|Page 3 of 4:||   |
|Index||36 reviews in total|
Guess I really like this sort of period movies, about the British
upper-class in the 17th century. The movies have an own unique kind of
style and atmosphere over them. This especially really goes for this
unique little film.
it's a very witty movie and halve way through it also becomes obvious exactly how intelligently the movie is written and constructed. At first it doesn't look like the movie is heading anywhere and it's merely a good and enjoyable movie filled with some slightly subtle eccentric and quirky characters. But about halve way through it becomes clear that the intentions within the story and the intentions of the characters have way more in to them, when the movie becomes more of a murder-mystery and layered and the character's motivations all start to take form and become clear. It makes the movie surprisingly and delightful. It's a really well constructed and visually crafted movie from Peter Greenaway.
The movie doesn't have the Jane Austen kind of story and approach but more like "Barry Lyndon" with the same certain quirkiness in it, if I need to compare it to anything else. The movie has a sort of a surreal kind of atmosphere over it, which gets strengthened all the more by the outrageous costumes and wigs, thick accents and extremely difficult but beautiful to listen to- dialog and of course the special kind of characters that are in the movie. It's also a very sexy and sort of erotic movie to watch at, with almost always a sort of sexual tension in the atmosphere during the entire movie, despite not having any real nudity or explicit nude scene's in it.
The whole movie is almost entire filmed in a stage-play kind of approach, with no moving camera's and long sequences filled with dialog. Really the sort of stuff you normally experience during a stage-play. It all adds up to the reasons why this movie is a quite unique and delightful little movie to watch.
This movie is a great watch, as long as you're capable of handling the long and difficult dialog and the more stage-play kind of storytelling.
The movie is lush and sophisticated and does a good job of capturing the sophistication and bawdiness of the times. Social mores have changed since the onset of indoor plumbing but class exploitation certainly hasn't. Wonderfully done.
Peter Greenaway's masterpiece is simply one of the best films I have
ever seen. Every shot is of superb beauty and the joy of English is
sublime. Every phrase spoken beautifully and inspiredly, leading me to
believe every English person in the late 1600's was of absurdly
impressive wit. Michael Nyman's score has stayed with me for 24 years
and will always remember the insouciant pseudo baroque echoes making
one feel as if the music is of repetitive grandeur and of the greatest
Every performance captivating, it is a movie that I wish I could again see in the big screen. The beauty of colour is simply too great.
I insist, a film that anyone who loves art should see.
Before I start rambling on about Nyman's music, let me just say that I
really enjoyed this movie. The cinematography is excellent, and the
of the dialogue is wonderful. Greenaway seems to shoot his scenes around
Nyman's music...which of course can't be true (can it?) as the music is
usually the last thing to be added to a film. The movie is a bit odd at
times, but I always find it enjoyable to watch. These comments below
I posted on the message board for this film] are from a paper I wrote on
The music for this film is performed by an early version of The Michael Nyman Band, the instrumentation of which features all of the saxophones, clarinet, and bass clarinet, played by four different musicians, two violins, a bass trombone/euphonium, a bass guitar and a double bass, and Nyman on harpsichord and piano. At this point in his compositional career, the influence of pop music on Nyman's music can be felt in his use of repetitive and simple melodies and chord progressions, persistent beats, and loud dynamics. He varies melodic fragments over his bass lines through the use of `extension, syncopation, suspension, and superimposition.' These bass lines are prominently featured through the use of, together or in different combinations, bass trombone/euphonium, baritone saxophone, bass clarinet, cello, piano, and bass guitar. In between the two extreme octave doublings is usually some kind of motoric rhythm or sustained sounds. The harmonic stability created by recognizable chords and chord progressions, outlined by a prominent bass line underneath driving, repetitive melodic units played by familiar, though fresh-sounding, instrumentation, suggests `an energy and exuberance more associated with pop and rock music.' His style of employing minimalist techniques of `layering, stratifying, reordering, and superimposing.to transform his material' seems to be well suited for film and popular styles of music making.
For this film, he creates six short pieces based on different ground basses or chaconnes, borrowed from the English Baroque composer Henry Purcell, that correspond to the first six of the twelve architectural drawings made by the draughtsman, who imposes `temporal and organizational restraints' on his employers. The melodic fragments over these bass lines, which are manipulated in the manner described in the previous paragraph, are played in a loud dynamic during the foreground for each scene, and the music is continued as underscore under the dialogue, which adds a heightened sense of emotion, whether dramatic or comedic, to each scene. From piece to piece, the tempo, intensity of rhythm and articulation, tonality, texture, meter, and instrumentation are constantly being changed, which creates a sense of restlessness and forward momentum. These short pieces are brought back as a way to identify the location of each scene and the context of the desired mood. Nyman simply uses variations of the first piece as a montage to accompany the next six drawings. He creates, through superimposing various fragments and bass lines, a new melody for the second half of the film that heightens the dramatic mood as the intrigue in the conspiracy develops and the climax of the film is reached. The Draughtsman's Contract represents a youthful exuberance to try out new ideas that explores the new elements of minimalist style within the static harmonic framework of Baroque ground basses. The instrumentation of the Michael Nyman Band is striking in the combination of this `Baroque minimalist' style of music with modern instruments such as the saxophone and bass guitar.
I have just watched this on DVD for the fourth or fifth time and it's still one of my most favourite films. Greenaway is visually incredibly satisfying, his films are entire of themselves. You always come away with images fixed in your head. And you gain something each time you watch that you didn't notice before. Check out references to artists such as Vermeer, the fact that all the clothes are in black and white - and they switch in the last scene; a visual feast, set in beautiful countryside. So many layers, so beautifully done. And you become absorbed by the feeling of the film, it stays with you. A film you have to think about, now there's a thing!
I watched this on DVD at a little projection in Athens. There is
currently no Greek subtitles version of this and the DVD we watched had
no English ones as well! So, I really couldn't get ALL of these,
complex at times, dialogs.
I liked the premise, the cinematography, the crazy statue and of course the beautiful music, which wouldn't ever stand alone for my strange musical tastes, but as a soundtrack, particularly for this film's static visuals, it is perfect!
I need to watch this more & more, as others suggested. I have a tendency to love Peter Greenaway, even if I have only seen this plus 2 others (Cook... & Belly of an architect).
So if you wanna see some extraordinary cinema, Greenaway cinema is one of the best potential choices!!
This is one film that if watched again and again there is always a subtle point that wasn't noticed before. These subtle points have the ability to change one's perspective on the entire film. For this reason alone I love the film. Laughing at one's own knots is not an easy thing to do....highlighting one's neurosis WITH HUMOUR is a gift that we can learn how to stay buoyant from....thanks Mr. Allen for giving me the ability to laugh in order to overcome the hardships.
The Draughtsman's Contract is a very good movie, and has beautiful shots and
cool characters, but is a bit slow.
Don't misunderstand me, this one is like all the Greenaway movies: so good to miss it. This is a great film with excellent moments, but I don't think the end is the best...
Anyway, this one rocks.
Peter Greenaway originally intended this film to be over three hours long, but he was eventually made to edit it down to 103 minutes. Well, maybe the three hour version would have made some sort of sense, but the shorter version makes none! There are all kinds of elements essential to understanding the story which do not appear in the film, and which you will only know about from reviews which undoubtedly themselves were dependant on explanations by the film makers. This is an example of pretentious nonsense being lavishly praised by weak minds afraid to call the emperor naked. It is best to see this film without having read what it is supposed to be about, as that is an objective state of mind. No film should require to be explained to reasonably intelligent people. This is art-house drivel.
This is one film that if watched again and again there is always a subtle point that wasn't noticed before. These subtle points have the ability to change one's perspective on the entire film. For this reason alone I love the film.
|Page 3 of 4:||   |
|Plot summary||Plot synopsis||Ratings|
|Awards||Newsgroup reviews||External reviews|
|Plot keywords||Main details||Your user reviews|
|Your vote history|