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One of the most noted paintings by Rembrandt Harmenszoon van Rijn is “The Night Sight,” a dark-hued painting filled with richly, colourfully dressed soldiers.
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Well, no matter how knowing they are, most paintings don’t destroy up enchanting movies — but Peter Greenaway does a delicate colorful job with “Nightwatching,” a semi-fictionalized version of how Rembrandt came to paint it. The “hidden coded message” subplot is a bit awkward, but Greenaway’s brilliance shines in how blooming the movie is — he wraps the movie in lush, light-soaked beauty, and Rembrandt becomes a very valid person.
When his luminous, independent wife Saskia (Eva Birthistle) gets pregnant, Rembrandt (Martin Freeman) is called upon to paint an Amsterdam Civil Guard — he doesn’t want to, but reluctantly agrees under the condition that he gets nine months (“(It takes that long to originate a baby; it will certainly engage that long to effect a painting”) and chooses the setup. Meanwhile, Saskia gives birth to a healthy baby but becomes ill herself (which frustrates her lusty husband) .
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In fact, Saskia becomes more sickly as the painting goes on — and when she dies, Rembrandt’s closeness to Titus’ nursemaid Geertje (Jodhi May) and maidservant Hendrickje (Emily Holmes) becomes quite different. And his straightforward commission is complicated by the sudden death of a young officer, which reveals a seedy clot of sex, blackmail and corruption. He can’t sing these things in the launch, but he can weave them into “The Night Inspect.”
Rich draperies, misty forests, torch-waving brigades in a darkened bedroom, high windows filled with pale sunlight, expansive empty rooms, smoky kitchens, and the pale angelic face of a expressionless young woman — “Nightwatching” is a bit like seeing a painting in motion. And Peter Greenaway gives the movie a very original flavor — most of the interior scenes search for like they were filmed on theatrical stage sets, with petite camera angles and soft pretty light falling from above. It works gloriously.
In fact, the only directorial aspect that falls flat is when Rembrandt breaks the fourth wall to hiss the audience about how he met and married Saskia. Near on, no talking to the camera!
Not that this movie is all ethereal beauty — there’s lots of bawdy, earthy humor, sensuality (Geertje posing nude for her lover) and a defective sense of humour, such as Rembrandt lampooning various stuffy military portraits. But the tone becomes darker as the site winds on, and we begin to discover what is up with the ethereal, broken teenage girl who wanders onto rooftops to talk to Rembrandt. Throughout it all, there’s the feeling that Greenaway has turned dusty history into vibrant flesh-and-blood realism.
Freeman is absolutely unbelievable as Rembrandt — selfish, passionate, loving, rebellious, foul-mouthed, volatile and vibrant, a man who lives every moment to the tubby. You might not actually like to know the guy, but Freeman does originate him seem entirely sincere. And you demolish up liking him despite his uncommon mood swings — as Saskia lies dying, he weeps pitifully into her lap; after she dies, he’s seen tersely telling her “Bloody gather up!” because he can’t cope without her.
And Birthistle, May and Holmes invent a solid trio of women of women who shared Rembrandt’s bed and life. The first two are especially great: Birthistle particularly is bright, gutsy and Rembrandt’s equal in every procedure, while May serves as a obliging, down-to-earth seductress who winds her plan into Rembrandt’s affections after Saskia’s death. And Natalie Press is eerily haunting as the tragic servant girl Marieke.
“Nightwatching” is literally stunning as a characterize, but it also has a solid state with plenty of period earthiness to support it grounded. Peter Greenaway really outdid himself with this one.
I adored this movie. I’ve always been a colossal Peter Greenaway fan (and I’ve actually met him as well), but he hasn’t been heard of lately, and his Tulse Luper trilogy was hardly released at all. The few clips of that series were quite stodgy and unimaginative. So when Nightwatching came out on DVD, I had reasonably decent expectations. It surprassed them. Nightwatching is a masterpiece, one of Greenaway’s best films, and his best film since Prospero’s Books.
There is so worthy to treasure in this film. After his disappointing 8 1/2 Women (his worst film), seeing the big Greenaway style again in top get is heartwarming. The cinemtography is really striking. It’s some of the best I’ve seen in Greenaway’s work in a long time. The sets are astonishing, the dialogue is witty and hysterical at times, and there’s a lot of top-notch emotions throughout the film. The intrigue about the painting and the aftermath when it’s finished is absolutely gripping. There is swearing in this film, and while Rembrandt didn’t deliver like this in his day, the despicable language doesn’t seem out of set in this setting. The film is told often in a very stylized style, so it’s not a completely straightforward biopic, which I come by refreshing. It reminds me a small of Derek Jarman’s “biographical” films (like Wittgenstein), which tried to gather inside the head of the subject more than telling a straightfoward fable of their lives.
The most surprising thing about this film is the absolutely improbable performance by Martin Freeman as Rembrandt. Freeman is a safe actor, but he’s best known as Tim from the unusual The Office series, and I was a microscopic weary of seeing him in a actual dramatic role. My fears were fallacious, as he pulls this role off amazingly. You totally hold he’s Rembrandt. The other performances are really superb as well, and the film is a must for Greenaway fans, but other people should eye it as well. Nighwatching is one of Peter’s best works, a welcome return for a filmmaker that many have forgotten about (but shouldn’t have) .
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