Rembrandt (1936) User Reviews

Laughton on canvas

[bkoganbing · 8/10 · 12 December 2005]

Charles Laughton returned to his native Great Britain in 1936 for three years and made a series of films there. The first and best of these was for Alexander Korda about Rembrandt Van Rijn, arguably the greatest of all Dutch painters.

Later biographical pictures, Lust for Life about Van Gogh and Moulin Rouge about Toulouse-Lautrec had good location photography going for them. Alexander Korda did create some nice sets to depict the Netherlands of the 17th century, but it just isn't the same.

Another difference between Rembrandt and the other two later pictures is while Van Gogh and Toulouse-Lautrec died young, Rembrandt lived to be an old man by the standards of his century. The film takes us on a forty year journey of his life from the death of his first wife until just before he dies. Laughton is great at capturing Rembrandt at every stage of his life.

As compared to those other two 19th century artists, Rembrandt's life was also not the tormented one the others had. Rembrandt is not a deformed cripple like Toulouse-Lautrec nor is he dealing with the onset of mental illness like Van Gogh. Tragedy happens in his life, but the tragedy isn't out of his own character.

Like the other two Rembrandt was constantly plagued with money problems. That's actually what takes up most of the film, the compromises he makes with his artistic vision and the need he has to put bread on the table.

Gertrude Lawrence and Elsa Lanchester do fine as the two women in his life. Laughton and Lawrence did not get along during the making of Rembrandt, that may have helped give their scenes some real bite. Three members of the performing Livesey family are in this film and Roger Livesey is a standout as the beggar who Rembrandt uses to paint his portrait of King Saul from the Old Testament.

Rembrandt is a finely crafted piece of film making and Charles Laughton gives one of his best screen performances. I wish though it had been done on location the way Lust for Life and Moulin Rouge were.

A Fine Laughton Performance

[harry-76 · 8/10 · 31 March 1999]

Charles Laughton's heartfelt performance as the famed Dutch painter, Rembrandt, highlights this stylish biography, produced by Alexander Korda. Laughton's real-life wife, Elsa Lancaster, and Charles work together beautifully, and the film boasts a performance by the legendary stage actress, Gertrude Lawrence. One can see that Laughton really loved this role, and gave it his all. Certainly this is one of the more successful artist bios on film.

brilliant performance by Charles Laughton

[blanche-2 · 8/10 · 28 April 2011]

Charles Laughton is "Rembrandt" in this 1936 film he made for Alexander Korda, one of three films he made in England during this time.

The story takes us through Rembrandt's sad life, and manages at the same time to leave out a lot of sadness. The film shows his son Titus, but there were several other children who did not survive. The great tragedy of Rembrandt's life was the death of his wife Saskia, whom he painted often. Rembrandt was also known for asking Jews to pose for his Old Testament paintings, which are informed by his knowledge of the Bible.

There were two other women in Rembrandt's life: his common-law wife Hendrickje Stoffels (Elsa Lanchester) and his housekeeper, Geertje Dirx (Gertrude Lawrence) who evidently became his lover. She later sued Rembrandt for breach of promise, and he had to pay her 200 guilders a month. For years he tried to get her committed.

Rembrandt is shown falling into poverty here. When his fortunes dimmed as an artist, he continued to work as a teacher. Bad investments were the main cause of his problems. In truth, his paintings remained popular throughout his lifetime, and the one for which he is chastised in the film actually was a huge hit.

Laughton portrays Rembrandt as a man of tremendous artistic integrity, a learned man with soul, heart, and a great feeling for language. Indeed, Laughton's monologues are absolutely beautiful; had he read the phone book, I would have been just as enraptured. Elsa Lanchester is very young here, all eyes, and gives a very sweet performance as the frail Hendrickje. Gertrude Lawrence is an absolute spitfire as Geertje.

Wonderful film. Don't miss this breathtaking Laughton performance.

Truly wonderful

[vaughan.birbeck · 26 January 2001]

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).

Acting and cinematography somewhat balance out aimless script

[cherold · 6/10 · 23 November 2009]

Charles Laughton's beautifully nuanced performance as Rembrandt plus excellent cinematography are the main reasons for watching this biopic. Unfortunately, while it's fairly interesting at first, the movie doesn't really go anywhere. And I was always skeptical of the "tortured artist painting for the love of it" take on Rembrandt. I don't know anything about Rembrandt, but painting was very much a business and a craft in those days and while I'm sure there were tortured artists trying to say something, I don't know that they were as common as they are today.

I was reinforced in my suspicions by wikipedia, which for example says Rembrandt was always popular as a painter and that the painting of the regiment was a tremendous success from the moment it was unveiled.

So I don't think I learned much about Rembrandt, but the movie beautifully captures the look of his paintings and Laughton is brilliant (and also looks remarkably like Rembrandt).

Sketchy and episodic

[planktonrules · 6/10 · 15 November 2009]

This biography of the painter, Rembrandt, is nice to look at because the costumes appear appropriate and the film appears to have been filmed in or around 17th century Holland. However, according to IMDb, the film was made in England--not Holland. If this is true, Alexander Korda oversaw a wonderful recreation of the place--complete with houses that look like those you'd see in Amsterdam.

Unfortunately, while the film looked very good, the script seemed very sketchy and episodic. Instead of telling a coherent story, it only showed portions of his life. Instead of focusing on his early years, the film finds him at mid-life--already a success. It also finds him in financial difficulties. However, all his financial successes are pretty much ignored--focusing on his long downfall--which wasn't exactly like his life really was. Sure, he had lots of financial problems due to reckless spending, but at the same time he was very prolific as well as popular--something you'd never suspect if you watch this film! It's entertaining in many places, but confusing and shallow as well.

Overall, interesting to watch but not a film I'd recommend to anyone who really wants to learn about the great artist.

No fan of Laughton...but...

[vincentlynch-moonoi · 7/10 · 29 October 2018]

I've never been a fan of Charles Laughton, although there are occasions (such as in "Witness For The Prosecution") where I fully admit that he was often an excellent actor. This is another such case. Just a couple of weeks ago I saw him in "The Old Dark House" and thought he was horrible. But here...top notch.

The supporting cast includes Gertrude Lawrence (what a horrible character she played here) and Elsa Lanchester (Laughton's wife, and rather innocent acting here -- a far cry from "Bride Of Frankenstein".

What was interesting here, also, were the sets of Holland. So vivid.

The film seems very old-fashioned, but I was impressed by it.

A Portrait Of A Genius - By A Genius

[Ron Oliver · 10/10 · 14 June 2003]

REMBRANDT Harmenszoon van Rijn (1606-1669), overcomes personal tragedy & great sorrow to be revered as the world's greatest painter.

Sir Alexander Korda's production of the life of the celebrated artist is beautifully presented on screen. Chief among its assets - and the main reason for its success - is the magnificent performance by Charles Laughton. Eccentric & temperamental, Laughton could be difficult to work with. But once fascinated by a role he gave it the full vibrato of his own extensive genius - here he makes Rembrandt an equal member of his continuing roster of fascinating portraits from the decade: Henry VIII, Bligh, Quasimodo.

Laughton had the remarkable ability - like the English actor George Arliss, working in the American cinema - of using his physical ugliness to great advantage, his eyes in particular offering glimpses of his characters' souls. At various points throughout the film - a monologue of Woman's Mysteries; reading from The Scriptures - Laughton's beautiful, soothing voice reaches beyond the screen and down the years to caress the listener.

Making a rare screen appearance, stage legend Gertrude Lawrence plays Rembrandt's shrewish housekeeper & companion, Geertje Dirx. Laughton's wife, the luminous Elsa Lanchester, is unforgettable as Hendrickje Stoffels, the housemaid who wins her employer's love and becomes his greatest defender and champion.

The wonderful actor Roger Livesey, almost unrecognizable behind a bushy beard (but there's no disguising that unique voice) is memorable as the ragged beggar Rembrandt hires to model the Old Testament despot Saul; Livesey's scenes with Laughton are among the best in the entire film. John Bryning turns in a sensitive portrait as Rembrandt's son Titus. Sir John Clements has the small role as Govert Flinck (1615-1660), Rembrandt's disaffected apprentice and eventual rival. Movie mavens will recognize an uncredited Wilfred Hyde-White in a tiny cameo as an officer of the Amsterdam Civic Guard.

The film is given first rate production values, with marvelous interior sets & costumes. The exterior Amsterdam sets are visually striking, with the camera angles and the stark angularity of the buildings making them look almost expressionistic. These contrast nicely with the simplicity with which the brief outdoor rural scenes are depicted.

**********************************

Some important dates in the life of Rembrandt:

15 July 1606 - born in Leiden, The Netherlands, to the local miller.

1620-21 - attends University of Leiden.

1631 - moves to Amsterdam.

1634 - marries wealthy Saskia van Uylenburgh.

1639 - purchases large Amsterdam house.

1641 - son Titus is born.

1642 - Saskia dies; Rembrandt paints 'The Shooting Company of Captain Franc Banning Cocq ('The Night Watch').'

1649 - hires Hendrickje Stoffels as housekeeper; she becomes his common-law wife.

1654 - Hendrickje, pregnant with daughter, is censured by church council for living in sin.

1656 - Rembrandt declared insolvent; house & goods auctioned to pay debts.

1663 - death of Hendrickje.

1668 - death of son Titus, aged 26.

4 October 1669 - dies in Amsterdam.

Rembrandt produced approximately 300 etchings, 600 paintings and 1,400 drawings.

portrait of the artist

[mjneu59 · 7/10 · 29 December 2010]

Charles Laughton's sensitive performance in the title role of this modest biography is in perfect harmony with the subdued drama of the Dutch artist's best canvasses. Of course films about fine art aren't generally known for their blockbuster appeal, and the life and career of Rembrandt von Rijn was not exactly packed with thrills, but the riches-to-rags story told here shows clearly enough the consequences of maintaining artistic integrity in the face of mediocre commercial pressures. The script follows Rembrandt's fall from grace after his paintings were met with critical derision and public bewilderment, and his predicament must have held special resonance for producer/director Alexander Korda. The film itself was (not unlike its subject) a commercial failure, although it stands up very well today compared to much of the fluff released at the same time.

Still New as Portrait of Man and Artist

[marcin_kukuczka · 9/10 · 20 January 2013]

"Pictures must not be too picturesque" (Ralph Waldo Emerson).

Alexander Korda, the founder of London Films, appears to be an altogether intriguing personality in cinema history. Brian Eggert in his Deep Focus review nicely observes that he frames his characters "in a way that personalizes the drama, seeing them as people and not dry historical figures." How beautifully this notion occurs to manifest itself in this picture. His REMBRANDT is a movie which is far from any biographical approach but rather stands out as an insight into an artist tormented by conflict between the gravity of 'properly social' requirements and the eagle's wings of inspirations - a genius whose life and work are far from 'too picturesque' traditionalized sweetness. Therefore, Emerson's quote, which I entailed at the beginning of my review, seems to correspond to that development which we find in this barely 'ornamented' 80 minute-long film.

The fact that Korda's movie boasts of many charming moments, beautiful camera shots, dazzling costumes and stunning cinematography remains pretty indisputable. Although the recreation of the Amsterdam of the time does not occur to be fully satisfactory due to certain lacks of possibilities at hand, the interiors make for artistic impressions. The cinematographer Georges Perinal powerfully employs his efforts to combine visual with overtones (consider Rembrandt's indicative love scene with his wife to come, the shadows, the name of his desire written on the table and the ever present storm that sets the tone for the sensually typical moments on the screen). But it is not where the film's triumph really lies.

When seeing the film nowadays, it seems that we are watching quite a modern approach to the 'interpretations' of an artistic personality. The movie, as I have mentioned before, does not focus on descriptive approach of Rembrandt's paintings but rather on the protagonist who speaks his mind, shares what lies deep down his heart. In this way, it's not just like "I am going to present to you a life of an artist" but he invites a viewer for a fruitful discourse of perceptions. Of course we could quarrel here to what extent it is the historical Rembrandt. Ignoring some cinematic liberties taken with the genial leading hero of art, we are at least supplied with a vibrant, vital, engrossing image of a man who grows in both skill and thought. Isn't that what many of us long for in movies?

Apart from flawlessly delivered biblical verses corresponding to his life experience, Rembrandt (Charles Laughton) shares with us his thoughts about life, women, social status, success, his vision of the 'caged' world. His inner dictates allow him to reveal himself, his struggles between vision and reality, 'women' and 'wives,' conventions and Love. As the movie skips all glorification, all baseless idealization or illusionary assumptions, we may 'properly' talk about the movie in terms of Korda's revolutionary approach along with Laughton's revelatory portrayal that deeply focus on the humanity of character. This 'humanization' refers to many scenes from the frequently discussed rejection of THE NIGHT WATCH when Rembrandt powerfully makes it clear to everybody that he wanted to 'paint men. Soldiers. Company marching out' instead of glorified 'gentlemen of rank and position' through his encounter with one of his 'lowest of the low' subjects of painting, a beggar (played by Roger Livesey) along with the lesson both learn from each other, Rembrandt's visit at his hometown Leyden where he aims at recognizing his sense of belonging and hopes to restore his sense of attachment... Concluding from the turmoil, an artist belongs nowhere but his inner individualized existence.

In one scene, Rembrandt says: "Every man is a destined path." Nowhere does it appear as clear as in his relation to WOMEN. He seems to be in love with his wife Saskia (whom we actually never see on screen) but as soon as we appreciate the witty verses in a skillful game of words, funeral chimes toll over the windowed husband mourning and grief. In one moment when he tries to forget the sorrows, he spills the beans about the inner desires (I need a woman I can call my wife) and, unreasonably, gets married to his housekeeper Geertje Dirx (Gertrude Lawrence). However, she symbolizes all that is 'material' and 'down-to-earth' in a subtle man's perception of a woman. "Use your common sense" seems to be the slogan that does not only takes hold of her but which also interrupts the artist's great moment of inspiration. As a cure comes a young and beautiful Hendrickje Stoffels. Strikingly similar in looks to the artist's wife, she inflames jealousy within the envious woman and the Sanhedrin-like assembly of accusers. Within the moral and financial hazards, the love of the two does not find obstacles serious enough to spoil their feelings.

ELSA AND CHARLES supply the movie solely with power scenes of unique chemistry. Brian Eggert memorably points out that "Laughton's busy hands and eyes create an observant, thoughtful character" being "bold yet timid and modest, as only a poor but gifted genius could be." However, he shines fully at Elsa's side Their most unforgettable scene shows them 'recreate' their first meeting when he looks at her as both and artist and a man. With its height of emotions within 'from the inside out' method, derived from Stanislavskyan school, the moment beautifully addresses human longing for the possibility to experience the happiest moments of life once again. Yet, at the same time, it draws parallels with an intriguing assumption that true love is the only source of happiness in anyone's life.

A highly worth seeing movie about a man whose was a destined path and yet a man whose modest approach derived from Solomon's words of wisdom have resulted in transcending portraits that still personify absorbing developments of artists tormented by storms yet touched by the grace of talent...and inspiration growing in a ray of enlightenment.

Entertaining,witty and at times moving look at the life and times of one of the key figures of European culture

[JamesHitchcock · 7/10 · 16 December 2016]

"Rembrandt", officially a British film, was something of an international collaboration- a film about a Dutch painter made in Britain by a Hungarian director (Alexander Korda) and a French cinematographer (Georges Périnal) and based on a story by a German author (Carl Zuckmayer, at the time in exile from Nazism). The action begins in 1642, shortly before the death of Rembrandt's beloved first wife Saskia, and then follows the rest of his life and career. It explores the central paradox of Rembrandt's life, namely why a man today regarded as one of the greatest painters who ever lived should have gone bankrupt and died in poverty. As he was seen as a great artist even by his contemporaries, the answer is not that stock cliché about the unrecognised genius starving in a garret and being rewarded by a grateful posterity with the fame and honour that were denied him during his lifetime.

The answer, at least according to the film, is that Rembrandt's talents as an artist were equalled, or nearly so, by his talents for wasting money and for alienating people. He insists on painting as he likes, without regard to his patrons' wishes, and when his patrons attempt to remonstrate with him he roundly abuses them for their pains. In his dealings with the wealthy burghers of Amsterdam he insists on his status as a man of the people- he was a miller's son- but in truth he does not get on any better with the common people than he does with the burghers. On a visit to his father's mill in the countryside he insults the local peasantry and gets into a brawl in an inn.

The above synopsis might make it seem as though Rembrandt was a most unpleasant fellow indeed, but that is not quite how he is played by Charles Laughton. (Laughton had previously worked with Korda on "The Private Life of Henry VIII"). Laughton's Rembrandt is indeed a flawed character, but he is also a man of great vitality with a great love for life. He has a number of redeeming characteristics, such as a deep love not only for Saskia (who does not actually appear in the film) but also for his second wife Hendrickje, who is played by Laughton's real-life wife Elsa Lanchester. He is also resourceful, something shown by his scheme to frustrate his creditors who will not allow him to paint unless he hands over all his completed paintings to them. At times Laughton could overact frantically, Hitchcock's "Jamaica Inn" being a case in point, but his performance in this film is a fine one. Lanchester is also good as Hendrickje, but the actor who really steals the show is Roger Livesey as the beggar whom Rembrandt asks to pose for one of his pictures.

This is one of those films which might have looked better in colour. The set designers obviously went to some lengths to capture the look of seventeenth century Holland, or at least the look of seventeenth century Dutch art. Both the interiors and the exteriors recall the work of Dutch painters of the period, not only Rembrandt himself but also Vermeer and De Hooch. In 1936, however, colour film was an expensive luxury, so black-and-white it had to be. This possibly explains why so few of Rembrandt's actual pictures (apart from "The Night Watch", which plays an important role in the plot) are actually seen.

Despite this, however, "Rembrandt" is a film which stands up well today, something one cannot say about a lot of films from the thirties. Korda, Zuckmayer, Laughton and the other talents involved combine well to produce an entertaining, at times witty and at times moving look at the life and times of one of the key figures of European culture, and also to say something about the nature of artistic creativity. 7/10

Stunning Laughton performance

[fred-houpt · 10/10 · 27 May 2008]

Just a short review here. I had not seen this film but bought it on the whim to suddenly want to see Laughton....had seen him in Mutiny and was of course very impressed. But this film shows Laughton's greatness even more. There are at least 3 and maybe 4 scenes here where Laughton reads portions of the Old Testament to people around him. He reads quietly and with a world weary reflection in his voice. In moments I was overcome with shivers down my neck. It was incredible to hear that voice. I read recently that he had a knack for being able to hold huge audiences totally spell bound while he read something or other. I can see why. I can only think of a few others, Orson Wells, Richard Burton who could entrance the audience just with the subtle use of a quiet voice. Oh that the modern acting world had such talent. But we do not have anyone of Laughton's ability working today.

This is a fantastic film that should be seen over and over again. I am so very thrilled to have chanced upon it. You simply cannot find a more moving portrayal of a great man by one of the finest actors in any generation. Wonderful entertainment and not to be missed.

Very good. Much better than I thought it would be.

[Therese_Letanche36 · 7/10 · 26 June 2006]

I thought "Rembrandt" was a very good movie. I expected it to not be very good because I had heard that Gertrude Lawrence's acting was not exactly cream of the crop. I thought it was not bad at all. She did a fine job. The reason I watched the movie was for Gertie. I knew I recognized the name "Elsa Lanchester" also. I just researched and found out that she played the character of Katie Nanna in "Mary Poppins". Duh. So for the record, Elsa Lanchester was from Mary Poppins. I hope it doesn't distract anybody else the way it distracted me. I didn't get to watch the movie as well as I would have liked to, because Elsa Lanchester was bothering me like crazy. I might have to watch it again sometime, if I can get my hands on it. It might be one of those movies where you have to watch it a few times to really GET it. Be prepared to watch it one day, and then again the next day. I really do recommend it, however. And also, a fine acting job by Charles Laughton. I've never heard of him before, but he did a very good job of making me believe he was truly miserable. A very good and classic movie.

Stylish but slow-moving biography gives Laughton a gem of a role...

[Doylenf · 5/10 · 23 October 2007]

REMBRANDT was made at a time when CHARLES LAUGHTON returned to his native England to do some work there for Alexander Korda. It happens to be one of his best works, but the film itself does not do the artist justice. GERTRUDE LAWRENCE in one of her rare screen roles is fine, as is ELSA LANCHESTER as the woman he would eventually marry in the film and was already married to in real life--but the script never really paints a full enough picture of the artist's life.

Despite financial struggles, Rembrandt's life was not as colorful or full of tragic ironies as some of the other artists whose lives were depicted on screen and the screenwriter has not chosen to create any additional conflicts beyond the financial problems which plagued so many artists. Thus, his tale is told in a brief running time (by today's standards), no frills added. He died in obscurity, penniless--one of the world's greatest artists whose masterpieces are worth millions today.

The 17th Century detailed sets look authentic and were designed by Vincent Korda, but the story drags interminably through a number of vignettes which never paint a complete portrait of the artist. Just as interest is waning, ELSA LANCHESTER enters the picture and saves it from being completely dull.

Summing up: Interesting for history lovers or artists, but others beware. The story itself is simply not interesting enough.

a great artist's biography

[didi-5 · 8 October 2001]

Truly wonderful and worth all the plaudits piled on this film after sixty-odd years. Laughton was arguably never better than in this role and has able support from Elsa Lanchester, Gertrude Lawrence (fascinating to see her and she made few films and they are rarely seen nowadays), the Livesey clan etc etc. A film of atmosphere, of clarity, and of soul, like a Rembrandt painting in fact. Marvellous.

not bad

[kyle_furr · 6/10 · 22 March 2004]

My main problem with this film and The Private Life of Henry VIII is that they are badly directed by Alexander Korda. Charles Laughton is great as usual and the movie is just too short. It's just not as good as other movies about painters like 1956's Lust For Life starring Kirk Douglas as Vincent Van Gogh. This movie stars out with Laughton dying on him and then 10 years later he's married again and now he's bankrupt. So, every time he paints he has to give to his debtors. Laughton tries to go back to his birthplace but they kick him out and tell him to live with his own kind. Laughton meets Elsa Lancaster and they fall in love and they find a way for him to keep his paintings. It's OK to watch once but that's about it.

OK Biopic Has Top of the Line Cast - Rembrandt

[arthur_tafero · 6/10 · 24 March 2022]

Mr. Korda was, in my opinion, an overrated director, who concentrated too much on framing and style, and not enough on creating believable scenes in a film. He never really made a good film. This one is passable only because of the cast of the husband and wife team of Charles Laughton and Elsa Lancaster (Bride of Frankenstein; no relation). Getrude Lawrence, star of stage, never really made the transition to film, and is also featured. Story of the life of Rembrandt. If you have trouble sleeping, you might want to view this one late at night.

captain bligh paints!

[ksf-2 · 7/10 · 13 October 2023]

Once you get past picturing charles laughton as captain bligh, you can just enjoy this portrayal as dutch artist rembrandt van rijn. Lots of troubles in his life, but some were self-induced. Bad luck with women, for various reasons. Rembrandt lived about the same time galileo, who also challenged the beliefs and ideals of the time. When he didn't have a (female) model available, he was known for painting his own portrait. Many times. He was quite prolific, and wikipedia tells us that many of his works remain to this day. Don't mistake him or his works with italian artist rembrandt bugatti. And note that hendrikje is played by chuck's actual wife elsa lanchester. They were married for thirty years, and made tons of films together. A simple version of rembrandt's home life, it's mostly well done. Directed by alexander korda.

A Superb Movie

[CryptoGuy · 8/10 · 13 March 2009]

This was a superbly acted movie. I happened across it on TCM and was instantly sucked in. The dialogue was written very well and beautifully portrayed by all of the actors. This is not a typical movie from 1936 with over the top deliveries from the talent. I just can't say enough about it.

Additionally, it was shot very nicely. Keep in mind that this is a very old movie, but the black and white photography is put together in an almost Rembrandt way.

If you haven't seen Rembrandt then go and get it. You won't be disappointed. Well done!

Splendid bio with superb interpretations and full of visual as well as evocative scenarios

[ma-cortes · 7/10 · 10 July 2023]

This character study joins the notorious painter Rembrandt (the always great Charles Laughton) at the height of his fame in 1642 , when his adored wife suddenly dies and his work takes a dark, twisted turn that offends his patrons . By 1656, the tender and tempestuous Rembrandt is bankrupt but consoles himself with the company of Geertje Dirx (one of Gertrude Lawrence's rare movie appearances) and attractive maid Hendrickje (Elsa Lanchaster , Laughton real-wife), whom he is unable to marry. Their relationship brings ostracism and isolation , but also some measure of happiness . The final scenes find him in his last year , 1669 : he is physically enfeebled but his spirit remains undimmed . The Private Life and Loves of...He was a Devil with women!. Give Me a Beautiful Woman ! And I will make men worship and gaze upon her forever ... One mad moment of love brought him a lifetime of fear !!!!. Only his life and loves could paint so vividly dramatic a motion picture! He knew women..as no man ever did...better than they knew themselves! Beautiful Women...saints and sinners, tender and tempestuous...feeding the fires of his genius with reckless abandon!.Eager to share his exciting life...his intense love...even the wrath of men who cried: "Shame!"

Atmospheric and handsome picture plenty of visual tableaux upon the excellent Dutch painter and his models , as he is considered to be the most important Dutch painter , he was dedicated, almost exclusively , to interior scenes that he paints with enjoyable colour, as well as outdoors from Dutch locations . Less successful at the time than the earlier ¨Alexander Korda's Private Life of Henry VIII¨ , but a far better movie thanks to a subtle , touching acting from Charles Laughton as the ageing painter coming to terms with both the death of his beloved wife Saskisa and an increasing hostility to his work . Showing the extraordinary paintings , and the family scenario are really authentic . Here the respected painter takes to drink and faces down scandal after his wife dies . The film plot is plain and simple and it is almost slow-moving because happening limited events , but it results to be acceptable and sparked by top-notch acting . Picture is correctly based on real deeds , although there's also fiction and depicting the artistic creation process . Surprisingly sombre , it lacks a tight script , but appeals through its vivid characterization , George Perinal's lovely camerawork and excellent Vincent Korda production design . The motion picture was well directed by Alexander Korda.

Adding more remarks about Rembrandt Harmenszoon van Rijn (1606-1669) life : he's usually simply known as Rembrandt, he was a Dutch Golden Age painter, printmaker and draughtsman. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art. It is estimated Rembrandt produced a total of about three hundred paintings, three hundred etchings and two thousand drawings. Unlike most Dutch masters of the 17th century, Rembrandt's works depict a wide range of styles and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, biblical and mythological themes and animal studies. His contributions to art came in a period of great wealth and cultural and scientific achievement that historians call the Dutch Golden Age, when Dutch art (especially Dutch painting) was prolific and innovative. Rembrandt never went abroad but was considerably influenced by the work of the Italian Old Masters and Dutch and Flemish artists who had studied in Italy. After he achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His 40 self-portraits form an intimate autobiography. Rembrandt's foremost contribution in the history of printmaking was his transformation of the etching process from a relatively new reproductive technique into an art form. His reputation as the greatest etcher in the history of the medium was established in his lifetime. In 1624 or 1625, Rembrandt opened a studio in Leiden, which he shared with friend and colleague Jan Lievens. In 1627, Rembrandt began to accept students , in 1629, Rembrandt was discovered by the statesman Constantijn Huygens who procured for Rembrandt important commissions from the court of The Hague. As a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt. Rembrandt lived beyond his means, buying art, prints and rarities. In January 1653 the sale of the property formally closed but Rembrandt still had to pay half of the mortgage. Then the creditors began to insist on installments but Rembrandt refused and asked for a postponement.

A Potted Biopic with Terrific Acting

[lawprof · 8/10 · 11 March 2004]

Artists speak through their paintings and, often, their lives are not that interesting. "Van Gogh" gave us a good screen character because that film maximally milked his neurotic excesses. Very recently, "The Girl With a Pearl Earring" concocted a fantasy vision of long ago Delft and framed without fear of contradiction by scholars the life of an artist, Vermeer, about whom very, very little is known.

In 1936, the great age of the Studio System, Alexander Korda produced and directed "Rembrandt," a sprawling and somewhat disjointed portrait (pun intended) of Rembrandt van Rijn. Charles Laughton alternates as a boisterous or then somewhat subdued Rembrandt. He loses his wife to illness and then takes up with a domestic, Geertje, played by Gertude Lawrence. Lawrence is fine as a woman who combines common sense with hectoring but who, in the process, sacrifice's the relationship's initial passion to hnadling daily burdens.

This Rembrandt has no idea that in the future his paintings will be quite desired by museums and thieves, including celluloid ones. He paints, he proclaims, what he sees and not what his patrons want. A huge painting of the Civic Guard is unveiled to shock and denunciations as, Goyaesque, the contributors to the fund for the painting see themselves savagely lampooned.

A new model, Hendrickje, charmingly acted by a beautiful and youthful Elsa Lanchester, steals Rembrandt's heart and body, leaving the long suffering Geertje out in the cold.

Rembrandt's relationship with Hendricktje is the most charming part of a film that blends unconvincingly connected scenes together. There's too much noise: Rembrandt paints, Rembrandt drinks (a lot), Rembrandt is hounded by creditors, Rembrandt runs back to dad. Laughton's acting carries the film and when he occupies center stage he is never less than attention-grabbing. But this isn't the Charles Laughton of "Mutiny on the Bounty," there a riveting character. Laughton's Rembrandt is a fellow one might care to sip smooth Holland gin with but he's no character with a deep soul inviting speculation and drawing the best from a great actor.

"Rembrandt" is a studio product well representative of its time. On that basis it merits enjoyable viewing.

8/10.

Best movie containing scenes how to beg

[cjdroberts-1 · 10/10 · 11 October 2006]

This is one of the best-ever biographic flicks about the life of an artist.

The scenography is brilliant. The script is minimalist, but just sufficient.

Learn how to beg. This film tells it all. Get that leg kick just right! Not exactly pennies from heaven, but the House of Orange willingly provides. Never trust merchants or burghers to pay up.

Learn how to love. This story is a true love story.

That's the law in Holland! Vanity of vanities, all is vanity!

Wish this film were out on DVD in the UK,

Visually superb but otherwise leaden.

[MOscarbradley · 5/10 · 24 March 2020]

Of all the films made about great painters Alexander Korda's "Rembrandt" is still one of the most visually astonishing. Almost every frame, (designer is Vincent Korda and the DP, the great Georges Perinal), is a work of art in itself and Charles Laughton, in the title role, is like a self-portrait come to life. Unfortunately, it ends there. Korda was a dreadfully pedestrian director and this fairly limps along, not helped by the terrible dialogue and some very wooden acting from the supporting cast, including a very shrill Gertrude Lawrence. Only the great Elsa Lanchester comes close to delivering a real character and her scenes with Laughton give the film a much needed lift. Had this been a silent picture, it might really have been something.

Rembrandt van Rijn- portrait of an artist

[Petey-10 · 9/10 · 1 February 2011]

Alexander Korda's Rembrandt (1936) portrays the life of the troubled Dutch artist Rembrandt van Rijn (1606-1669).We see his grief over the death of his beloved wife Saskia, we see him falling in love with the maid and fighting with the creditors.There is some brilliant writing from June Head and Lajos Biró, and it's based on the story by Carl Zuckmayer.Charles Laughton does excellent job as Rembrandt.Gertrude Lawrence is terrific as Geertje Dircx.Elsa Lanchester, the real-life wife of Laughton, plays the maid/lover Hendrickje Stoffels in a brilliant way.Edward Chapman is great as Fabrizius.Roger Livesey is superb as Beggar Saul.John Bryning is very good as Titus van Rijn.In this black and white movie you see some great use of light and shadow.The movie contains of many memorable moments.Like the fuss over The Night Watch, which was not a big hit at the time.Or when the artist takes the beggar from the street and makes him King Saul, also telling the story of the king.It is most touching when Rembrandt paints another portrait of his fair Hendrickje, and she dies.They say all the same things they said the first time he was painting her.If you are interested in Rembrandt as an artist and as a man, then you have to see this movie.

A great, forgotten gem that deserves remastering and reissuing

[dimplet · 9/10 · 4 June 2011]

Perhaps the finest performance of Charles Laughton's remarkable career, you almost feel you are looking at the real Rembrandt.

Laughton delivers several soliloquies that that help to convey the philosophical side of Rembrandt, and the ideas shine like diamonds. A year before, in Ruggles of Red Gap, as a British valet in America, Laughton recites the Gettysburg Address to some bar patrons, and it was the highlight of that wonderful film. In both films, his delivery is more natural, sincere and moving than even Laurence Olivier.

I have long been an admirer of Rembrandt and the Dutch school of that period, being of Dutch-French descent. The set design and cinematography is truly extraordinary, with scene after scene looking like they stepped out of an old Dutch painting, they are so authentic and beautifully composed. You have the feeling cinematographer Georges Périnal would have loved to have been a photographer in 1600s Holland. Any gripe that it was not actually filmed in Holland is pointless; while there are many old buildings, including Rembrandt's Amsterdam home, still standing, 1936 Holland was no longer 1636 Holland.

Elsa Lanchester, Laughton's wife, fits perfectly the role of a Dutch peasant servant girl. The viewer might follow this by watching Witness for the Prosecution, which again pairs Laughton and Lanchester much later in their careers, when their performances had fallen into a well worn -- or should I say finely polished -- groove.

Gertrude Lawrence's performance seems a bit overwrought. She was a great stage actress who did not appear in many films, so this is a rare opportunity to see her.

I was once in the Metropolitan admiring one of his paintings when two middle aged women walked up; one peered at the small brass plaque bearing the artist's name, announced to the other: "It is by someone named van Rijn," and they both walked off. Well, I, at least, knew who "van Rijn" was, but I didn't, actually. I didn't know the person.

This movie gives me a feeling of the man behind the paintings, and it is different from what I had imagined. You feel Rembrandt was a Rodney Dangerfield of artists, which may have been exaggerated. You also see an artist who wants to paint real people, and who loves the country life more than the city, which matches his paintings. You see a person with deep understanding of people, life, philosophy, an understanding that informs his art works, and which is the source of his true greatness, beyond his great technique.

But like any "non-fiction" movie, you wonder how much is completely true. But if this prompts you to read up on his life, then who is to complain?

When I first glanced at this, I dreaded encountering a rickety old horse, but was utterly surprised. The script and storyline are finely crafted; the encounter with the beggar when Rembrandt is in dire straights, himself, provides an unusual degree of insight through the fine writing. This is a wordy film, but the words say something.

I am at the point where I don't often run into old gems I haven't seen. Rembrandt is a fine film with artistic and historic merit, but it desperately needs digital remastering to restore the beauty the black and white photography must once have had. I don't think you could remake this film with more beautiful cinematography or a greater lead performance than delivered by Charles Laughton.