐漸吸引了大師畫家的注意。

約翰內斯和格里特必須向他易變的妻子凱瑟琳娜隱瞞彼此的靈感，當富有且惹麻煩的大師範魯伊文委託伯梅爾單獨畫格里特時，這變得很困難。

Delft Holland 1665. Seventeen year old Griet is a maid in the house of Johannes Vermeer where she gradually attracts the master painter’s attention.

Johannes and Griet must hide their inspiration of each other from his volatile wife Catherina, which becomes difficult when the wealthy and troublemaking Master van Ruijven commissions Bermeer to paint Griet alone.

Griet 是一個害羞的女孩，1665 年生活在荷蘭共和國。她的父親是一位代爾夫特陶瓷畫家，最近失明，導致他無法工作，並讓他的家人陷入了岌岌可危的經濟狀況。 格里特被派往代爾夫特，在著名畫家約翰內斯·維米爾（Johannes Vermeer）和他的妻子凱瑟琳娜（Catharina）家中擔任女傭。 在去那裡的路上，她在一個十字路口停了一會兒。

格里特在嚴苛的等級制度的最低職位上勤奮工作，幾乎一言不發。 儘管受到維米爾被寵壞的青春期女兒科妮莉亞的無情對待，她仍盡最大努力進行調整。 當格里特在一次例行的購物時，屠夫的兒子彼得被她吸引了。 隨著他們關係的發展，她回應他的感情很慢。 當格里特清理維米爾的工作室時，凱瑟琳娜從未進入過，畫家開始與她交談，並鼓勵她欣賞繪畫、光線和色彩。 他教她混合顏料和其他任務，同時對凱瑟琳娜保密，以免激怒她。 相比之下，維米爾務實的岳母 Maria Thins 認為格里特對維米爾的事業很有幫助。

維米爾的富有贊助人范瑞文拜訪了這家人並註意到了格里特。 他問維米爾是否會放棄格里特，以便她可以在讚助人的房子里工作，因為范瑞文毀了這位前女僕。 維米爾拒絕，但同意為范瑞文畫一幅格里特的肖像。 當他偷偷地畫這幅畫時，凱瑟琳娜注意到有些不對勁。 范瑞文故意暗示維米爾和格里特之間的不正當關係引發了她對女僕日益增長的蔑視。 矛盾的格里特處理她對維米爾和他的才華日益增長的迷戀，同時抵擋試圖在院子裡強姦她的范瑞文。 後來，當凱瑟琳娜外出時，她的母親將女兒的珍珠耳環遞給格里特，並請維米爾完成這幅畫。

在最後的繪畫過程中，維米爾刺穿了格里特的左耳垂，這樣她就可以為肖像戴上其中一個耳環。 當她痛苦地做出反應並且維米爾撫摸她的臉時，緊張感加劇了。 她跑向彼得尋求安慰，並分散她對維米爾的思緒。 兩人在穀倉裡做愛。 彼得求婚，但格里特出人意料地離開了。 她將耳環還給了凱瑟琳娜的母親。

凱瑟琳娜發現格里特戴著她的耳環後大怒，衝進工作室，指責她的母親同謀。 她要求維米爾向她展示委託製作的肖像。 被這幅畫的親密性質冒犯了，凱瑟琳娜認為它是“淫穢的”，並含淚詢問維米爾為什麼不畫她。 當維米爾回應說她不明白時，她試圖摧毀這幅畫，但未能成功。 她把格里特趕出家門。 維米爾不反對。 格里特回到她父母的家，再次站在十字路口。 後來，維米爾的廚師 Tanneke 到她父母家拜訪了她，她帶來了一份禮物：格里特在畫中戴的藍色頭巾，上面纏著 Catharina 的珍珠耳環。

在最後一幕中，范瑞文得意地坐著看著這幅真實的畫作，戴珍珠耳環的女孩。

Griet is a shy girl living in the Dutch Republic in 1665. Her father, a Delftware painter, has recently gone blind, rendering him unable to work and leaving his family in a precarious financial situation. Griet is sent to Delft to work as a maid in the household of famed painter Johannes Vermeer and his wife, Catharina. On the way there, she stops momentarily at a crossroads.

Griet works diligently and almost wordlessly in the lowest position of a harsh hierarchy. She does her best to adjust, in spite of the unkind treatment from Vermeer’s spoiled adolescent daughter, Cornelia. While Griet is on a routine shopping run, a butcher’s son, Pieter, is drawn to her. She is slow to return his affections as their relationship develops. As Griet cleans Vermeer’s studio, which Catharina never enters, the painter begins to converse with her and encourages her appreciation of painting, light, and color. He gives her lessons in mixing paints and other tasks while keeping these secret from Catharina, to avoid angering her. In contrast, Vermeer’s pragmatic mother-in-law, Maria Thins, sees Griet as useful to Vermeer’s career.

Vermeer’s rich patron, Van Ruijven, visits the household and notices Griet. He asks if Vermeer will give up Griet so she can work in the patron’s house, where Van Ruijven ruined the former girl-maid. Vermeer refuses, but agrees to paint a portrait of Griet for Van Ruijven. As he secretly works on the painting, Catharina notices something is amiss. Her growing disdain for the maid becomes apparent, spurred on by Van Ruijven’s deliberate suggestions of an improper relationship between Vermeer and Griet. A conflicted Griet deals with her growing fascination with Vermeer and his talent while fending off Van Ruijven, who attempts to rape her in the courtyard. Later, when Catharina is out for the day, her mother hands Griet her daughter’s pearl earrings and asks Vermeer to finish the painting.

At the final painting session, Vermeer pierces Griet’s left earlobe so she can wear one of the earrings for the portrait. Tensions heighten when she reacts in pain and Vermeer caresses her face. She runs to Pieter for consolation and distraction from her thoughts of Vermeer. The two make love in a barn. Pieter proposes marriage, but Griet unexpectedly leaves. She returns the earrings to Catharina’s mother.

Catharina flies into a rage upon discovering Griet wore her earrings and storms into the studio, accusing her mother of complicity. She demands Vermeer show her the commissioned portrait. Offended by the intimate nature of the painting, Catharina dismisses it as ”obscene” and tearfully asks why Vermeer wouldn’t paint her. When Vermeer responds that she doesn’t understand, she tries but fails to destroy the painting. She banishes Griet from the house. Vermeer does not object. Griet returns to her parents’ home and stands once again at crossroads. Later, she receives a visit at her parents’ home from Vermeer’s cook, Tanneke, who brings a gift: the blue headscarf Griet wore in the painting, wrapped around Catharina’s pearl earrings.

In the final scene, Van Ruijven sits looking smugly at the real-life painting, Girl with a Pearl Earring.

2003

M

6438044023251

Movie

2018-02-07 18:30:42

2.35:1

96

United Kingdom

2003-12-12

1

Snap Case

2018-02-07 18:30:42