As an insightful art film, the film abandons the grand narrative, and there are only small stories, small characters and small sentiments, but the audience can see the style of the times from it.
. Every shot in the film is as beautiful and exquisite as a classical oil painting. Although the film’s narrative level has a certain fictional composition, when it comes to processing visual modeling, whether it is the setting of the scene, the placement of furniture, the clothing and hair accessories of the characters, and the work process of the painter’s painting, etc., the color of the screen The presentation is very realistic, so the film is a very good work that embodies the classicism color style
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The film adopts a two-line prose narrative. The expression of Greye's artistic perception is developed in a layer-by-layer and deep manner. Parallel to the advancement of Greer's artistic perception, she and the painter's emotions are gradually sublimated. In a play called "Paper Lips", the director used a set of front and back shots, and the repetition of the same action caused the stagnation of space and the delay of time, thereby pushing the emotions to a climax. In a subsequent play called "Piercing Ears", the setting of a series of actions actually symbolized the painter's physical possession of the girl. This scene not only metaphors the complete process of the heroine from a girl to a woman, but also brings the whole film to the peak of emotions.
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In "Girl with a Pearl Earring", you can see director Peter Webber's pure grasp of the color language peculiar to the Dutch school of Baroque art. The director uses a dynamic recording method to tell the story to the audience in a quiet and casual natural way. In addition, while the film exerts the expression of color language to its fullest, it also achieves a perfect unity between the foretelling of the plot, the color of the picture, and the symbols implied by the tones
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