'Pearl' proves a real cinematic gem

Much like Leonardo da Vinci's "Mona Lisa," a certain shroud of mystery surrounds the subject of what is oft considered Delft artiste Johannes Vermeer's masterpiece, "Girl with a Pearl Earring." Painted during the decadence of the 17th century Dutch Golden Age, Vermeer's portrait was and still is starkly minimalistic with a quiet sense of intimacy. Managing to bring the subtle intensity of Vermeer's painting to the silver screen, director Peter Webber adapts Tracy Chevalier's acclaimed novel, making his feature directorial debut with "Girl with a Pearl Earring."\nWorking with director of photography Eduardo Serra, Webber's film is chock full of quietly gorgeous cinematography. Serra seems to draw from Vermeer's own palette of lusciously muted earth-tones, sculpting light around shadow and creating complexities of color that are both simple and rich. In a similar fashion, although stylistically on opposite sides of the spectrum, to what Julie Taymor did bringing Frida Kahlo's art literally to life. So it is with Webber's "Girl," we do not only see the artist's inspiration but Vermeer's paintings actually living and breathing. Furthermore, Olivia Hetreed's script is one focused more on moments of silence and unspoken desires, letting the images speak for themselves and allowing the audience to come to their own conclusions. \nLikewise, Colin Firth gives us his best brooding artist, though, at times a bit melodramatic, and Scarlett Johansson rivals her other understated performance of perfection from this past year (i.e. "Lost in Translation"). Webber is also fortunate enough to have a supporting cast that gives delicious performances. Tom Wilkinson, known to play individuals both regal and refined, plays Vermeer's patron Van Ruijven, an incredibly coarse glob of slime that has somehow managed to learn to walk and acquire a bank account. And then, there is Maria Thins, Vermeer's domineering mother-in-law, played impeccably by Judy Parfitt. With little less than the twitch of a lip and the flick of an eye, Parfitt's frozen orbs of ice could send Satan scampering back to Hell, tail tucked between his legs.\nWebber's film is one of whisper-soft observations and moments pulsing with intense delicacy, as he explores the relationship between the artist and his inspiration and the way that relationship effects every other aspect of his life. For those looking for a little more than a two-hour studio plea for a golden statue, Webber's "Girl" won't let you down.