|
 |
 |
 |
|
 |
 |
 |
 |
 |
 |
 |
Nightwatching (2007)
(บรรยายอังกฤษ) |
|
|
 |
|
 |
 |
|
 |
 |
 |
 |
 |
Director:Peter
Greenaway Producer:Kees
Kasander
Screenplay by:Peter
Greenaway
Music
by:Włodek
Pawlik
Cinematography:Reinier
van Brummelen Edited
by:Karen
Porter
Running time:134
min. Country:Canada/France/Germany/Poland/
Netherlands/United Kingdom Language:English
Genre:Biography,
Drama, History Subtitle:English
Starring:
Martin Freeman as Rembrandt,
Eva Birthistle as Saskia van Uylenburg,
Jodhi May as Geertje Dircx,
Emily Holmes as Hendrickje Stoffels,
Toby Jones as Gerard Dou,
Agata Buzek as Titia Uylenburgh,
Natalie Press as Marieke,
Fiona O''Shaughnessy as Marita,
Adrian Lukis as Frans Banning Cocq,
Michael
Culkin as Herman Wormskerck,
Christopher Britton as Rombout Kemp
|
|



Nightwatching is a 2007 film about the artist Rembrandt and the creation of his
painting The Night Watch. The film is directed by Peter Greenaway and stars
Martin Freeman as Rembrandt, with Eva Birthistle as his wife Saskia van
Uylenburg, Jodhi May as his lover Geertje Dircx, and Emily Holmes as his other
lover Hendrickje Stoffels. Reinier van Brummelen is the director of photography.
James Willcock, known for his esoteric sets, is the art director.
The film is described by
co-producer Jean Labadie as "a return to the Greenaway of The Draughtsman''s
Contract." It features Greenaway''s trademark neoclassical compositions and
graphic sexuality. The music is by Włodek Pawlik. The film premiered in
competition, at the Venice Film Festival. Nightwatching
is the first feature in Greenaway''s film series "Dutch Masters". The following
film in the series is Goltzius and the Pelican Company.
An associated work by the same director is the documentary film Rembrandt''s
J''Accuse (2008), in which Greenaway addresses 34 "mysteries" associated with the
painting, illustrated by scenes from the drama.
The film is centred on the
creation of The Night Watch, Rembrandt''s most famous work, depicting civilian
militiamen who wanted to be celebrated in a group portrait. The film posits a
conspiracy to murder within the musketeer regiment of Frans Banning Cocq and
Willem van Ruytenburch, and suggests that Rembrandt may have immortalized a
conspiracy theory using subtle allegory in his group portrait of the regiment,
subverting what was to have been a highly prestigious commission for both
painter and subject.
The film also depicts
Rembrandt''s personal life, and suggests he suffered serious consequences in
later life as a result of the accusation contained in his most famous painting.
หนังตัวอย่าง:
(คลิกที่รูปเพื่อดูรูปใหญ่
สกอเมาส์หรือกดปุ่มคีบอร์ดลูกศรเพื่อดูรูปต่อไป)
|
 |

รางวัล:6
wins & 5 nominations.
|
Leo Awards 2008
Nederlands Film Festival 2007
Polish Film Awards 2008
Venice Film Festival 2007
|
|
Peter Greenaway''s best film and my favorite
10/10
Author: Galina from Virginia, USA
13 October 2009
I love Rembrandt''s work and can spend hours at the
museums or galleries watching his paintings, these
myriads of color brown shades, the contrast of
lights and shadow that makes the faces of his models
mesmerizing even if they don''t have classical
features, the perfect arrangement and settings of
the frames that make his paintings (and drawings,
and prints) cinematographic and him - a forerunner
of movie making back in the 17th Century. There is
warm healing energy that his paintings radiate. I
admire Peter Greenaway, the true painter turned film
director, the possessor of unique style, the master
of exquisite frames, the creator of feasts for eyes,
ears, and brains. Greenaway''s decision to make a
film dedicated to the Europe most outstanding
Artist, his life, loves, and his most mysterious and
dramatic painting, Nightwatching, proved to be the
best Greenaway''s film I''ve seen.
Once I started watching the film last night, I could
not take my eyes off the screen. I always look
forward to seeing Peter Greenaway''s film but
Nightwatching is his masterpiece. It is my favorite
of his work, and it goes to my top favorite films
ever. It is long, yes, 135 minutes but I did not
want it to end. Besides being as beautiful as any
Greenaway''s film, it covers so many subjects and
does it so stunningly and brilliantly that it
literally took my breath away. It includes a mystery
behind the famous painting that the historians of
Art have tried to solve for over 300 years, and it
paints the canvas of life and times of the greatest
Painter ever (yes, for me Rembrandt is IT), in the
style that Rembrandt himself would''ve appreciated,
and it succeeds in everything it was set to achieve,
first and foremost being enormously entertaining.
But the main reason why I LOVE the film, it did
something I never thought a Greenaway''s film would
do - it almost reduced me to tears. I did not know
he had it in him - to make a film not only clever
and intelligent, sharp and satirical, gorgeous and
exquisite, no big surprise here, but also gentle,
passionate, full of love and tenderness, divine and
earthy, and to make me fell in love with the screen
Rembrandt, the flawed, loud, lusty, earthy man
(outstanding superlative performance by Martin
Freeman, he even looks like Rembrandt van Rijn) as
much as I have been already in love with Rembrandt
the Artist. It is not just a feast for brain, eyes,
and ears but the food for soul, for feelings. How
dare some viewers and critics call it boring? There
is love, beauty, the blackest darkness, the glowing
light, intrigue, mystery, crimes, history, grandeur,
compassion, sex, sins, depiction of all stages of
creative process and relationship between the Artist
and his work, and there is Art of the highest
quality in the film. There is so much to talk about;
the movie provides endless references to works of
Art. I just have to mention how masterfully
Greenaway refers to three major loves of Rembrandt,
three women he was connected to, was inspired by,
and immortalized in his paintings. There is Saskia
van Uylenburgh, his wife, the love of his life, his
soul mate, the woman whom Rembrandt described his
feelings for as "close and dear relative that he''d
known and needed all his life" as Minerva in the
beginning of the film. Later on, after Saskia''s
death, there was Geertje Dircx, with whom Rembrandt
experienced the intense mostly physical affair, and
to whom he had given some of Saskia''s jewelry.
Geertje can be seen laying on the bed in the same
exactly pose as Danae on one of the St. Petersburg
Hermitage most celebrated paintings. And then there
was Hendrickje Stoffels, Rembrandt''s last love whom
he''d known since she started to work as a maid in
his household in her early youth. Hendrickje sat for
the paintings of Flora and Bathsheba among others.
At one point, we see her striking the pose of A
Woman bathing in a Stream from London National
Gallery. I see these references to the Rembrandt art
as just a few gifts for a grateful viewer from the
hundreds the film has to offer. This is the best
biography film I''ve seen. Nightwatching is the movie
that makes me believe in cinema. Everything I ever
wanted from a film, Nightwatching has and even much
much more. One of a kind, it is a marvel,
unsurpassable.
Fascinating, brings Rembrandt alive
10/10
Author: oOgiandujaOo from United Kingdom
19 January 2012
Briefly, the plot of Nightwatching is about
Rembrandt''s uncovering of a conspiracy during his
painting of his most famous work the Night Watch.
Just as importantly it''s about the three loves of
his life.
I''ve tried to review this film in the context of
Peter Greenaway''s directing career as it''s pretty
critical to my appreciation. As much an artwork as
any film itself, with a director who has had a long
career, is how all the artworks come together as a
ghost of their creator. The power of women over men
is something that Greenaway has always reflected on
in his films, and in that context Nightwatching
represents a mellowing of his gaze. Always
fascinated by women destroying men or cuckolding
them in some way, Greenaway has made a film where
the central character of the painter Rembrandt lives
amongst women, and whilst often bewildering to him,
they are companions. There are remnants of the past
style at the beginning of the movie where during a
family meal all the women in the room chant
together, "Contemporary women are permitted to
smoke, write, correspond with Descartes, wear
spectacles, insult the Pope, and breast-feed
babies.". The result here is charming as opposed to
alarming. A far cry from "Deadman''s Catch" in
Drowning By Numbers (1988), a catching game where
players are successively handicapped for missing
catches, and finally wrapped in a winding sheet
(traditionally used for corpses) when they lose. The
women escape unscathed, perfect catchers, people
that exist in some sort of harmony with life, who
can find a place and a rhythm. In Nightwatching
women still have that rhythm but they don''t end up
murdering their husbands! On the other hand
Rembrandt does have to defend Hendrikje Stoffels
from the advances of the callow and the licentious,
and women, though with this rhythm are victims of
men rather than succubi.
Another echo is a reference to cuckoldry, when
Rembrandt discourses on how Potiphar was a cuckold
who, "...slept with young men in order to avoid the
temptation of his wife trying to screw Joseph".
Apparently the Jewish tradition relating to Potiphar
related in the Talmud, is that Potiphar bought
Joseph as a catamite. Rembrandt learnt this from a
rabbi friend of his, an interesting fact in a very
well researched movie.
I''ve seen many Rembrandt drawings and paintings in
museums, but I never knew that he had actually
produced a small number of erotic works, which is
something that Greenaway draws out in his extremely
ribald Rembrandt. A fierce critic of Rembrandt,
Andries Pel, who despised Rembrandt''s realism, in
1681 wrote of his females nudes, "...the traces of
the lacings of the corsets on the stomach, of the
garters on the legs must be visible if nature was to
get her due.". Rembrandt''s fascination with this
sort of thing is again picked up on by Greenaway.
When I went to the Rijkmuseum in Amsterdam and stood
in front of the Night Watch, I very much felt that
the men in the painting were poseurs and dandies and
that I had no interest in the painting because of
this. That though was precisely Rembrandt''s point,
and Greenaway really helped to bring the painting
and much of his other work alive. Something that
Greenaway has said about this film is that Amsterdam
for a time in the 1640s was a place of unregulated
wealth gathering by a handful of civil dynasties,
similar to modern Russia.
I felt that in line with what I''m saying about
mellowing and maturity, the choice of composer
Giovanni Solamar, who is far less famous than
frequent collaborator Michael Nyman, follows along
the same trajectory, the music is far less flashy,
but somehow full of confusion and elegiac tones,
more consistent with a film from an older and wiser
filmmaker.
I felt that I could connect with Rembrandt''s grief
at the death of his wife Saskia, and that there was
something quite special about that. Despite the fact
that Greenaway manages to build scarce suspense
around the uncovering of the treachery that
Rembrandt seeks to expose, I think it''s a film that
I will remember forever, with several, to my mind,
iconic scenes. I think it helped immensely in my
taking in of the film that Martin Freeman looks so
much like Rembrandt, especially with the care and
attention the hairdressers heaped upon him,
something that''s quite critical when you have a man
so famous for self-portraiture.
|
|
|
 |
|