15 user 1 critic

Brush with Fate (2003)

PG | | Drama | TV Movie 2 February 2003
The story of a painting as it moves from owner to owner through the centuries.



(novel), (teleplay)

On Disc

at Amazon

1 nomination. See more awards »




Cast overview, first billed only:
... Rika
... Cornelia Engelbrecht
... Richard
... Maria
... Aletta Pieters
... Headmaster
... Adrian Kuypers
Betty Schuurman ... Digna
... Old Laurens
... Saskia
... Stijn
Laurien Van den Broeck ... Magdalena Vermeer
... Sol
... Old Karl Engelbrecht
... Faculty Woman


The story of a painting as it moves from owner to owner through the centuries.

Plot Summary | Add Synopsis

Plot Keywords:

1880s | 1800s | merchant | 1710s | 1700s | See All (38) »


A mystery hidden for generations. Now the truth will finally be revealed.








Release Date:

2 February 2003 (USA)  »

Also Known As:

Hallmark Hall of Fame: Brush with Fate (#52.2)  »

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

1.33 : 1
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Did You Know?


Edited into Hallmark Hall of Fame (1951) See more »

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User Reviews

Pathetic carbon copy of "The Red Violin"
3 February 2003 | by See all my reviews

I suffered through half this film before I switched to "Dr. Strangelove" on TCM. It is yet more proof that the "Hallmark Hall of Fame" has become hopelessly bad. Glenn Close misleadingly gets top billing, and delivers a magnificent performance, but she is in less than a third of the film. Her performance as an art enthusiast makes everyone else, including the usually reliable Ellyn Burstyn, seem even worse.

The film, following the pattern of such films as "The Red Violin", tells the stories of several owners of a beautiful lost Vermeer painting through the centuries. Perhaps the producers of this mawkish telefilm were hoping that lightning would strike twice, but if so, they forgot the need for subtle writing and direction, which are both hopelessly sentimental and hardly above the level of soap opera in this film. Ms. Close, as if sensing this, gives a performance that wipes away everyone else. In fact, the acting, with the exception of Close, is uniformly bad, as if we were watching a bad daytime drama in period costume.

The people who made this film obviously thought that by tackling an intellectual, sophisticated subject like a great Vermeer painting they could give the "Hallmark Hall of Fame" the class it once had, but they forgot to leave behind their recent tendency for corny writing and dramatics.

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