The girl in the movie matched that pearl earring, even though she was so young. The earrings, which did not belong to her, exuded a cool luster on her earlobes, like a swan encountering the quietest lake. The girl with a quiet appearance and a turbulent heart, and the pearl earrings that freeze like teardrops, merge with each other into a mysterious eternity. The girl is played by Scarlett Jonsson, her thin face and bright and plump lips imply loneliness and rebellion. When I watched "Horse Whisperer" before, she was just a child with a round nose. Now, she has successfully transformed into the patience and persistence of the seventeenth century.
This is a wonderful movie. The scenery, music, and even a small object all reveal a luxurious and quiet atmosphere. Tablecloths, silverware, candlesticks, and even the ship used as a means of transportation all carry the sophistication and cumbersomeness of that era. It was simply a kind of prosperity that was still charming even if it was about to die. Every scene has cool or fiery colors, as if many oil paintings are linked together and then released, it is a dizzying luxury.
This is still a quiet and introverted movie, with few lines and a simple story. All the entanglements are presented through pictures and actions. The hero and heroine are silent to save their own language and interpret their emotions in silence. The passions and desires of the characters are hidden under indifferent expressions and plots, and until the end it seems that nothing happened, except for the painting. A pair of men and women who can touch each other is just a painting together. She models and he paints. This turned out to be the limit of what they could do. Then it was over, she went back to her poor home, and he continued to play his wife's husband.
She is Greet, he is Vermeer.
As if competing with each other, no one took a step forward, and it seemed that they had reached some kind of tacit agreement, silent every time they should express. Greet just put all her love into the process of coloring for him. She adjusted it attentively, enjoyed it, and looked at the gorgeous colors on her hands with satisfaction, as if it was painted by him, as if it was so They have some kind of intimate connection. Vermeer also just followed her silently in the corner with his eyes, greedy eyes and retreating heart, accidental words, never about feelings, but about paintings. That's all, that's all, from the beginning to the end, it's obviously out of control, but he has to spare no effort to clean it up, and in the end he really managed it. Greet was still a poor maid, and Vermeer was still an unsuccessful painter.
Such two people, lack of communication, but not lack of understanding. Thrilling is understanding in silence. It was a feeling that was easily understood without words, and the movement of a finger could tell the turmoil in the other party's heart.
No action does not mean that the body is relaxed. Instead, it needs to be tense and suppress the desire to act at all times; too much understanding exceeds the inner load, and it is always necessary to feel more emotions in more and more tacit understanding.
So, physically and mentally exhausted.
It wasn't just the two of them who were tired. There are also those who are called supporting roles, but play an important role. Vermeer's suspicious and hysterical wife, the cool-headed and powerful mother-in-law, the perverse and sinister child who is Greet's enemy, these people are hindering their love by their own existence. They want to keep Vermeer in this uninteresting home and imprison Gree in her original world. Their encounter became something they didn't like. They do not hesitate to wear themselves out, and they must also make Greet sad. In this house full of eyes and hands, Greet had to be careful, and if she was not careful, she would be seen through by those eyes, or caught by those hands. She knew that she had no right to speak, so she shuttled among them silently, doing her duty as a maid. At the gorgeous dining table, the family ate with their own thoughts, and she waited on with a calm expression, abiding by the rules of the game.
But Greet was just restrained and unbearable. In her humble life, she still displayed an untrodden dignity. When Vermeer's daughter deliberately soiled her freshly washed sheets with mud, she didn't hesitate to put a slap in the face; when the mistress and her daughter falsely accused her of stealing the comb, she looked firmly When Vermeer said "help me", she believed that Vermeer believed her; when the hostess saw the picture that Vermeer had drawn for her, she cried and told her to get out of the house, and she did not like Many people in the stories ran out like that, but she just walked out with a complicated expression, and refused to bow her head because she was not at fault. This might be considered brave. But in love, being brave alone is not always enough. Vermeer will never leave the home that has exhausted his inspiration, and facing a woman who understands him, he still can't get rid of his caution and depression. When Greet left, he just stood in the studio with a painful expression, not having the courage to open the door and look at her again. I even wonder if this cowardly man is in a mood of relief.
Greet went home, ending the love she had never begun. Vermeer's housekeeper brought the pair of pearl earrings she had worn, and the contents of the painting belonged to her.
A period of love ends with such a token as a symbol. The girl and the earrings, the two painting props, finally came together. Vermeer's feelings for her are probably the same as he has for these earrings, because they can inspire his creation and become a prop for painting, so he cherishes them. And in the end, the painting is done, and the props no longer make sense. This Greet, who let him do what he said and obeyed him, could return to her original place. When a woman falls in love with a weak man, it is always such an unworthy ending.
How obedient Greet was, she was often shy and selfless when answering Vermeer. Vermeer pointed to the sky and asked her the color of the clouds. At first she said it was white, then she said no, it was yellow, gray, blue, many colors. At that time, she probably fell in love with him, maybe just because he made her discover the color of clouds. Then she started doing things for him frantically, cleaning, color matching, these boring labors have meaning because of him, in the studio, doing these will feel like the hostess here. But deep down, she also knew that she couldn't invade his life, so she fell in love with the butcher's son. This kind of relationship did not have the pleasure of flying, but it was solid, and it was not attractive but had a sense of security. While painting, Vermeer asked her to open her plump mouth slightly and lick it wet again and again. She acted shyly and obediently, putting her lower lip into her mouth again and again, moist, with willing fulfillment in her eyes. Then she eagerly went to find the butcher's son, to unleash the erotic desire that Vermeer had almost overwhelmed herself. She put her arms around the butcher's son, kissed him, hugged him, and acted rudely and anxiously, contrary to the subtlety in front of Vermeer, as if she was loving the butcher's son with her life. In fact, it was just a release that shifted the target. The shrinking desire for Vermeer spread out here in the butcher's son, and the emotions that had been stagnated for too long were like the sudden eruption of a dormant volcano, with accumulated power. Satisfying unresolved desires with a body that you do not love, or it is a selfish catharsis, or just to warn yourself to return to reality and not wishful thinking. It seems that people who work all night wash their faces with cold water, or children who have been wronged beat their dolls wildly. The butcher's son is just a handful of cold water to wake her up or a doll to let her vent in Greer's heart. After the intimacy, she would still return to Vermeer as a silent servant.
Griet was poor and had no earrings and no piercings to wear them. Vermeer was sensitive, and he knew that a pearl earring would fit Griet's temperament, so he asked her to have her ears pierced. Greer obediently handed the hot needle to Vermeer. He plunged into her earlobe, the expressions of the two of them were calm and indifferent, the momentary pain in their ears was not taken seriously by Grief, nor by Vermeer. That prick turned out to be the closest contact between them. Everything was so calm, and in the end, nothing seemed to happen. The only evidence was that two gaps were left in Greer's ears.
A painting was born like this. In the dark background is the lonely shadow of the girl looking back. Enigmatic eyes, with confusion, scrutiny, sadness and many unknown emotions; bright and full lips, hovering between speaking and not speaking, restraining the language in their mouths; a tear hangs on the earlobe Drop-shaped pearl earrings, under the round earrings are aggressive sentimentality, full of timid nobility and willing despair.
"Girl with a Pearl Earring", a famous painting of the seventeenth century. I didn't know it before watching this movie. After watching the movie, I began to speculate whether there is a more tragic story behind the painting than the movie, and whether there is such a suspended love. What was the mood of the girl who turned around forever in the painting?
Ma Xiaotao
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