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One of the most well-known paintings by Rembrandt Harmenszoon van Rijn is “The Night Peek,” a dark-hued painting filled with richly, colourfully dressed soldiers.
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Well, no matter how shimmering they are, most paintings don’t extinguish up animated movies — but Peter Greenaway does a resplendent 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 ravishing the movie is — he wraps the movie in lush, light-soaked beauty, and Rembrandt becomes a very steady person.
When his gleaming, 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 develop a baby; it will certainly win that long to perform 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 advise these things in the commence, but he can weave them into “The Night Gawk.”
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 dull young woman — “Nightwatching” is a bit like seeing a painting in motion. And Peter Greenaway gives the movie a very fresh flavor — most of the interior scenes perceive like they were filmed on theatrical stage sets, with little camera angles and soft glorious light falling from above. It works gloriously.
In fact, the only directorial aspect that falls flat is when Rembrandt breaks the fourth wall to drawl the audience about how he met and married Saskia. Arrive 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 contemptible sense of humour, such as Rembrandt lampooning various stuffy military portraits. But the tone becomes darker as the region winds on, and we open to observe 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 fantastic as Rembrandt — selfish, passionate, loving, rebellious, foul-mouthed, volatile and vibrant, a man who lives every moment to the burly. You might not actually like to know the guy, but Freeman does acquire him seem entirely steady. And you raze up liking him despite his odd mood swings — as Saskia lies dying, he weeps pitifully into her lap; after she dies, he’s seen tersely telling her “Bloody win up!” because he can’t cope without her.
And Birthistle, May and Holmes develop a solid trio of women of women who shared Rembrandt’s bed and life. The first two are especially great: Birthistle particularly is knowing, gutsy and Rembrandt’s equal in every plan, while May serves as a apt, down-to-earth seductress who winds her plot into Rembrandt’s affections after Saskia’s death. And Natalie Press is eerily haunting as the tragic servant girl Marieke.
“Nightwatching” is literally dazzling as a relate, but it also has a solid location 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 expansive 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 insensible. 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 powerful to adore in this film. After his disappointing 8 1/2 Women (his worst film), seeing the mammoth 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 extraordinary, the dialogue is witty and hysterical at times, and there’s a lot of splendid emotions throughout the film. The intrigue about the painting and the aftermath when it’s finished is absolutely consuming. There is swearing in this film, and while Rembrandt didn’t hiss like this in his day, the bad language doesn’t seem out of plot in this setting. The film is told often in a very stylized style, so it’s not a completely straightforward biopic, which I procure refreshing. It reminds me a miniature of Derek Jarman’s “biographical” films (like Wittgenstein), which tried to regain inside the head of the subject more than telling a straightfoward memoir of their lives.
The most surprising thing about this film is the absolutely amazing performance by Martin Freeman as Rembrandt. Freeman is a marvelous actor, but he’s best known as Tim from the fresh The Office series, and I was a itsy-bitsy weary of seeing him in a true dramatic role. My fears were fraudulent, as he pulls this role off amazingly. You totally fill he’s Rembrandt. The other performances are really capable as well, and the film is a must for Greenaway fans, but other people should gawk 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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