“Girl with a Pearl Earring”
By Natalie Naquin, Revelry Writer
Based on the novel by Tracy Chevalier, “Girl with a Pearl Earring” is truly a work of art.
After her father is injured in an accident, young Griet (Scarlett Johansson) is forced to work as a maid in the home of painter Johannes Vermeer (Colin Firth) and his family. He soon discovers her understanding of art and color, capturing her interest and spurring an intimacy between the two.
Vermeer’s patron, Master van Ruijven, notices the relationship between the artist and his maid, and requests that he paint her alone for his next purchase.
The product is the famous painting “Girl with a Pearl Earring.” Griet is now captured forever in his painting, but not without consequences.
Nominated for three Academy Awards including best art direction, best cinematography and best costume design, “Girl with a Pearl Earring” is as pleasing to the eye as one of Vermeer’s paintings.
Although not for those with a short attention span, the movie is beautifully crafted, and is a strong first feature for director Peter Webber. The colors, costumes, and imagery make up for the sometimes slow-moving plot.
Johansson is perfect as the quiet Griet, developing her character not through words but through expression. The chemistry between Firth and Johansson is evident throughout the movie.
A strong cast mixed with great cinematography save the would-be dull story.
Although released nationwide Jan. 9, “Girl with a Pearl Earring” has just arrived in Baton Rouge at the UA Seigen Villiage 10.
B+
“Monster”
By Wendell T. Harrison, Revelry Writer
“Monster” is the story of a dreamer named Aileen Wuornos.
Disregarding the fact that Wuornos is a homicidal hooker, one can see a child expecting a happy ending.
Based on the true story of one of America’s first female serial killers, Monster centers around Wuornos, played by Charlize Theron.
Wuornos is a prostitute who, after years of abuse and rape, has sold her body since the age of 13.
Temporarily getting out of the rain, she stops in a gay bar and meets Christina Ricci’s Selby, a naive, recently-out-of-the-closet lesbian. As a sexual relationship begins to blossom, Wuornos goes out on the street to earn money for supporting the couple and is horribly victimized and beaten by a “client.” Wuornos kills him in self-defense, however perpetuating her vengeful murderous reign.
In this film, Theron displays a prime example of truthful acting in the character-based film. While Ricci frustrates viewers with her obsessive whining, Theron shines with unseen dynamicism, and is quite possibly the only reason viewers stay in theaters.
Monster is slow, and possibly hard to endure for the occasional movie-watcher. The film used is grainy, adding to the authentic 80s look the clothing, vehicles, and even accents provide. However, only those with acting appreciation can see the real power behind Theron’s performance in a film that seems too ambitious for its novice director.
Writer/ director Patty Jenkins does, to her credit, create a veritable community within the confines of Daytona, Fla. using reoccuring faces. The familiarity creates the feeling the viewer is a part of their world.
Theron plays against type, shying away from her typical role, as seen in “The Astronaut’s Wife” and “Men of Honor,” where she is only Johnny Depp or Robert DeNiro’s wife.
There exists a moment when the viewer no longer recalls the flawless Hollywood beauty, but the ungraceful, impure Wuornos.
Deservedly, Theron was nominated for an Academy Award for Best Actress in a Motion Picture for her gritty portrayal of Wuornos, marking her first Oscar nod.
B+