——I forced myself to look directly into his eyes, feeling that I was burning, and a burst of heat spread through my body, even though I was still staring at him, my heart was beating very fast. He is painting me...
Her soul is a bunch of beautiful flower stems shining in the wind, unable to withstand a trace of turbulence. His eyes will be like a slow-heating flame, igniting the cascading flowers, falling, withering, extinguishing, and turning into ashes.
Delft, Holland in the seventeenth century. The young girl Greye was born in poverty and experienced the chaotic and noisy secular atmosphere in a calm town. Her silent and lonely nature is sensitive, and she often shows a guarded look. The fair complexion concealed in the long hemp skirt symbolizes her purity, skipping the hustle and bustle of the market and hiding a corner.
She worked as a maid for the painter Vermeer's house. Vermeer asked her in front of the studio window what color the clouds in the sky were. The clouds were multiplying and colorful. For the first time, she knew that "white" was not enough to sum up her color perception of clouds. Vermeer felt strongly about Griye's talent. Vermeer no longer treats her as a vulgar maid, he opens up the unique world of art shining in Greye's life.
The studio in the attic is a restricted area that Vermeer and his family cannot enter, but it is another world isolated from reality by Greer and Vermeer. Vermeer admires and loves her. Here, the silence and understanding dedicated to the two people completes Griye's transformation from a girl to a woman. She untied her forbidden headscarf to reveal her hair, Vermeer held her hand, and when their hands touched, Greet hurriedly flung it away. They snuggled their heads together to look at the photos, and she was panicked. Vermeer wiped away the tears from her lips, and she turned
her opened lips to Vermeer's face... Sensitive contradictions were like Greer, little by little aroused the anxiety of her sweet struggle.
Vermeer pierced Griye's earlobe with a needle. Pain, shame, tears and blood helpless. In the difficult love and sin, she leaned gently against Vermeer's chest for the only time, and dared to show a little hope for the only time. The man she awed and loved deeply put the pearl earrings stolen from his wife on her earlobes. He paints seriously and his eyes are calm. He traveled through the family to bloom the transcendent level of fate for Griye, but after all he could not fill in the ethical gap that ran between them.
At the end of the film, Greer finally managed to deal with the jealous and suspicious painter's wife and the disparity in status and status, she walked out of the studio that Vermeer would never get out of. Across the door of the studio, she and him were attached to each other and finally did not say goodbye. With the pace of leaving, her world descended from the clouds, returned to the market, and finally married a butcher.
Vermeer and Greeye’s love that was condemned by the dunya has died out, but the spirit has been circulated in a famous painting that has been lingering forever, circulating in the luster of a pearl earring.
I love you. I love you. It's an unexpected relative, a concern outside of life and death, a persistence of self-talking, a record of secret sorrows and joys, a vow of silence and a seal of silence, and a parting without beginning and end.
Only in this way can reality retreat, as if being in a transparent world, with pure original intentions, transforming a light-colored silk road into a mirage hit.
We never say love, never. There is no entanglement of desire, no indulgence of desire to die.
It is as clear as the morning light, and as shallow as the twilight, this period of pure and shallow love is deeper than the deep sea, and heavier than life and death.
View more about Girl with a Pearl Earring reviews
