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Title: All the Vermeers in New York (1990)
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2 wins & 2 nominations.
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Cast
| Complete credited cast: | |||
 |
Emmanuelle Chaulet | ... | Anna |
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|
Katherine Bean | ... | Nicole |
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Grace Phillips | ... | Felicity |
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Laurel Lee Kiefer | ... | Ariel (as Laurel Kiefer) |
|
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Gracie Mansion | ... | Gallery Owner |
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Gordon Joseph Weiss | ... | Gordon |
| Stephen Lack | ... | Mark | |
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Roger Ruffin | ... | Max |
Edit
Plot Summary
|
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Storyline
Anna, a French actress, is approached by financial broker Gordon in the Vermeer room of a New York gallery. However, romance does not ensue...
Plot Keywords:
actress | world trade center manhattan new york city | wall street manhattan new york city | metropolitan museum of art manhattan new york city | manhattan new york city |Parents Guide:
Add content advisory for parents »
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See more on IMDbPro »
See full technical specs »
Details
Country:
USALanguage:
EnglishRelease Date:
1 May 1992 (USA) See more »Also Known As:
Tutti i Vermeer a New York See more »Filming Locations:
New York City, New York, USAEdit
Box Office
Budget:
$250,000 (estimated)Gross USA:
$142,721Company Credits
Show more on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
StereoColor:
ColorAspect Ratio:
1.85 : 1
Edit
In this review I reveal why the movie is entitled "All The Vermeers In New York". I don't think knowing this spoils the film, though.
People's expectations of a film reflect a lot about them. A lot of people expect to be moved watching a film when the music swells. They expect to get excited when the shots are cut faster. This film allows you to get excited or moved about what's going on because of what is happening to the _people_, not the camera or the music. Films that cut the "crap" of "high-quality" production values and concentrate on character and story show how our ordinary lives achieve a cool, plausable if brief potentiality for soaring.
This film works on this premise, and that's why I love it. It's really a fairly wrenching story that gets told by the people, not as much by the camera and soundtrack (although the shooting and music are brilliantly understated). I identified very closely with the high-powered New York currency trader who couldn't live with himself unless he could come to the museum to gaze at the Vermeer portraits. It allows him to cross the threshold of his own limited life staring at a stock-ticker into a world of pure love, desire and ultimately, hope.
To Jost, nothing seems ordinary, unalive. He is the Van Gogh of film makers. If he made a film about pebbles in the gutter, it would be worth watching.