This character study joins the painter at the height of his fame in 1642, when his adored wife suddenly dies and his work takes a dark, sardonic turn that offends his patrons. By 1656, he ...
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What do women want? Don Juan is aging. He's arrived secretly in Seville after a 20 year absence. His wife Dolores, whom he hasn't lived with in five years, still loves him. He refuses to ... See full summary »
An 'essayistic' documentary in which Greenaway's fierce criticism of today's visual illiteracy is argued by means of a forensic search of Rembrandt's Nightwatch. Greenaway explains the ... See full summary »
Set in the India of the British Raj. All the Indians are portrayed as untrustworthy, plotting to overthrow their British masters. The only 'loyal' Indian is Prince Azim who tries to warn ... See full summary »
On the sidewalks of the London theater district the buskers (street performers) earn enough coins for a cheap room. Charles, who recites dramatic monologues, sees that a young pickpocket, ... See full summary »
An American businessman's family convinces him to buy a Scottish castle and disassemble it to ship it to America brick by brick, where it will be put it back together. The castle though is ... See full summary »
This character study joins the painter at the height of his fame in 1642, when his adored wife suddenly dies and his work takes a dark, sardonic turn that offends his patrons. By 1656, he is bankrupt but consoles himself with the company of pretty maid Hendrickje, whom he's unable to marry. Their relationship brings ostracism but also some measure of happiness. The final scenes find him in his last year, 1669, physically enfeebled but his spirit undimmed. Written by
Rod Crawford <email@example.com>
When Rembrandt reveals the newly completed painting, 'The Night Watch', we see not the full, original version that he in fact painted, but the drastically butchered version that was made over 40 years after his death, when the painting was moved from its original exhibition space in the Kloveniersdoelen to a less capacious display space in the Amsterdam Town Hall in 1715. See more »
Rembrandt van Rijn:
What is success? A soldier can reckon his success in victories, a merchant in money. But my world is insubstantial. I live in a beautiful, blinding, swirling mist.
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Opening credits prologue: In the seventeenth century Holland was a world power, her ships carried treasure to Amsterdam from all parts of the earth. But her proudest glory was the son of a miller from Leyden, Rembrandt Van Rijn, the greatest painter that has ever lived. He died in obscurity, his belongings no more than a few shillings.
Today no millionaire is worth the money the works of Rembrandt would realise, if ever offered for sale. See more »
Why *can't* they make films like this anymore? Today, a film has to be the best part of three hours long and packed with special effects. In this film we see the story of a man's life told in half that time, made at a studio outside London. (Having said that, it was a box-office failure, presumably the audiences who shunned this flocked to see Clark Gable in 'San Francisco'.)
Charles Laughton's performance is truly great, portraying Rembrandt's vision and artistic integrity (which appears as perverse stubbornness to his fellow citizens), and his deep humanity. His speeches at the inn which mirror each other at the beginning and end of the film, on the glory of perfect love and the vanity of human life, are so beautifully delivered I almost held my breath so as not to miss a word.
More than that, the film succeeds in recreating Rembrandt's world. We see the business-like merchants, self-important local politicians and hard-living peasants who made up Dutch society in the 1600's. One of the most moving passages of the film shows Rembrandt trying to return to his home. He is physically unsuited to his father's work and derided by the villagers. He returns to Amsterdam realising he can't fit in with the merchant-class or the peasant-class where he was raised - he is a man alone.
The supporting cast is noteworthy, including Elsa Lanchester (Mrs Laughton, of course) as Rembrandt's last love, Gertrude Lawrence (although I'm still not sure why audiences seemed to fall in love with her, maybe her histrionics were more suited to theatre) and a large crop of Liveseys (Roger, Jack, Sam - I'm sure there were others).
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