Colin Firth - Part 18

Sorry Dorine, but I saw the opportunity to be first for once :-) Have nothing to contribute but wanted to give my thanks to all the lovely ladies for this great place and a special thanks to Karen :-))

Hi all! Caught up on the last of CF-17 .fabulous pics, links and articles. . .as always! Had the wonderful pleasure of meeting Dorine and Risa last night .Risa and I caught the advanced screening of GWAPE here in NYC . . .Will save any discussion of the film for the Spoilers . . . but just to say it was beautiful . .just beautiful to watch . . . Risa & I had a fun time educating a gentleman next to us about ODB and his various films . .about 500 people showed up for the screening . .the theatre held only about 350 but they were determined to fit everyone in . .don't know how they did it, but it was jam packed . . .Risa & I were the 3 row up from the front .they were giving away movie posters to the first 10 people who could produce the book . .we didn't have ours . .and were too far away .and unfortunately the posters hanging on the doors that Risa & I were eyeing to . .um . .quietly make off with. . . were already gone by the time we reached the exit! (damn!) Unfortunately, made it home and fell asleep!!! . . Missed Craig Kilbourn . .and it sounded like a fabulous interview! . .Dorine or Risa, did you tape it? . .If not, I'll just have to wait for the transcript! Who will be participating in the live chat this evening? Should we send questions to just one of you, if we cannot take part ourselves?

Sorry for second post, but just checked my email this morning . . I had emailed Charlie Rose, to suggest, him interviewing Colin on the show. .just got this email this morning: Scarlett Johansson is tentatively scheduled to air Friday night. Please keep an eye on our website for details. We appreciate your suggestion and we thank you for watching, Charlie Rose Viewer Services www.charlierose.com Dang . . . so close . . .

GWAPE LA Premiere pics from wireimage - Arrivals - http://www.wireimage.com/GalleryListing.asp?navtyp=SRH&str=Colin+Firth&sfld=C&nvc=E&nvv=44759 Red carpet - http://www.wireimage.com/GalleryListing.asp?navtyp=SRH&str=Colin+Firth&sfld=C&nvc=E&nvv=44764

With hundreds (thousands?) of people having attended advance screenings . . .who's going to see it this weekend when the box office counts? ;-)

Was wondering that myself.

re: everything that was posted @ 184 recently : woohoo ! what a holiday treat ! thanks everyone for pics, articles and live reports ! really like the elf version of mr f., with or without gloves and red nose a la rudolf, but hey, dorine & kimberly, i would have clubbed him, stuffed him in his own bag and run away with it if i were you, hehehe... thanks a million for the transcripts, comes in handy for those of us living in the desert (am standing with aussies and gautengers here). am eagerly waiting for this kilborn thing now. (from the village voice loser who calls himself a journalist) "Girl With a Pearl Earring signals its interest in what Fernand Braudel called the "structures of everyday life" poor sod has read one history book in his life and tries to place it in the conversation... pathetic.

(from the village voice loser who calls himself a journalist) "Girl With a Pearl Earring signals its interest in what Fernand Braudel called the "structures of everyday life" (Sophie) poor sod has read one history book in his life and tries to place it in the conversation... pathetic. LOL! Your comments never fail to amuse me.

What a fantastic group to be part of! Thanks for all the wonderful reports and pics. I have overcome my problem with MSN and hope to be awake tonight (2.00am UK time). I may not participate, but I'll certainly be looking out for questions posted by DDs.

In case you missed it, CBS has this little tidbit of the interview. Looks like he gets as much time as their other main guests this week. http://www.cbs.com/latenight/latelate/5questions/ Just in case a swinging gal or her assistent is reading, these are the questions I would love to have answered but won't be able to ask: What interview question have you never been asked but would want to be? Since, you can't be Girl with a Pearl Earring? What would you be: Guy with ________ Karen, if this is hand-smacking behaviour, ignore the last bit and only pay attention to the link.:-)

Pretty good review from the New York Times, and good for Colin. Painting Interiors of the Heart, With Eros in Restrained Hues By ELVIS MITCHELL Published: December 12, 2003 At the start of "Girl With a Pearl Earring," Griet (Scarlett Johansson) is shown peeling an onion, an image as metaphor rarely seen outside first-semester filmmaking classes. The determination visible in such an effort communicates Importance Writ Large. And the film, adapted by Olivia Hetreed from Tracy Chevalier's novel, does have a great subject: the story surrounding an artwork shrouded in mystery and a project that ruins a woman's reputation yet ensures her a place in history. This film, which opens today in New York and Los Angeles, is the imagined tale of Griet, a maid who became the muse of Johannes Vermeer and the subject of his painting "Girl With a Pearl Earring." Ms. Johansson is photographed so that her skin is as opalescent as her earring, but the movie is opaque. It is an earnest, obvious melodrama with no soul, filled with the longing silences that come after a sigh. Yet the care that has gone into making "Earring," a dexterous and absorbing visual re-creation of the lighting and the look that Vermeer achieved in his work, is a tribute to the director Peter Webber's own group of artisans, the cinematographer Eduardo Serra and the production designer Ben van Os. The gorgeous score, by Alexandre Desplat, brushes in a haunted gloom that gives the picture life where none seems to exist. This is the kind of film that would prompt the movie industry trade papers to say "technical credits above par." The teenage Griet is sent off to earn a living because her blind father can no longer support her. The onion she is opening at the story's start is part of the last meal she prepares at home before being shipped off. Her separation anxiety registers so fully throughout the film that it should be listed in the cast of characters as the credits roll. Anxiety permeates the movie like fear of punctures in a Freddy Krueger film. The household that Griet joins is filled with noisy, spoiled children who look down their noses at her. The mistress of the house, Catharina (Essie Davis), is about to add another mouth to the brood. In addition to her other tasks, Griet is given the duty of cleaning the master's studio, where she develops an interest in the room and its contents. When she asks if she should clean the windows � that would change the light, she notes � a befuddled but indifferent mistress tells the maid to do so. Griet's attention to detail has caught the eye of the intense but distracted Vermeer, who is already behind on a commission that is keeping the family fed and clothed. These commissions are brokered by Vermeer's imperiously practical, and equally proud, mother-in-law (Judy Parfitt), who suggests an art-house version of Frau Bl�cher from "Young Frankenstein." The figures in his paintings seem to flinch when she speaks. The jobs she secures for her son-in-law also keep Vermeer in the good graces of van Ruijven (Tom Wilkinson), an acquisitive and unabashed reprobate who also has an eye on Griet. "You have very wide eyes," he admires, turning a compliment into sexual harassment, and Mr. Wilkinson relishes every moment of aggression. His frankly projected appetites make him the only person in the film capable of enjoyment. He loves describing the press of fabric against a woman's skin as if he, too, were caressing it. And as the most fully realized character, he passes that pleasure along to the audience. With all these assaults on her fluttering, tender sensibility � and on her time � it is no wonder that Griet always seems on the verge of tears. One of her few respites comes from the notice of the butcher's thoughtful apprentice, Pieter (Cillian Murphy). But she is far more intrigued by Vermeer, and based on Colin Firth's interpretation it is easy to see why. He plays Vermeer as a taciturn eccentric whose dark eyes house terror, anger and finally appreciation. He drinks in Griet's understanding of his art. A scene in which he demonstrates the workings of a camera obscura to her � and their transfixed faces are bathed in its buttery light � has real emotional power; it is like watching a pair of kids trading secrets under a sheet. And when the painter does talk, he speaks faster and with greater passion than anyone else; words boil out of him. Though Griet drops her head in his presence, her shyness appears disingenuous; she may be the first person ever to be camera-obscura conscious. "Girl With a Pearl Earring" is an auspicious feature-directing debut by Mr. Webber in so many ways � a groaning board of temptations for the eye and ear � that you may almost forgive the film its lack of drama and the perfunctory attempts at characterization. Viewing this film has been likened to watching paint dry; actually it is more like watching a painting dry.

Better than LA review; "...perfunctory attempts at characterization. " ...but not exhuberant. Thought this would be up their alley. Mobetta The New Yorker.

(Evelyn)Better than LA review LOL! Of course that doen't take much... The review does seem a bit ambivalent, IMHO, though very good for Colin. Thanks Mari!

Just a bit from Premiere PREMIERE.COM'S REVIEW (posted 12/11/03) The film is well-paced and surprisingly suspenseful, but it�s clear from the start that Griet�s real threat comes not from the artist, but from his jealous wife and lascivious patron (Tom Wilkinson). Firth�s scraggly wig is awful, but his Vermeer seems far too decent to take advantage of the help. The odd, gentle relationship that develops between him and his soon-to-be model is a nonstandard romance, powerful and true, without a sexy situation or treacly sentiment in sight. Take that, Love Actually. The rest is here: http://www.premiere.com/article.asp?section_id=2&article_id=1360 ...38 minutes and counting.

(Linda)...38 minutes and counting Good, so I'm not the only one staring anxiously at the computer clock. ;-) Do you have questions ready?

Gaaahh! I can't believe it. I'm in the chat room and people are talking about Colin's bare butt. He could be there reading that stuff. Unbelievable.

(Caribou)What interview question have you never been asked but would want to be? I submitted it!

Well, chat's over and I don't thnk there was a single question that I really cared about. Whatever . . .

Wow, that was quick, but fun...and he's gone;-(

Any droolers get in? I was stuck at work and can't access....;-(

That was fun, yet disappointing.

I know at least one got in, Tress. The questions were fine, but mostly stuff we already knew the answers to as he's been asked most of them in recent interviews. Christian Science Monitor's review: Canvassing the emotions 'Girl With a Peal Earring' is a gorgeous tribute to Vermeer. By David Sterritt | Film critic of The Christian Science Monitor When buzz started circulating about "Girl With a Pearl Earring," it sounded like a gimmick. The story focuses on Johannes Vermeer, arguably the greatest Dutch painter of the 17th century, and the entire film is made in conscious imitation of his style - including his pristine lighting effects, meticulous compositional designs, and innovative uses of perspective. On canvas, these achievements make Vermeer a towering figure. But mimicking them in cinematic terms has a touch of slavishness about it. Would this be the motion-picture equivalent of a pop album by a tribute band that can't dream up its own ideas? The outcome is quite the opposite, thanks to the integrity shown by director Peter Webber and cinematographer Eduardo Serra in manifesting their respect for Vermeer. Other filmmakers have paid homage to his work - most notably Peter Greenaway, who uses allusion and quotation rather than outright replication. The homage paid in "Girl With a Pearl Earring" has an emotional validity all its own, however, rooted in the discipline and creativity Webber and Serra show in sustaining their version of Vermeer's vision throughout some 95 minutes of eye-dazzling drama. Scarlett Johansson plays a naive young servant who eventually becomes the "girl with a pearl earring" in one of Vermeer's most celebrated paintings. Her name is Griet, and she takes a domestic job in the house of the Dutch master (Colin Firth) when her family becomes impoverished. He makes her a prot�g�e when he discovers her eye for nuances of light and color. He also becomes fascinated by her appearance, touching off envy in his wife while bringing inspiration to his work. In some ways the movie has a rather trite trajectory, driven by stock characters like the jealous spouse, the uncouth patron of the arts, and the crusty old chambermaid with a heart of gold. Nor is there anything fresh about the story of a hard-pressed artist desperate for the stream of aesthetic ideas he needs to keep his reputation comfortably afloat. What distinguishes "Girl With a Pearl Earring" is its combination of refined filmmaking and Johansson's exquisitely understated acting. It partakes of Vermeer's spirit and style, and that makes it one of the year's best movies.

Feel like it was just a bunch of questions about what it was like to work with Scarlett Johansson. Sheesh. Cool though.

Woo hoo! 4 stars out of 4 from USA Today: This 'Pearl' is of great value It's a measure of the mesmerizing power of Girl With a Pearl Earring and the flawless performances of Colin Firth and Scarlett Johansson that audiences feel as if they are spying on a moment of artistic inspiration when painter Vermeer creates the title work. The cinematic adaptation of Tracy Chevalier's novel attempts to unravel the mystery behind one of Vermeer's best-known paintings. Chevalier's fictional account of a 17-year-old servant girl who served as the artist's model is the scaffolding upon which a much more nuanced, sensuous tale is built. Because of the film's meticulous attention to detail � and because cinematographer Eduardo Serra perfectly captures the rich light, shadow and colors of the Dutch master's world � we are transported seemingly effortlessly to 17th-century Holland. Johansson plays Griet, a farm girl with an intuitive appreciation of art who becomes a servant for Vermeer's family. Firth plays the artist, about whom little is known historically, with a blend of smoldering intensity and quiet understatement. He is meant to be enigmatic, as is Griet in some ways. Yet we feel their growing attraction as she works in his studio; it reaches a climax when he pierces her ear with the earring that he asks her to wear for the portrait. It's a strangely compelling and sexy scene in a movie that is fraught with palpable, but unexpressed, passion. In contrast to their suppressed lust, Tom Wilkinson plays a wealthy patron whose leering lasciviousness becomes a real threat to Griet. Also threatening to Griet is Vermeer's jealous wife (Essie Davis) and conniving mother-in-law (Judy Parfitt), both of whom leave lasting impressions with small roles. Fans of the book will note that the ending is different, but most should be pleased with the majestic visual rendering of the story and the brilliant casting. Johansson, so perfect in Lost in Translation, is having a banner year that Oscar voters should recognize. Firth's quietly contained but emotionally tortured performance should erase any lingering memories of his lackluster part in Love Actually and put us more in mind of his complex charms from Pride and Prejudice. Girl with a Pearl Earring is a rich gem expertly told in a surprisingly scant 95 minutes. The film's deliberate pacing beautifully complements the nuances of a story about the complexity of creativity and the part it plays as a powerful outlet for repressed emotions.

Mari) Well, chat's over and I don't thnk there was a single question that I really cared about. Whatever . . . *snort* My thoughts, exactly, Mari. Oh well... Do and Kimberly, thanks for the pics and report on Santa Colin. Metro gals rule!:-) And Marianne, those pics you took are AFG!

I thought it was exciting, but I wish they would've picked questions that hadn't been asked a gazillion times before. But then, how would the moderator know what Q-s have been asked him by journalists before? Oh well, it was still nice to share cyberspace with Colin for a few minutes even if he wasn't the one doing the typing. Thank you Karen and all who made this possible. What a treat. And thanks to all for all the articles, opinions and lovely pictures that have been posted. This is a great time to be a drooler. But then, when it isn't? :-)

I was there for the chat. Agree it was very disappointing. Only 8 questions asked. I guess it speaks well for the quality and quantity of current info available here that I felt I already "knew" his answers to those 8 questions. Well, at least this was a first for him, and maybe he'll be willing to do it again sometime. Ildi, I agree that the bare-butt discussion in the open group chatroom was juvenile.

Very very disappointing. Probably the ONLY opportunity anybody from Australia will EVER have to ask Colin a question, yet not one question from Oz was asked. *sigh* It might not have been so bad, if they hadn't chosen questions he's already answered a GAZILLION times before. What a letdown...

I doubt he would have minded the discussion in the open chatroom - most men rather like having their butts admired...

For me it was a case of questions interruptus.;-)) We are too well informed here I fear. Gotta admit that I hadn't thought of too many *bright* questions either. But it was fun getting ready for it with you all.

We are too well informed here I fear. Yep, that's exactly what I meant. When I read some of those questions, I wanted to smack my head and yell "DUH!!!" Wonder if HolaLola could arrange a private little chat for the Ladies at Drool, where we could skip the preliminaries and get down to the nitty gritty? "Colin, if you were a tree, what kind would you be?"

Oh! Was that OUR very own "MarkG" on that chat??? Mark? Was that you?

We are too well informed here I fear. Yep, that's exactly what I meant. When I read some of those questions, I wanted to smack my head and yell "DUH!!!" Wonder if HolaLola could arrange a private little chat for the Ladies at Drool, where we could skip the preliminaries and get down to the nitty gritty? "Colin, if you were a tree, what kind would you be?"

I feel sorry for the person who go a question and just a "No" as an answer.

HUH? Sorry for the double post. There's a ghost in my PC tonight. Must drag self to the boudoir and dream of long chats offline.

(Beedee) For me it was a case of questions interruptus.;-)) LOL That, and very much a case of singin' to the choir. Plainly, it was what it was designed to be, a chance to do some GWAPE promo -- and to a group guaranteed multiples (?! --- viewings!) in the first place. I bet they don't waste their time that way again. If they do however, I would submit that 8 questions in 20 mins (or whatever) is awful. Better to have a voice converter and just let him loose.

Borrrrrrr-ing. That was an easy one for him. My question was: "You consider yourself a stage actor...when are you going to do a play" Knew he wouldn't answer. Mari...good ones. (Christian SM) ...that makes it one of the year's best movies. And 4 **** from USA today, which everyone reads. Al-right! Almost makes up for NY Times and Time which weren't stellar.

Not that it matters a great deal, but I actually counted 13 questions. I'm with those who were disappointed at the lack of variety in the questions asked. The host assures me they were picked entirely at random so I guess we have only Colin's fan base to blame. I liked the question about his opinion of whether Vemeer was selfish and hurtful in his dealings with Griet. But, not surprisingly for ODB, he wouldn't give a full answer.

But he did in one of the interviews.

Surfacing for air after a horrendous week -- all work and no time for play -- feeling like a very dull girl indeed. Sorry I haven't been able to post at all, but many thanks to the DD's (and especially the Boss) for all the news, pics, reviews, interviews, links, etc. -- not to mention the smart comments and witty remarks. MetroGals -- You're the Top(s)! ;-) (Kimberly -- I really like reading your insider's views as an actress.) I agree with everyone about the Chat -- great that CF did it, but most of the questions were pretty banal. Here are the two I submitted: 1. I understand you are an avid reader. When you go into a bookstore, which sections do you visit first? Which sections do you end up lingering in? 2. I really liked your short story "Department of Nothing" and articles you've written for magazines. Any plans to write/publish more fiction or non-fiction? Does writing tap the same creative impulse and talents as acting, or does it come from a different source? I'd like to read what other DD's submitted. One more comment (now that they've let me out of the sweatshop for a little while I gotta make the most of it!) -- just checked the rottentomatoes site and COULD NOT BELIEVE they rated Elvis Mitchell's review (in the New York Times) as a "splat". It wasn't a rave review, but certainly not a rotten one either. What idiot makes the call as to whether a review is "fresh" or "rotten"?? Isn't there someone we can complain to about this? Not only is the NYT review influential in itself, but it's right there at the top of the page as a "Sponsored Critic." The Tomatometer for GWAPE is now perilously close to the 60% cutoff point. GAHHH!!! What's wrong with these people???

I liked the little chat. Even though we are better informed here than most, it was pretty neat to be online with ODB in real time. It was interesting to see him answer about how he drew on his own experiences as Vermeer being the head of a household, with bills, expenses, etc. IRL he's now in that position with growing family and so we get to see him doing chats and more TV interviews than usual. Thanks to Karen and all who made it possible. And thanks to Caribou and Maria for the helpful hints in getting connected!

(Sing)The Tomatometer for GWAPE is now perilously close to the 60% cutoff point. GAHHH!!! What's wrong with these people??? Welcome back Zing! Yes, but the Cream of the Crop gives it an 86% so there's a balance there. I agree with you about the Elvis Mitchell review.

(Beedee) the Cream of the Crop gives it an 86% so there's a balance there. Beedee, thanks for pointing out the bright side! On the other hand, the Cream of the Crop would be 100% were it not for Mitchell's review being rated a "splat". OK, need to lie down, take a deep breath, and repeat until calm -- glass is half full, glass is half full, glass is... ;-)

Yet another screening w/ Q&A ... They rushed them in, questions for about 15 minutes, then quickly out again. "Backstage" said they had another screening to attend, at 10pm?!? and they were late starting the film cause they were at another screening prior to this one in Sherman Oaks, must have been the Chat. Lion's Gate is really running them ragged. It was a much better Q&A session than the one BAFTA had. The majority of the audience was people who were actors, and or studying to be actors. So there were a couple of questions about the audition and rehearsal process and how to get into the business ... the "female" moderator said to star in a movie opposite Colin Firth. I'm desperately trying to remember what was said, but my brain has turned into mush. CF did say that he had read the book, gone to the museums to study the works and traveled a bit to get a feel for the subject matter. SJ did not read the book, just went by the script. Regarding rehearsals, CF gave a long and very detailed response, that film is thinking on your feet, things can change so quickly, and that by comparison the theater is controlled. Sometimes, the best performance is at the read through, then things gradually deteriorate, and then as weeks go by you�re trying to recapture that performance. I noticed that it seemed as if SJ would rather have CF answer all the questions. She was funny, but did a lot of �umms,� whereas CF was really trying to convey honest responses to the actors/students in the audience. One last thing, he wore a black velvet jacket, grey corduroy trousers and brown shoes.

Jane: Oh! Was that OUR very own "MarkG" on that chat??? Mark? Was that you? Not me. Just a coincidence (or someone hijacking my identity for nefarious reasons!)

NY Daily News 3 of 4 stars Cultured 'Pearl' a beauty Scarlett Johansson as a maid who sits for a painting by Vermeer (Colin Firth) GIRL WITH A PEARL EARRING With Scarlett Johansson, Colin Firth, Tom Wilkinson. Director: Peter Webber. At Landmark Sunshine, Lincoln Plaza (1:39) PG-13: Sexual content. Watching "Girl With a Pearl Earring" is like stepping inside a Vermeer painting. The light, color and composition are eerily perfect. It's as if director Peter Webber, cinematographer Eduardo Serra and production designer Ben van Os unearthed some of the Dutch master's missing work, plus scenes of 17th-century Delft he would have painted if he had the time. Johannes Vermeer didn't live in a vacuum. This movie, adapted from the novel by Tracy Chevalier, imagines his world as filled to bursting with an ever-pregnant wife, a harridan mother-in-law, scads of blond-ringleted children and headache-inducing household expenses. His chief distraction proves to be the new maid, Griet, played by the suitably wide-eyed, cream-skinned Scarlett Johansson (the girl in "Lost in Translation"). Johansson is remarkable in allowing us to see her as Vermeer might: as an unconsciously seductive source of inspiration. Anyone familiar with the famous work of the title will see that painting taking shape every time Vermeer (Colin Firth) peers in a darkly romantic way at the shy, sensitive housemaid. Griet may be uneducated and lower-class, but she senses enough about her master's work to inquire before washing the atelier windows, as that may disturb the quality of the light. "Girl With a Pearl Earring" does an uncommonly good job of summoning all that goes into a masterpiece - erotic tension, financial considerations, even the sensual, elaborate grinding and mixing of paint colors as per 17th-century requirements. Also true to the spirit of a still life, this is a slow, quiet movie, where emotions are writ large (but silently) on the canvas of the face - household members fairly ooze jealousy and suspicion as Griet becomes the master's favorite. The movie doesn't pretend to be grand. A constant refrain is how the unprotected Griet, relegated to the bottom rung of the social ladder by sudden poverty, manages to maintain her modesty while sitting for a painting that requires an open, unabashed gaze, with lips parted and moist. When the mistress of the house finally sees the painting, she labels it pornography. In another age, this could be the story - not a new one - of the baby-sitter who steals the husband. The difference is that the most explicitly sexual scene is one in which Vermeer pierces Griet's ear that she might wear the pearl earring that gave her immortality.

Hello ladies, I'm back! Lot's to catch up on! And I will! Thank you for the postcard from the LA premiere. It sounds like you had a blast and Dorine was a great hostess. Hugs to all.

Welcome back Moon! Another review: Girl With A Pearl Earring, By MATT WOLF, AP LONDON (AP) - Not that one intends any slight against a generally accomplished cast in "Girl With a Pearl Earring" - featuring shooting star Scarlett Johansson - but it's the look and attention to detail that truly set the movie apart. And that's appropriate to a story about the mysterious way painters achieve something of beauty. Here, the artist is Johannes Vermeer, who died at 43 in 1675 - his artistic legacy a scant 35 or so paintings - but not before revolutionizing painting with the poetry to be found in the most seemingly mundane activities of daily life. In the Tracy Chevalier novel and now director Peter Webber's film, we get the possible back story to one of his best-known paintings, "Girl With A Pearl Earring." While countless films have attempted to show us how writers create - last year's "The Hours" saw Nicole Kidman's Oscar-winning Virginia Woolf furiously scribbling "Mrs. Dalloway" - "Girl" is one of the few to speculate on the creativity behind a certain painting. But even as Vermeer's presence puts art history on screen, the roll call of modern-day artists on this film must begin with cinematographer Eduardo Serra, the Oscar nominee (for 1997's "The Wings of the Dove") whose visual rendering of the Dutch town of Delft in the 17th century has a shimmering quality worthy of Vermeer himself. So ravishing is the film to look at - an achievement shared by production designer Ben van Os and costume designer Dien van Straalen - that its surface threatens to overwhelm its substance. As played by Colin Firth in an abrupt about-face from the heartsick writer he plays in "Love, Actually," Vermeer is heard before he first appears - swathed in darkness, pulling back a curtain. And even though the character gradually emerges into the light, he remains unknowable in Olivia Hetreed's screenplay, which tends to keep the viewer at arm's length emotionally even as one is fully absorbed visually, frame by frame. Hetreed preserves the conceit of the novel while dispensing with its first-person point-of-view. As in the book, Johannson's Griet is forced into work at a young age following the sudden blinding of her father in a kiln explosion. She finds herself in the intrigue-laden Vermeer household, presided over by the artist's volatile wife, Catharina (Essie Davis) and his fierce-eyed mother-in-law (Judy Parfitt). Griet soon catches the eye of Vermeer, who appreciates the adolescent girl's awareness of the delicacies of shade, composition and light. Before long, the painter is showing Griet his new toy, a camera obscura, while promoting her from maid to artist's model for his famous painting. Away from the house, Griet must contend with the affections of a local butcher's son (Cillian Murphy) as well as the lecherous advances of Vermeer's wealthy patron, whom Tom Wilkinson ("In the Bedroom) plays as a sneering 17th-century version of Hugh Hefner. At times, Hetreed's script could be a bit more elegant. Such lines as "You looked inside me" from Griet sound like a dime-store romance. Still, there's no denying the versatility of Johansson, whose largely silent Griet is worlds away from the young American wife in Japan in "Lost In Translation." And as Vermeer's edgy spouse, Davis bristles with an energy that matches Vermeer's own paintings, which is where the power of "Girl With A Pearl Earring" finally lies. "Girl With a Pearl Earring," a Lions Gate Films release, runs 99 minutes. Three and a half stars out of four.

An Interview with the Director and Stars of Girl with a Pearl Earring IGN talks to Peter Webber, Scarlett Johansson and Colin Firth about bringing the story behind one of the most mysterious and famous paintings to the big screen. December 11, 2003 - The life of legendary Dutch painter Johannes Vermeer is shrouded in mystery. One of his most famous paintings, "Girl with a Pearl Earring," provides the basis for both the story of the film and the book on which it is based. The story is a piece of historical fiction, as very little is actually known about how the painting came to be or who the girl in the painting was. Was it a relative of Vermeer's or possibly his wife? The book and movie proposes that it was actually a servant of his household. In director Peter Webber's feature debut, Girl with a Pearl Earring, Scarlett Johansson plays Griet, a servant to the Vermeer household with a keen interest in the art world and ultimately in Vermeer himself. Colin Firth plays the part of Vermeer, who becomes gradually fascinated with this curious, intelligent and enticing servant. They become friends of sorts as Vermeer uses her as a model in a few of his paintings. Their relationship is innocent at first, but is gradually laced with a sexual tension. Vermeer's wife, in particular, becomes vaguely aware of this situation and orders Griet out of the house. Vermeer fights for Griet to stay and ultimately uses her as the subject for one of his great masterpieces. Peter Webber himself was an Art major in college, although he says he did not expect a film like this as his first film. He has actually been quoted as saying that he is not at all a fan of costume period pieces. As it turned out, there is a much deeper story in Girl with a Pearl Earring than is at first evident on the surface. Webber love of art comes across very clearly and vividly in the film thanks in no small part to the stunning camera work of Eduardo Serra. Thanks to Serra, nearly the entire film itself takes on the look of one of Vermeer's own paintings. Webber did not seek out the project at first. It actually sought him, much to his surprise. "I didn't have this project in mind... I was known for making very different kinds of films and television in England. ... My most famous drama in England, which is quite controversial, [is] something called Men Only, and it's a rather kind of shocking exploration of male sexuality. [It] caused a bit of a stir in England. And, Andy [Tucker], the producer, I'll tell how it happened: ... I'd gone into the office to see someone there and there was a painting, the painting was on the wall, just a postcard or a poster, I don't remember now, and he heard me talking about it and I just felt this tap on my shoulder. And he said, 'Well, why don't you read the script?' I think he was as surprised as I was. When I started to read it, through all that, I had a passion for the painting of Vermeer for a long time. ... The first few pages I was thinking, 'You know, my first movie's not going to be this. It's a bit polite, it's a co tume drama.' And, as I read through the script I was falling in love with it. But really the scene that did it to me was the piercing, the ear piercing. Because I thought, 'You know what? This is not the film I thought it was when I started to read it. This has got a fantastic dark undertone; it's got an obsessive romantic relation at this heart of it. This cruelty, this passion, and there's interesting stuff about the relationship with money and art. It's about power, it's about sex, it's about a whole bunch of stuff.' And I thought that was a film I could make. ...What I was scared of is ending up with something that was like Masterpiece Theatre, [that] very polite Sunday evening BBC kind of thing, and I [was] determined to make something quite different from that and the material was there to do it with." With the recent acclaim Scarlett Johansson has received for her work in Lost in Translation, it's hard to imagine that casting her in this film was a tough sell at first for Webber. "Actually, it wasn't the case," says Johansson. "I actually had to audition for it. I went in for a reading and originally didn't have the part actually, which I was quite upset about. But you learn to deal with those things..." Webber fought to cast Johansson: "Way back then, it's just [about] the script, a conversation between director and producer where a producer said to me, 'We can't raise the money from this actress.' Now I never saw anyone else apart from Scarlett who could do the role. Having seen her audition, I mean it was in a rather bland room like this, she completely blew me away. ...She's an astounding actress for her age. She's got such maturity. She looks like a real person as well. She's not like one of these ridiculous skinny anorexic waifs... And Scarlett is just passionate, committed, intense, clever and a great, great actress who can reveal what she's thinking on her face... Business intervenes sometimes, especially when you're a first time director, you're not in a position at all to try to get exactly what you want. So, to me, it was the happiest day of all when things changed, for a number of different circumstances, and we were able to get the financing, and we were able to do it with the cast that I wante ..." Johansson has gained a reputation for playing characters older than her own age: "Griet was my age. I've always played maybe a few years older. When we did Horse Whisperer I was twelve playing fourteen, or Ghost World I was fifteen playing eighteen. It doesn't make so much of a difference. I think the relationships between the characters are so different. I mean, with Billy [Bob Thornton] and I it was kind of a purely innocent sort of thing. With Bill [Murray] and I, I think that my character needs the Bob Harris character to help her from having a total nervous breakdown. She needs his support. Colin and I, we have a different relationship. We don't need each other. We want each other. You think that my character could survive anything. She could survive another world war. She's so strong. Colin does not help her come unscathed out of the household. It's her inner strength that does. It's not a conscious decision." Although the book was an adaptation of the novel by Tracy Chevalier (who also wrote the script), both director and cast decided to stay away from the book so that the film may stand on its own. "I deliberately held off reading the book for a while as well," says Webber. ... There was one thing I was scared of: I had the script, I had done about eight months working on the script with the writer. ... I was worried that if I read the book too soon, I would have a whole load of knowledge, just there in my subconscious..." "I didn't read it before and I didn't read it during because I didn't want the first person narrative I suppose," Johansson says. "I just didn't want anybody else's explanation of the way the character was feeling. I didn't want to have the pressure of that. Some actors may have studied it, but it just didn't seem right [for me]." Playing the character of Vermeer, Colin Firth actually had the least information about his character because so little is known of the painter. Firth decided that reading the book could only help in his preparation: "I felt like I had been written from a distance. There's nothing wrong with that. Jane Austen does that with her male characters as well and if an actor's going to flesh that out it's up to them to turn an objective into the subjective and that's what I was doing. I just wanted to see if it was helpful. I wanted to see if it clarified things. I wanted to see if, where the script was silent, the book wasn't and what the subtext might have been. I wanted to see if certain bits of dialogue that I have questions about were from Tracy['s script] or were [in the book]..." ... I found the book actually extremely helpful on most of those fronts..." Webber never set out to make a biopic of Vermeer. His hope was to use the few facts known as a stepping-stone for this story. "Nobody, as far I know, certainly not myself or Tracy Chevalier [is] trying to pretend that this is fact. Because so little is known about Vermeer, and that's a gift. ... Because if we were making a film about Rembrandt, we know loads of stuff about Rembrandt. And what happens is, you end up making a biopic. What Tracy was able to do was use the very few facts that are known, is true to those few facts, and then weave an imaginative tale around that. And I think in doing so, probably got closer to the heart of what Vermeer is about then if we had a bunch of historical facts that we knew..." The sexual tension between the characters is one of the things that sets this film apart from the kind of Masterpiece Theatre tale Webber feared: "His painting, his art, is more important to him, actually, than his sex life. So, he's using all of that sexual energy to put into the painting. And if he had walked into that closet when she was taking the cap off, the painting would be over. ... It's the building up, it's the yearning that he was using as an artist. Knowing the way she was looking at him, he knew he'd get certain intensity in that portrait. ... I think that we wanted to paint a portrait of a man who cares about his art above all. ... It's about not getting what you want. We live in a world where you do get what you want all of the time..." "Certainly she's a servant and she does serve Vermeer and the family," Johansson says of her Griet character. "She's a maid, she's taking care of the cooking, the cleaning, the rearing of the children. ... However, it became more apparent to me the more we filmed, how completely in love I was falling with Colin as the Vermeer character. It became more and more apparent to me that the Vermeer character was this sort of untouchable mysterious man, this genius... And my character was completely longing and obsessive and in love with this man. And it was actually physically heartbreaking. I mean, that's how apparent it became. When I saw the Vermeer and Catharina character together, caressing each other, I was, like, physically pained in my heart by that and so, you know, I definitely think that the love affair for me was the most apparent relation between the two characters. The maid and the model are things that come along with the circumstance, but the other is not physical." Although it may be less apparent in the film, Firth believes that Vermeer did have a strong and loving relationship with his wife: "I think if we're commenting on the relationship with his wife in our story, I think that it's sexually alive. I think that he is devoted to his family. I think that he's very, very rooted in the social order of his day. I think there must have been very strong reasons for him wanting to marry her. He changed his religion, he converted, from Protestantism to Catholicism and even though Holland was relatively tolerant in those days, it wouldn't have been an entirely easy thing to do at all..." Webber's love of art provided the initial basis for learning about this mysterious painter and his interest in the story: "Vermeer has always been one of my favorite artists. I find that there's a sense of mystery, of transcendence. There's a really fascinating view of femininity. There's a whole array of things that make him a very special artist and an artist that does transcend his times. It was a real challenge or opportunity to try and capture some of that in this film..." "I tried to be someone who watches, who's engaged in the visual world," Firth says. "The benefit of having artists like Vermeer in the world is that, you know, he saw the world in a way that no one else did. ... The way he treated depth and texture was unique and, you know, because you've got these paintings, you can see like he sees..." Along with the excellent cast and directing work of Webber, the third star of Pearl Earring is the look of the film. The lighting and camera work give the film a look almost as if Vermeer himself had been the director of photography. "We had Eduardo Serra and so I think possibly that's even better than having a dead Dutch painter. He also is an art history major as it happens. He did four years at the Sorbonne. So, we had an awful lot to talk about when we got together. ... I'd seen an English film he'd done, Wings of the Dove, and the great thing about talking to Eduardo, though, was that, although it was obvious that any D.O.P. is going to love to make a film about Vermeer, he is the Master of Light. He was also interested in story and character, and that was really important to me because, although it's set against a very beautiful backdrop, if the characters at the heart of it aren't living, then we'd have been in trouble. And it's getting that combination. Sometimes beauty can be a trap..." http://filmforce.ign.com/articles/445/445809p1.html?fromint=1

Just checked the Charlie Rose website. .Scarlett is definitely on tonight as a guest, if you are interested in catching her . . .

As Evelyn will surely say to this -- "Um, uh, no, um, well maybe. Um."

(Deb)As Evelyn will surely say to this -- "Um, uh, no, um, well maybe. Um." SJ will get used to the whole interview thing, I'm sure . . .Did like her insights to Griet and Vermeer in that article that Maria just posted above. Thanks Maria for posting this! (SJ - Film Force Article)"Certainly she's a servant and she does serve Vermeer and the family," Johansson says of her Griet character. "She's a maid, she's taking care of the cooking, the cleaning, the rearing of the children. ... However, it became more apparent to me the more we filmed, how completely in love I was falling with Colin as the Vermeer character. It became more and more apparent to me that the Vermeer character was this sort of untouchable mysterious man, this genius... And my character was completely longing and obsessive and in love with this man. And it was actually physically heartbreaking. I mean, that's how apparent it became. When I saw the Vermeer and Catharina character together, caressing each other, I was, like, physically pained in my heart by that and so, you know, I definitely think that the love affair for me was the most apparent relation between the two characters. The maid and the model are things that come along with the circumstance, but the other is not physical."

I happened to hear this interview on NPR (of a behind the scenes interview of a GWAPE press junket) while in my car yesterday afternoon. There's a cute bit from Colin about a childhood Christmas experience he once had. Hope this link works: http://www.npr.org/features/feature.php?wfId=1544173

Thanks Maria, for the above review...I find it the most revealing thus far in terms of the "guts" of the story. This interpretation parallels more of what I gleaned from the novel.

Thanks Lora for the NPR link! I can't listen to it here, but I look forward to it. It looks like the LA Times and Morni g Edition review of GWAPE was on this morning as well...

Lora! Awesome find!! Have a few comments for later.

Welcome back Moon! Thanks for the Q&A report, Marianne. One last thing, he wore a black velvet jacket, grey corduroy trousers and brown shoes. LOL! V. important info there! ;-) Lora-The NPR bit was lots of fun! Thanks! Thanks for the reviews Mari, Ada, and Maria!!!

Thank you for all the reviews and reports. Very much appreciated :-) Just got an email from Blackstar update, that you can preorder Hope Springs to be released: 2nd Feb 2004. (R2) No information on extras on the dvd. I suppose, Amazon will have it too.

Thanks for the info, Anntette. I'm very much looking forward to seeing it.

Hi everyone I took a girlfriend of mine to the screening last night of GWAPE and I really have to say that Colin's fans are always the nicest people around. Truly. We decided to mingle with the crowd before the movie to get a gist of why some of them were there and of course the most common response was "Colin Firth". :) I met a lovely young British aspiring actress named Chloe there and I don't know if she is a member of this forum or not but if she is I hope I get to meet her again. Very sweet girl. I must say that Colin has been very busy lately running back and forth between work and his publicity commitments. But what a gracious trouper he is. I can't say it enough that there is no one out there that is better to work with than Colin Firth. I'm very happy to see him getting more exposure and with it more good work to come. And I look forward to working with him again and again. You folks have definitely picked the right guy to support. :) On a side note I found it very amusing last night that the woman from Backstage in introducing Colin decided to focus mostly on his "smooth gorgeous skin". :) Karen, your stuff will be on en route next week. :) I will email you later today. Take care everyone and I will be back as time allows when I can confirm some news that I'm sitting on at the moment about your man. I think you will be pleased!

And for anyone who can't wait until Feb 04 for HS, it is currently available in the UK ex-rental on VHS, and on DVD from next week. I think most of them will be in very good condition!!

(Hola Lola)I think you will be pleased! Always plesed to hear from you! Thank you for all your work! Were you behind the MSN chat? ;-) Thanks again.

Hola Lola - Thanks for stopping by! Am always excited to hear about any Colin news you share with us! Am envying the west coast actors who made it to that Q&A . .wonder if Backstage or anyone recorded or had transcripts of the Q&A session . . .

Since I'm still here I thought I would quickly respond that I had nothing to do with the MSN chat. He was there to promote GWAPE. Different studio :) take care!

Since you're still here, Lola, is the news about a great new role? Just yes or no, I know you can't say more. Thanks.

New roles plural

Was this before of after the Backstage screening? More photos ... http://editorial.gettyimages.com/source/CFW/imageResults.aspx?s=EventImagesSearchState|1|15|1|2799887|0|0|0|0|&p=7

(Hola)New roles plural Oi! I'm verklempt! Thank you Hola for the icing on a cake of a week!

(Lola)New roles plural Oh, giddiness!! Thanks!

Blessing upon you and your tribe, Lola!:-) Thanks for the Q&A report and pics, Marianne. The caption on the above says it was a Variety screening, but you said they had to do 3 screenings last night?? Again, I say, I hope there's somebody left to buy a ticket--we want paying customers!;-) Love this one; "Here I am, defacing my face" ;-)

LisaJH: And Marianne, those pics you took are AFG! If it's clear, in focus and well lit, then it wasn't me. :)

Speaking of AFG, run to wire image at the link below. They had a cocktail party at Mikimoto the other night. Looks like he's having a great time! http://www.wireimage.com/GalleryListing.asp?navtyp=gls====44839

Zing and Kimberly! I liked your questions...I had about 15 (but only about 4 or 5 that were worth actually asking...)! Couldn't access MSN anyway, so just daydreamed and waited to hear how it went. Marianne, thank you for the Q&A report! Wonderful...glad to know he packed his brown shoes! LOL! Welcome back Moon! Hope you had a wonderful time! Thank you Mari, Ada and Maria for reviews! Hope I didn't miss anyone...so much going on...just know that I thank you all for your wonderful insights, news and reviews!!! Hola...always nice to hear from you. I love the plural...(gives me the warm fuzzies, the plural does...) Roles...she said roles!!! ;-)

Thanks for the wireimage link Mari. I can't get them to go big but if you could could on get a peek at whatever is at the end of the cord?

He's martini drinkin'! Yeah!!!! Thanks Mari!!

(Tress), Roles...she said roles!!! ;-) He's martini drinkin'! Yeah!!!! LOL! Yeah! And maybe one of the roles is in costume. ;-) Go Colin! So did Livia go to Rome or is she is in LA? Might be preparing for Matteo's Christening.

(Hola Lola)New roles plural Fabulous! Fabulous!!! I am waiting with bated breath to hear more . . .

Kimberly S.: wonder if Backstage or anyone recorded or had transcripts of the Q&A session . . . I asked the photographer when would the photos he took be available on their site, he said to look for the print edition first.

I hope these haven't been posted yet! If they have, apologies all around. Rex pics (four new ones): http://www.rexfeatures.com/cgi-bin/r2show0?k=COLIN+FIRTH&f=Newest&s=wQ0QgE6uIRUD9FkaGzacce1H&u=DEFAULT&p=13EE8DFA0000000A&t=000000E4

Great news! Great Times! Welcome back Moon! Thanks everybody for everything! Can't stop exclaiming! If my fiongers had a voice they would lose it from screaming and exclaining so much! (still overexcited!) More here.. http://217.158.83.123/scripts/kws30pre.exe?site=LFI&picktype=GfxOnly&type=GfxOnly&maxhits=24&FLFA_FIELD=&SEARCH_FILTERA=&search=LFNY+004916&hmessage=GIRL%20WITH%20THE%20PEARL%20EARRINGS%20PREMIERE&submit=lsearch

Kimberly S.: wonder if Backstage or anyone recorded or had transcripts of the Q&A session . . . (Marianne)I asked the photographer when would the photos he took be available on their site, he said to look for the print edition first. Ahh . .you may be able to see it then . .I just pick up the regular Backstage every Thursday morning here in NYC (have never seen Backstage West here). I did put a call into the Backstage West offices to ask about any transcripts of the Q&A & left a message. .am still waiting to hear back! Marianne & Mari - ooh thanks for those links . . . he looks great . .and do love him relaxing there with the martini

Okay....going back a couple of months, but this pic is too adorable and I had to share (thank you Casa Feliz!!!) (LOL...please pay no mind to Scarlett's knickers): http://colinfirth.casa-feliz.net/images/details.php?image_id=2160&sessionid=c8bbeb523a77cc19284c228a96a1a70d

:-((((((((((((( I can't keep up. Gone all morning and feel like I'm facing K-2. Oh well, here's a new article (sorry, they must be handing out the same pic to everyone who doesn't bring their own photog) http://www.firth.com/articles/04elle_jan.html Also, here are two pics that Marianne took last night at the Backstage screening. (BTW, Mikimoto was one of the sponsors of the first screening I went to on Tuesday; was v. disappointed they didn't hand out samples)

Speaking of AFG, run to wire image at the link below. They had a cocktail party at Mikimoto the other night. Looks like he's having a great time! Damn that Scarlett, can he let go of her already! ;-D Bet her drink is just out of the frame. Should've asked her grandma how *much* she liked working with Colin. ;-)

Tress-great pic!!! I would give anything to be in Scarlett's place! And (yes, I know I'm stealing your line Tress; please forgive me!) the hands, Louisa! Gah! Such gorgeous hands! Oh, and the little bit of gray in his hair... *sigh* LOL...please pay no mind to Scarlett's knickers Oh dear, are her jollyhose showing?

(Karen) ...was v. disappointed they didn't hand out samples LOL....ummm....samples of wot (are we talking about pearls here?)? ;-D

(Tress) Okay....going back a couple of months, but this pic is too adorable and I had to share (thank you Casa Feliz!!!) (LOL...please pay no mind to Scarlett's knickers) Actually, there are several of him hugging her... http://colinfirth.casa-feliz.net/images/categories.php?cat_id=104 They make a cute looking couple.

Great pics . .Love the one w/ Colin & Scarlett (Karen) ...was v. disappointed they didn't hand out samples (Tress)LOL....ummm....samples of wot (are we talking about pearls here?)? ;D Since Mikimoto is a jeweler . .that would have been very cool! But at the screening Risa and I were at , there was a poster for Vermeer Dutch Chocolate Cream Liquor .no samples at our screening though!!!! Their site - http://www.vermeercream.com/

Oh YUMMY, that looks delish! Check out the recipe for a Smore-tini. But when you click on the order thing, it says SOLD OUT.

Oh! See! I've been on overload so long I'm forgetting my manners (you may wonder if I actually have any, but I do try!). Thank you Marianne for the Q&A pics! Dorine, you said this: Damn that Scarlett, can he let go of her already! ;-D and I'm okay with the Scarlett thing...but who is the woman in Marianne's photo who has her hand dangerously close to ODB's bum!?? That's what I wanna know! ;-) And Karen...thank you for the Elle interview! I'd paste my favorite bits, but then I'd be copying the whole article over here! Let's just say that I would play kiss chase with him any ol' day and be mightily impressed with his spaghetti vongole! Also like that he window shops...LOL...he's such a guy! Thanks again!

Thanks for the Elle article, Karen. He's really trying to let loose a little. Is it my imagination or does he appear to be more in the "getting on a jet plane" mode instead of in the "just hopping on the tube" mode? ;-) That's sort of an historical metaphor (just made that up);-) It shows in his pictures with Scarlett, too. Thanks, Maria, Marianne, Mari, Tress, and Dorine for the pics and links. Thanks Annette for the HS info. Kimberly, thanks for the Vermeer Dutch Chocolate Cream link. Great gift for the holidays! Hola, thanks for the good news about the new roles plural. Can't wait to hear the rest! My imagination is running all over the place. Ah, how precipitous - when it rains it pours! Have a very happy holiday and New Year if we don't talk to you before then.

(Tress) but who is the woman in Marianne's photo who has her hand dangerously close to ODB's bum!?? That's what I wanna know! ;-) Oh, I wondered that, too! :-D Thanks everyone for pics, articles, and news (Lola)!

Lovely pics, he does look great! It looks like a low profile premiere. Who are those people? No wonder Livia stayed away. ;-) She'll be there for GG and Oscar, if it gets nominated. ;-)

(Tress) "Let's just say that I would play kiss chase with him any ol' day and be mightily impressed with his spaghetti vongole!" ROTFLOL! That's an image to remember! (Changing subject) Never mind Scarlett's knickers, I'm mightily puzzled by the pix of her in the beige dress with black flower at waist. I can't enlarge pix, but certainly looks to me as if she is braless, and, um, er, quite a bit lopsided. Her right mammary appears to be hanging several inches south of the left one. Do I just need to adjust my monitor, or shall we take up a collection for a good support bra for the poor child before she ends up looking like Mammy Yokum?

(Tress) Dorine, you said this: Damn that Scarlett, can he let go of her already! ;-D and I'm okay with the Scarlett thing Hey, I'll be the first to admit I'm just jealous of the jammy git. ;-D (Deb) but certainly looks to me as if she is braless, and, um, er, quite a bit lopsided. Her right mammary appears to be hanging several inches south of the left one. Oddly enough I noticed that too, but thought I was imagining..or needed better glasses. :-)

FYI, one of the people Colin is shown talking to at the GWAPE premiere is president of the Hollywood Foreign Press Assn. Finally!

BTW, that great review from USA TODAY is highlighted on the front cover. I have the LA Times; it can't be accessed online unless you're a subscriber. Gist of Ken Turan's review is generally very positive, but with a real left-handed compliment for CF: "Firth is a fine actor, with strong romantic roles in films from BJD to LA--which may be part of the difficulty. While the book is smartly circumspect about the artist's manner and appearance, the film can't seem to help turning Vermeer into one of those brooding, heedless, dashingly romantic figures that have become standard in film for generations. While this ups the romance quotient and increases the smoldering looks, it also makes for a more obvious personal dynamic."

(Karen) one of the people Colin is shown talking to at the GWAPE premiere is president of the Hollywood Foreign Press Assn. Saw that, but thought they were the object of some ridicule, despite having the GG's.

Tress - but who is the woman in Marianne's photo who has her hand dangerously close to ODB's bum!?? That's what I wanna know! ;-) Dorine - Oh, I wondered that, too! :-D She's his handler. And thank you so much Karen, you worked miracles on the photos.

Great article Karen! Was that from the new issue or are there American and British versions of Elle?

(Dorine) Hey, I'll be the first to admit I'm just jealous of the jammy git. ;-D I hear ya! ;-) (Moon) It looks like a low profile premiere. Who are those people? Was wondering about that too...many I didn't recognize at all...but, hey! Jacqueline Bissett and Topher Grace were there! ;-) Topher ('That 70s Show' is one of my guilty pleasures)! Have noticed that Tanneke (Joanna Scanlan) is in many, many pics with ODB...LOL...can't say I blame her, just wondering what her thoughts are on working with Colin. ;-) Thanks Mari for the LA times synopsis...I love those types of reviews..."Firth is a fine actor" but....

(Marianne) She's his handler. Ah! LOL...the key being the 'handle' part! ;-) Where does one sign up to handle ODB?? Sorry for the double post!

(Lora)Ah, how precipitous - when it rains it pours! That would be Three Days of Rain . .right?:) Karen - Cute article from Elle . . . trying to picture ODB "window shopping" or on the make. .wonder what type catches his eye now since he is settled down :) (Karen)FYI, one of the people Colin is shown talking to at the GWAPE premiere is president of the Hollywood Foreign Press Assn. Finally! Hooray! . .Speaking of which, the announcement of the nominations for the 61st Annual Golden Globe Awards are announced on Thursday, December 18 @ 5:30 a.m.PT/ 8:30 AM ET at the Beverly Hilton.

Sorry for double post . . . Marianne - Just got called back from Backstage West . .. there was no recording or transcript made of the Q&A after the screening(ah well) . .let us know how the pics the photographer took look like when they are published!

(Dorine) but thought they were the object of some ridicule, despite having the GG's Derision, more like. They'll show up anywhere for free food and drinks. ;-) (Marianne) She's his handler. The woman works for Lions Gate and would be the one to steer him through all these screenings and to-dos; she was also the one in charge of the premiere. Marianne (or any LA-based Droolers): can you post the GWAPE review from the LA Times? From the Elle interview (US edition, Jan 2004, Makeover Issue) on the last page, a section called Cherchez La Femme: Elle: Tongues? CF: No. [Ed note: Hasn't made any progress.] BTW, can't be much chasing in a very, very small room with one other person.

I like-a the velvet jacket and cord trousers.And last week the coat 'n tie at the Savoy.Whoa...! Enjoying the high life with Martini's.. ..before he hits the nappies mode;-)

(Karen) The woman works for Lions Gate and would be the one to steer him through all these screenings and to-dos; she was also the one in charge of the premiere. Is this the same woman? One behind ODB in this pic? The blonde was in the car with him, but as soon as he got out, the dark haird woman took over. She sort of steered him around while he was outside by the pen and in the press tent. (Karen) BTW, can't be much chasing in a very, very small room with one other person. Exactly...he's not a dummy! And as far as the no tongues...the girl could have taken a little initiative! What was she thinking?!

No, not the same one. Remember, GWAPE is Lions Gate and LA is Universal.

(Karen) No, not the same one. Remember, GWAPE is Lions Gate and LA is Universal. That was at the GWAPE gala. Lion's Gate...

Karen - can you post the GWAPE review from the LA Times? http://www.calendarlive.com/movies/reviews/cl-et-pearl12dec12,2,541623.story?coll=cl-mreview Colin Firth, right, plays Vermeer and Scarlett Johansson his model in "Girl With a Pearl Earring." (Jaap Buitendijk) A pearl of beauty 'Girl With a Pearl Earring' may lack dramatic subtlety, but its sheer visual appeal is a great achievement. By Kenneth Turan, Times Staff Writer It's not till the very end of "Girl With a Pearl Earring" that we get to see the actual 17th century Johannes Vermeer painting that inspired both Tracy Chevalier's bestselling novel and this film adaptation � and that is as it should be. For it is a measure of how convincingly book and film have conveyed the author's compelling notions of this masterpiece's back story, the imaginative re-creation of how this particular painting came to be, that when we finally see it we can't help but feel that we understand the art with a depth and richness of knowledge we have not had before. We feel we're seeing, so to speak, beyond the canvas to the human story that the author imagined when she wrote the novel to answer the question, "What did Vermeer do to her to make her look like that, happy and sad at the same time?" Though the screen version of "Girl With a Pearl Earring" is not in the same class as the painting, the success it has in being both convincing and involving is paradoxical two times over. While Chevalier's quietly and persuasively written book was a feat of language in the service of literary imagination, the film's virtues are almost completely visual. And those visuals are so impressive and overpowering that they largely make up for the fact that the book's delicate story has been somewhat standardized into a tale that lacks the subtlety and grace that made the novel so involving. As envisioned by director Peter Webber, production-designed by the veteran Ben van Os ("Orlando" and the work of Peter Greenaway) and gorgeously photographed by Eduardo Serra (Oscar nominated for "The Wings of the Dove"), "Girl" is so beautifully rendered it truly seems painted with light. Set in Delft, Holland, in the late 1660s, "Girl" is a gratifyingly tactile movie, concerned with surfaces, objects and the wonder of seeing. As befits the story of a man whose eyes, a character in the novel says, "are worth a room full of gold," it offers an impeccable re-creation of the ambience of that time, taking us from bustling outdoor markets to cramped, candlelit interiors to the crystalline light of the painter's studio. It's almost as if the filmmakers wanted to shoot in Vermeer-influenced light, wanted to suggest he painted the way he did because that's the way the world looked to him. And now, thanks to these visual wonders, to us. Aside from its look, "Girl's" other great asset is actress Scarlett Johansson as Griet, Vermeer's 17-year-old model and inspiration. With this period role following right behind "Lost in Translation's" ultramodern girl, Johansson underlines her great ability to fit in everywhere, no matter what the setting or era. Johansson has to do much more than remarkably resemble the girl in the painting (which she does). Though Chevalier's book takes place mostly inside Griet's head, the film has wisely avoided voice-over, so it falls to Johansson and her gift for showing feelings without words, for looking bland, inquisitive or furious as the situation demands, to convey the panoply of emotions she is experiencing. Griet is introduced at a low point in her young life. Her father, a tile painter, has been blinded in an accident, and the family finances demand that she take a job, specifically as a maid in the house of the celebrated painter Vermeer (Colin Firth). With Vermeer's wife exhausted and ill-humored from a constant stream of children, the other servants suspicious and the children an irritant, no one in the house is happy to see Griet. A flirtation with Pieter (Cillian Murphy), the local butcher's son, might have provided some diversion if Griet were that kind of girl, but she is not. The power in the establishment is in the hands of the artist's shrewd mother-in-law, Maria Thins (Judy Parfitt). Though the film doesn't make this clear, Griet was specifically hired to clean Vermeer's studio so that no object be disturbed. She's immediately transfixed by the sacred nature of that space, by the painter's work and, very soon, by the painter himself. What "Girl" does well, perhaps because of Webber's background as a maker of documentaries, is illustrate Griet's increasing involvement with the physical details of painting. She's fascinated � and so are we � as Vermeer explains his technique, shows her how colors are made, even introduces her to the wonders of the camera obscura. Griet enjoys being Vermeer's chaste apprentice/accomplice, until the possibility of her being a model brings the pressures of her place in the painter's household to a boil and points up difficulties in the story as filmed. Firth is a fine actor with strong romantic roles in films from "Bridget Jones's Diary" to "Love Actually" � which may be part of the difficulty. While the book is smartly circumspect about the artist's manner and appearance, the film can't seem to help turning Vermeer into one of those brooding, heedless, dashingly romantic figures that have become standard in film for generations. While this ups the romance quotient and increases the smoldering looks, it also makes for a more obvious interpersonal dynamic. This obviousness is increased by the problematic nature of Olivia Hetreed's adaptation. It pushes the plot toward increasingly conventional romantic situations, and its dialogue is a lot less facile than the novel's. Having Vermeer's lecherous patron Van Ruijven (Tom Wilkinson) say, "I won't turn out for small beer and biscuits" is not only clumsy, it makes the film sound unconvincingly British in a way that's totally at variance with the novel's sensibility. These may be small problems, but in a film this exquisitely put together and based on a book that exactly calibrates its effects, these departures from verisimilitude are noticeable and troublesome. But even if "Girl With a Pearl Earring" is not nearly as remarkable dramatically as it is visually, it is, finally, a film of great beauty, and that is something worth appreciating. 'Girl With a Pearl Earring' MPAA rating: PG-13, for some sexual content Times guidelines: Moments of sensuality, adult themes Colin Firth ... Vermeer Scarlett Johansson ... Griet Tom Wilkinson ... Van Ruijven Judy Parfitt ... Maria Thins Cillian Murphy ... Pieter Pathe Pictures presents in association with UK Film Council, released by Lions Gate Films. Director Peter Webber. Producers Andy Paterson, Anand Tucker. Executive producers Fran�ois Ivernel, Cameron McCracken, Duncan Reid, Tom Ortenberg, Peter Block, Daria Jovicic, Philip Erdoes, Nick Drake. Screenplay Olivia Hetreed, based on the novel by Tracy Chevalier. Cinematographer Eduardo Serra. Editor Kate Evans. Costumes Dien van Straalen. Music Alexandre Desplat. Production design Ben van Os. Art director Christina Schaffer. Set decorator Cecile Heideman. Running time: 1 hour, 39 minutes. In limited release.

some more pics.....:) (huge link) http://217.158.83.123/scripts/kws30pre.exe?site=LFI&picktype=GfxOnly&type=GfxOnly&maxhits=24&FLFA_FIELD=&SEARCH_FILTERA=&search=LFNY+004916&hmessage=GIRL%20WITH%20THE%20PEARL%20EARRINGS%20PREMIERE&submit=lsearch you can watch the kilborn/5 questions here: http://www.cbs.com/latenight/latelate/5questions/

(Tress) That was at the GWAPE gala. Lion's Gate... Ooops, I didn't check the photo's provenance (TIFF). As I recall, Pathe was the lead at Toronto, not LG. Was that woman his handler at TIFF too? Thanks, Marianne, for posting the review, a mixed one, again.

(Karen) Was that woman his handler at TIFF too? He seemed to have two women with him. There was the blonde who rode with him...and then this woman....and she was the one who would take his arm and tug him along the carpet...move him along (so I am guessing she was doing the 'handling'). She and the blonde spent some time talking while ODB signed autographs. In Marianne's pics I can only see her from the side, but from the mouth, they look like the same woman to me???

Yup, that sure does look like her. Works for LG. Want her phone number to ask? Sorry, I forgot, she doesn't answer her phone anymore. ;-)

Marianne, there's another LA Times article that was just posted; sounds like an interview with Webber and colin. Can you access it for us and post? www.calendarlive/movies Imagining an elusive Dutch painter's world MOVIES: Little is known about Vermeer, a challenge for first-time filmmaker Peter Webber and star Colin Firth in 'Girl With a Pearl Earring.'

Sorry, make that: http://www.calendarlive.com/movies/

Holy Cow, I'm out for a few hours and it seems that all hell has broken loose in here. Where do I begin? First a huge Thank You for everyone who has posted articles, interviews, reviews and pictures. OMG, the pictures. The cocktail party looks like it was a blast. (Scarlet perfecting her Livia pose once, again;-) But, Oh Joy...the cocktail party reveals the cord around his neck, but what the heck is it? Looks like beads? (just had to sneak this one picture)(hope it works) (Tress)Oddly enough I noticed that too, but thought I was imagining..or needed better glasses. LOL, I noticed it the first time I saw the pictuers, didn't want to say anything. I kept trying to figure out if it was the light playing with the pattern of her dress. Dorine those hug photos are amazing. Wow. Won't say anymore. Hola, thanks for that postivie news. Plural? I love plural. Welcome back Moon. Did I miss anything? I need a lie down. Whew!

(Karen) Was that woman his handler at TIFF too? That's it. *slapping head in disbelief* I've waited a lifetime to figure out what I want to do. It's been here all the time. I want to be a handler. Not just any handler-I'm very particular.

(Linda)Oh Joy...the cocktail party reveals the cord around his neck, but what the heck is it? Looks like beads? Mmmm, thanks Linda! Well that's a verification of the silver beads that showed up in one of the NY LA premiere pics that Rika found. I remember us crowded around her laptop Friday night looking at four cubic-ish silver beads that showed up on the other side of the necklace through his very open shirt. Tress and Maria (I think, but my memory is kind of fuzzy) were trying to figure out if the very enlarged picture showed the four beads with an initial engraved in each one (W, L, L, and M in order, for Will, Livia, Luca, and Matteo). This picture in combo with that one, which I unfortunately cannot access, would make me think approximately 16 beads (I used to be an avid beader). Ok, enough.

Sorry for the douple post, but I'm really fanatical about the cord. ;-) http://colinfirth.casa-feliz.net/images/details.php?image_id=2024

I think it's just a different version that I see many mothers wear of the necklaces with little figures, sometimes with birthstones, to denote loved ones...children and spouse. Maybe his is an Italian or just an artsy version. Isn't there a name of some sort for those types of necklaces?

And I have to say, I'm not as fascinated with the necklace so much as the increasing frequency with which he's been wearing his shirts with the collar *much* more open. ;-P Though loved the tie (tied as poorly as it was) at that to-do the other day, also.

LA Times December 14, 2003 Imagining an elusive Dutch painter's world Little is known about Vermeer, a challenge for first-time filmmaker Peter Webber and star Colin Firth in 'Girl With a Pearl Earring.' By Kristin Hohenadel, Special to The Times The only thing riskier for box office potential than labeling a movie an art film might be calling it a film about art � even if it happens to be about the 17th century Dutch master Johannes Vermeer. Which may explain why director Peter Webber speaks of art as just one of many themes in his adaptation of Tracy Chevalier's bestselling 1999 novel, "Girl With a Pearl Earring." Just as the book used the mystery behind Vermeer's popular painting to invent a relationship between the artist and a servant girl who could have been his muse, Webber said that his project � starring Colin Firth as Vermeer, Scarlett Johansson as Griet (The Girl) and Tom Wilkinson as Vermeer's mercenary patron, Van Ruijven � is "more than just a quaint little film about art." It is, he says, about money, sex, repression, obsession, power and the human heart. The boyish, mile-a-minute Webber, 42, on the Luxembourg set, added that he cut out the artspeak but peppered the movie � his first feature film � with sly Vermeer references for those who will get them. "I want to make a film not only for the cognoscenti. It's a film about relationships between people, and the painting is a vehicle for exploring those relationships. "What happens when an old man becomes obsessed with a young girl? What happens to a couple with six children who've been together for 15 years when someone's work takes over their life? What happens when a woman feels that her husband's interest in her is waning? What do you do when money interferes with art?" Those are some of the questions that arise when a lovely young servant girl joins the Vermeer residence. Little is known about the elusive artist, who did not leave as much as a self-portrait behind, but the filmmakers decided on a shoulder-length wig for Firth, who was posing in front of the easel in a low-lighted, lead-windowed studio as Webber looked through the monitor from a side room. Webber said that this slightly dreamy atmosphere was a contrast to the highly colored peasant world of bustling Delft, where the artist lived and much of the action would take place. He wanted to avoid making a portrait of Holland using travel poster shortcuts, he said. "We've avoided windmills, tulips, Edam � no, sorry � Gouda cheese." In dreaming up the personage of Vermeer, Webber said that he and fellow Brit Firth � who, he points out, are close in age, background and cultural references � discussed everything from "the mundane to the incredibly pretentious." They went to a paint-grinding windmill in Amsterdam, to the museum in The Hague where the original painting is kept. They chased Vermeer's ghost to Delft. "We talked about everything from his walk to how we would wear his hat, stand, hold paintbrushes," Webber said, "and then to how enigmatic did we want him, how mysterious? You want to have a lot of those discussions before you start�. It's very expensive, talking on the set." If nobody knows what Vermeer looked like, Webber met every hot young actress in Hollywood to find the face of the ubiquitous painting (Kate Hudson was attached in an earlier financing of the project with Ralph Fiennes as Vermeer). But by now everyone on set was saying "Scarlett is The Girl!" "When I first saw the painting, my mom said, 'Oh, that's funny, the painting looks a little like you,' " Johansson said on a break between scenes, kneading her delicate hands in her costume apron. "And I said, 'No, it doesn't!' " But in a headscarf and with dyed blond eyebrows to match the painting's coloring, she admitted to a spooky resemblance. "When I'm in costume and I cock my head in just the right position and we're doing a very still pose, it can be very eerie � a thing the painting kind of exudes, it comes out in very still moments with the camera." The ever-more-popular Johansson, who turned 18 during the shoot, said that she was waiting to read the novel until after she finished shooting. But she seems to have reacted to the script, adapted by Olivia Hetreed, the way that many readers reacted to the novel. "The script was beautifully written," she said. "I was very moved and it's so rare that that happens. The character is very touching. She's sort of destined to be in a certain social class, and you know that when you begin the story. The relationship with Vermeer is very emotionally filled, and it's almost sort of impossible to grasp it � it's always sort of slipping away, and it's very painful and it's that pain you can so relate to of wanting someone or wanting something so badly and it slipping out of your hands always. And while you're reading you feel a kind of anguish and nervousness and it's exciting to get that kind of feeling when you're reading something. It's very appealing." Art history buffs While the filmmakers insist that "Girl With a Pearl Earring" is a romantic drama, not an arty art film, they all seemed keen on providing caveats about their art history backgrounds. Webber studied art history in college. At the end of the shooting day, Firth, who was still in turquoise corduroy costume, said: "My entire circle of friends went to art school � I was the odd one out. You talk about paintings at an enormous risk of sounding idiotic." But, twirling a strand of "hair" he nevertheless ventured forth, saying that at one point, he simply started to fall in love with art. Rothko was his first love, he said. "But I certainly never would have gone for Dutch paintings," he continued, "utterly generic pictures of women with brushes in their hands and writing letters with their maid in the background." That was, until he saw "Young Woman With a Water Jug" in person. "You just feel kind of at a loss in front of some of those pictures." Firth said that in the absence of material about Vermeer, he first looked to the paintings for guidance. "I think I kind of got myself tied into knots," he said. "There did come a point when I did stop looking at the pictures and just sort of came down from the clouds a bit and just did things that were practical. I could do all the research in the world and could never do an average portrait. But I found I loved the very tangible stuff of just mixing paints and working with brushes and canvases. I love the materials. They're not things I work with every day. Actors always have to pretend this and pretend that. If I can love mixing an incredibly beautiful bit of paint and I'm playing someone who loved doing that, then that's just a gift right in your hands." Firth admitted that he had become the resident Vermeerophile. "It's a bit pathetic, isn't it?" he said. "Extremely dull. I mean I would have to say, by way of apology for that, that I'm not really that interested in the dates and where the paintings all are and that � that's kind of a little boy's nerdy game that I play with other people." 'Appropriate' curiosity It seemed understandable that the actor would cling to whatever physical details he could, looking for clues to portraying the artist. "Rembrandt we know a lot about," he said. "Picasso was even within our lifetime � we're surrounded by people who had contact with him. Vermeer, we don't even have a clue as to what he looked like. He painted 35 pictures we know about, if that, and all these tantalizing prosaic details like dates and itinerary of possessions and information about his wife." But he was careful to point out that the film was not about to pop-psychoanalyze Vermeer, but to allow his mystery to stand. "It's not giving it a slant, like 'Amadeus,' " Firth said, "where we're making a decision about what kind of guy he is." Of course the theme of wanting to unmask the personality behind the work is a relevant one for a movie actor, and Firth doesn't shy away from the comparison. "I think that the curiosity is perfectly appropriate," he said. "The need to satisfy it is worthless and inappropriate and misguided. In the case of writers, and I can't think of who this was � Richard Ford, maybe? � said, so something I have written has struck a chord with you; you felt you've entered into some deep point of discourse with me, and now suddenly you want to know me, you're looking to expand that intimacy or to unleash some kind of secret behind it. And the best point of intimacy you will ever have with me is what I wrote in that book; I'm not capable of being any more intimate with any human being than I was right there. "You're talking about a guy washing his car, walking his dog. Or you meet a guy and you want him to be funny, and he says, 'No, I'm only funny when I've got hours to think of the next line.' I certainly know there are things I do when the camera is rolling that would be ludicrous in real life � the way I look at people, the way I allow myself to be exposed. Actors do things that their social convention would never allow them to in their own environment." After two romantic comedies this year, Firth said he chose the role partly as a change of pace. "It's actually fun to go for something that's not about the gags, to change gear and do something that's not ashamed of being earnest about what it is. I think it's rather risky because we're not hiding behind irony." Vermeer books littered with sticky notes and photocopies of Vermeer paintings were in evidence all over the set, and Webber said that they had "spent a lot of time and money getting the details right." But more daunting than the looming ghost of a great artist might be the specter of the novel's devoted fans. "With a novel, they've directed it in their heads," Webber said. "How many times have you gone to see a favorite book that's been turned into a film and you think: 'Nicolas Cage � he's not Captain Corelli!' or whatever. How many good films are there of favorite books of yours? I mean normally a film is disappointing, compared to a novel you love."

Thanks, Dorine! What a fascinating article -- one of the most substantive and revealing yet, about ODB's background (his circle of artistic friends), his approach to preparing for a role, and his intellectual curiosity, which I find admirable (though as usual he self-deprecatingly calls it his nerdiness). In dreaming up the personage of Vermeer, Webber said that he and fellow Brit Firth � who, he points out, are close in age, background and cultural references � discussed everything from "the mundane to the incredibly pretentious." They went to a paint-grinding windmill in Amsterdam, to the museum in The Hague where the original painting is kept. They chased Vermeer's ghost to Delft. Sounds like Webber treated CF as a peer and partner in developing the role of Vermeer, and really appreciates his talents. I remember he said something quite perceptive about CF�s appeal in the W article �Going Dutch� Karen posted on this site a while ago: "He also has a mystery, a dignity, a sternness and a romantic sexuality that�s particularly appealing to women." The romantic sexuality is what first attracts people to him, but it's the mystery and dignity and, well, I wouldn't call it sternness exactly, more like a kind of reserve and strength of character, that keep his fans (or me, at least) intrigued enough to keep coming back. (Sorry for rambling on, but I can only come out to play for a few minutes late at night, so gotta get in as much as I can! ;-)

(marianne) One last thing, he wore a black velvet jacket, grey corduroy trousers and brown shoes. ahaha ! the grey/brown combo, a new combination ! can't leave him a day alone without his falling back in mismatch hell ! (but the kryptonite might explain it). though it definitely looks like he's training for the next drool b'day bash, downing martinis, party hopping & all that. what next ? dancing lessons ? (tress) but who is the woman in Marianne's photo who has her hand dangerously close to ODB's bum!?? That's what I wanna know! ;-) (dorine) Oh, I wondered that, too! :-D (marianne) She's his handler. (karen) the woman works for Lions Gate and would be the one to steer him through all these screenings and to-dos hence, the leash. comes in handy for the handler. (whistle, whistle : "come here, boy, roll over. now, that's a good boy") on another plane : (peter webber in this IGN thingie) His painting, his art, is more important to him, actually, than his sex life. So, he's using all of that sexual energy to put into the painting. And if he had walked into that closet when she was taking the cap off, the painting would be over. ... It's the building up, it's the yearning that he was using as an artist. mmmhhh, would that be another case of 'sexying up' the original story ? this "blame it on the sex drive" explanation sounds very contrived/simplistic to me & rather ridiculous to tell you the truth (not to mention the 'been there seen that' factor)... but i guess i'll have to wait to see the movie to be the judge of that. sigh, may 2004... thanks for the goodies everyone !

Just a brief second-hand report on the free screening in SF Thursday night. My sister (whom I have recently introduced to the world of Firth) attended with a friend and absolutely loves the movie -- thinks it's gotta get an Oscar nom at least for cinematography. But she also found the audience to be a rather strange collection of folks -- no big shots or celebrity types, some CF fans, many very elderly women, and a large percentage being street people who apparently took advantage of seeing a free movie with eats afterward. I'll ask her to watch for any newspaper articles. (She recently sent me a full page from SF paper with huge picture of Vermeer's GWAPE at top, and it turned out to be feature story on a decorator who reproduced the painting full size for the master bathroom in a mansion. The noive of some people!)

P.S. The live chat transcript is posted now: http://chat.msn.com/msnlive_feature.msnw?id=artist/colinfirth

(Dorine)And I have to say, I'm not as fascinated with the necklace so much as the increasing frequency with which he's been wearing his shirts with the collar *much* more open. ;-P Yesss! Thans for posting the LA Times story, Dorine. "We talked about everything from his walk to how we would wear his hat, stand, hold paintbrushes," Webber said, "and then to how enigmatic did we want him, how mysterious? . . . "I think I kind of got myself tied into knots," he said. "There did come a point when I did stop looking at the pictures and just sort of came down from the clouds a bit and just did things that were practical. Interesting stuff. This is Colin's sandbox. I can't help but believe that he finds the dramatic roles and the research more fulfilling than comedy. LOL at the Elle article, Karen. This guy asked most of the things I wanted to at the chat.;-)

Saw GWAPE today at a screening at the Oklahoma City Museum of Art. Wonderful to see it in a quasi-museum setting, artsy crowd, some book club people. Everyone impressed. Sold out crowd; turning people away. This the day aft a big mid-west winter storm. More in Spoilers topic.

(Mari)I can't help but believe that he finds the dramatic roles and the research more fulfilling than comedy. Absolutely. I think I've found him more honest, open, and revealing a great deal more through the GWAPE publicity than he has ever done with the comedies. He really, I think, enjoyed the whole process. Dorine, fantastic article, thank you.

The GG's announcements will be on E! at 8 AM EST on the 18th. Hoping for a couple of familiar names there...

Leonard Maltin and Joyce Kulhawick of Hot Ticket will review GWAPE this week; check your local listings, comes on later tonight in my area. I hear it's well worth watching.;-)

So happy you made it to GWAPE, Evelyn!

Heres' the link to the Metacritic site, which I find is a much better barometer of critical opinion than rotten tomatoes. It's just the major critics, which means you don't have to suffer through reviews from some pimply faced 16 year old named Tyler who's working out of his parents' basement in Hackensack.;-) http://www.metacritic.com/film/titles/girlwithapearlearring/ BTW, according to Coming Soon, TEOR will open on December 24, 2004. Which means we get to do this all over again same time next year!:-)

GWAPE premiere; thought his eyes looked great in this one:

(Mari) BTW, according to Coming Soon, TEOR will open on December 24, 2004. What an awesome birthday present!! I know now what to say if someone asks me where I want to go out for my birthday. :-D Thanks, Mari! You're right, that is a fantastic picture. Leonard Maltin and Joyce Kulhawick of Hot Ticket will review GWAPE this week; check your local listings, comes on later tonight in my area. I hear it's well worth watching.;-) You hear *they* are worth watching or they say the movie is worth watching? I can't stand her. He's tolerable most of the time to me.

(Mari) Heres' the link to the Metacritic site, which I find is a much better barometer of critical opinion than rotten tomatoes. Thanks for the link, Mari! You're right, it seems to be a much more discerning site (or maybe it's just the snob in me saying this, since I agree more with their evaluations -- not just of GWAPE). (Mari) It's just the major critics, which means you don't have to suffer through reviews from some pimply faced 16 year old named Tyler who's working out of his parents' basement in Hackensack.;-) LOL! How true. That *is* a fantastic picture! No wonder people keep raving about his smooth skin. And what a pair of fine eyes!! ;-) And so much exposed neck. Swoon... (But are those gray hairs or just the reflection of camera flashes from the paparazzi?!) (Dorine) I can't stand her. [Joyce Kulhawik] Me neither. She's on one of my local channels, and I just switch off when she gets on. Doesn't seem to have an original thought or any discerning taste -- most of the time it feels like she didn't see the same movie or play I did.

The Hot Ticket review of GWAPE verged on the ecstatic by both Leonard Maltin and Joyce Kulhawik. Among other hymns of praise, they called it "a great story...amazing story," "staggering," "an extraordinary achievement," "a really, really special film," and "most elegant film of the year." They called Scarlett's an Oscar-worthy performance, and Maltin described Colin as "wonderful here as Vermeer - he's usually wonderful; he's really great here." I don't know how many people watch this show (Roger Ebert is the biggie), but I hope they influence enough people to see GWAPE and appreciate it, too.

"GWAPE - Official Website" I'm not sure this has been posted already, but anyway, here is the link to the official website: http://www.girlwithapearlearringmovie.com/ Now playing in New York and Los Angeles Opens in Chicago and San Francisco - Dec. 26th In Theatres - January 2004 I'll "finally" be able to see it.....

Hi Katty..... I was able to watch Leonard Maltin and Joyce Kulhawik today on tv and it's exciting that "GWAPE" is getting so much positive praises....Leonard mentioned that Colin Firth is such a giftedly talented actor and both said nothing but praises for the film's acting, screenplay, cinematography, directing, etc....I think Leonard said, it's like stepping into a book/painting and being transported back to 17th century Holland....The film looks so real - the visual imagery are amazing.... Here's a link to GWAPE author, Tracy Chevalier website with her talking about her novel being transformed into the film: http://www.tchevalier.com/filmnews.html ~Momi~

Went to the benefit showing of LA in Sydney today - what a treat! They were serving free champagne (with strawberries), and free liqueur drinks (Tio Lusso, which is rather like a cross between Bailey's and Kahlua, only low-fat). VERY nice - had several of those (they were quite small! ;-)) and stood around chatting with several of the women on the National Trust. They wanted to know, since I wasn't with the National Trust, how I found out about the showing - told them I googled "LA" and "preview" and their website came up. Suggested that they might want to do a preview of GWAPE, too, as a fundraiser. ;-)) Fingers crossed...

Great picture, Mari! Methinks he has a better hair stylist in LA. ;-) Thanks, for the link. Dorine, thank you for the LA Times article.

Does anyone have the WSJ review? Takes a subscription. I wish Metacritic would have included the NYer...it was a good one. These are the folks who are going to see this film. The SJ fans will like her more in her contemporary roles. Period films are a hard sell to the "great unwashed". I asked the people around me at the screening where they had heard of the film. Most from BWTA and some from the Today Show, even that blurb. TV rules!

Evelyn, so glad you got to see the OC screening of GWAPE! And thanks, Dorine, for that fine and revealing article, and, Mari, for those fine and revealing eyes. (Colin on msnlive)We're looking into the light. When I first read this during the chat, I had to LOL because I thought immediately of you, Maria, and your explanation of your experience seeing CF on the red carpet in NYC. :-)

Thanks for the link to the chat, Deb. I had tuned into the chat after the first couple of questions which meant my view of it started in mid answer to the third question. I actually tried to post a question a lot like the first one. No wonder they didn't use it.

(Evelyn) Does anyone have the WSJ review? Takes a subscription. I have a subscription, but it won't let me log on for some reason. Tried to reregister and told me it already had my acct number and wouldn't let me go further. No time to type from print right now. Sorry. :-(

Can someone post if Ebert and Roeper reviewed GWAPE this week, for sure? My local news decided to override it with local news to tell me it's snowing outside....for 15 mins! Then, Sen. Schumer comes on for his weekly attempt at greater media exposure over the topic of the day. I don't know if E&R is shown on another channel at another time. :-(

(Katty) The Hot Ticket review of GWAPE verged on the ecstatic by both Leonard Maltin and Joyce Kulhawik. Joyce is forgiven. Usually she pans the films I like, and raves about the ones I detest. (Though I haven't seen GWAPE yet, from what everyone has been saying here I can't imagine NOT loving it!)

Dorine, E&R did not review GWAPE yet. (Moon),Great picture, Mari! Methinks he has a better hair stylist in LA. ;-) He has said that himself. I knew you'd approve, Moon.;-) Early box office estimates: $90,000 for GWAPE from 7 screens, average of close to $13,000 per screen. Love Actually is up to $53 million.

Dorine, E&R did not review GWAPE yet. (Moon),Great picture, Mari! Methinks he has a better hair stylist in LA. ;-) He has said that himself. I knew you'd approve, Moon.;-) Early box office estimates: $90,000 for GWAPE from 7 screens, average of close to $13,000 per screen. Love Actually is up to $53 million.

Grrr, closed I hope.

Dorine - Thanks for posting that LA Times article. Sweet to hear him apologetic about all his research and mental filing cabinet of Vermeer-facts . .nerdy, certainly not, Colin;) . . .I'd sit and listen to you wax poetic about Vermeer, if I could do the same about J.W.Waterhouse;) Mari - Nice pic and nice link to the Metacritics site . . and TEOR on 12/24/04??? I am so there . . .Dorine, perhaps you'll get a special b'day hello or something from Colin ;)

'Something's Gotta Give' rules box office By DAVID GERMAIN, Associated Press Last updated: 2:15 p.m., Sunday, December 14, 2003 LOS ANGELES -- Love among older adults conquered the box office as Jack Nicholson and Diane Keaton's romance "Something's Gotta Give" debuted in the top spot with $17 million. The previous weekend's top film, "The Last Samurai," slipped to second place with $14.05 million, according to studio estimates Sunday. The Farrelly brothers' comedy "Stuck on You," starring Matt Damon and Greg Kinnear as conjoined twins, opened at No. 3 with $10 million. The teen romance "Love Don't Cost a Thing," featuring Nick Cannon, debuted in fourth place with $6.5 million. The overall box office slipped, with the top 12 movies grossing $83 million, down 8 percent from the same weekend a year ago. Ticket sales will surge this week with "The Lord of the Rings: The Return of the King," the conclusion of Peter Jackson's adaptation of J.R.R. Tolkien's fantasy classic. The film opens Wednesday. "Return of the King" could surpass the $62 million opening weekend for last year's middle chapter, "The Two Towers," said Paul Dergarabedian, president of box-office tracker Exhibitor Relations. In limited release, a reissue of "Two Towers" took in $700,000 this past weekend, pushing the film's total gross to $340 million and priming the pump for "Return of the King." "This past weekend was the calm before the storm," Dergarabedian said. "Everybody's waiting for `Return of the King' and the onslaught of all the holiday movies coming after that." Opening Friday is Julia Roberts' "Mona Lisa Smile." Christmas week brings Nicole Kidman and Jude Law's Civil War epic "Cold Mountain," Steve Martin's comedy "Cheaper by the Dozen," Ben Affleck's sci-fi tale "Paycheck" and a live-action version of "Peter Pan." Distributor Sony hopes the well-reviewed "Something's Gotta Give" will linger in theaters through the holidays. Keaton stars as a 55-year-old playwright in a love triangle involving a 63-year-old womanizer (Nicholson) and a 30-something doctor (Keanu Reeves). "For the holidays, this is the perfect piece of entertainment, especially in a market that for the most part has had either children's films or darker-themed adult films out there," said Jeff Blake, Sony Pictures head of distribution. "This is funny, well-written, and we think works for all audiences." Though aimed at older adults, "Something's Gotta Give" scored well among younger crowds, with viewers under 30 accounting for a third of the audience, Blake said. It was Sony's ninth movie this year to debut as No. 1 for the weekend, breaking the old industry record of eight set three times in past years by Warner Bros., Blake said. Playing in 2,677 theaters, "Something's Gotta Give" averaged a solid $6,350 per showing, compared to a $3,330 average in 3,003 theaters for "Stuck on You" and $3,544 in 1,844 theaters for "Love Don't Cost a Thing." In limited release, Tim Burton's tall-tale adventure "Big Fish" debuted strongly, grossing $215,000 in six theaters for a $35,833 average. The father-son reunion story stars Albert Finney, Ewan McGregor, Jessica Lange and Billy Crudup. The 17th century drama "Girl With a Pearl Earring," starring Colin Firth as Dutch artist Vermeer and Scarlett Johansson as a servant who inspires him, also opened well. In seven theaters, the film took in $90,000 for a $12,857 average. "Big Fish" and "Girl With a Pearl Earring" expand to more theaters Christmas week.

You can LISTEN to Wall Street Journal's Joe Morgenstern review of GWAPE on KCRW's website: http://www.kcrw.com/show/fr Regarding Metacritic, it's a very interesting, informative site, but I question some of the number ratings it gives GWAPE. The bunch of "60" scores lump together positive (TV Guide), negative (Time and Salon), and in-between (WSJ and NYT)reviews. But I guess if you average them together, they come out even.

Thanks everyone for all the news, links, photos, and everything! I was just at the official gwape site: http://www.girlwithapearlearringmovie.com/# They have a link to a music video inspired by the movie. I was expecting classical music and romantic images. I was wrong :-D I know I'm not the hippest person alive but this is an interesting choice. Maybe it'll bring the younger folk in to see the movie? The singer has his own site: http://www.trumankind.com/ Big push for the award season: http://lionsgateawards.com/index_land.html

(Mari)thought his eyes looked great in this one Thought everything looked great in that one;-) *sigh* (Mari)Early box office estimates: $90,000 for GWAPE from 7 screens, average of close to $13,000 per screen Excellent early #'s. Looks like Universal dusted off the LA commercials. I saw a few over the weekend. Just a tid bit from the Chicago Sun Times: All I want for Xmas is a celebrity makeover: I blame celebrities. As the winter doldrums stifle our psyches, it seems like we've seen it all before, the same famous people doing the same things in the same places: Eating at the Ivy, wearing Ugg boots, studying Kabbalah, tongue-kissing Colin Firth. Often at the same time. Tongue kissing? Colin? At the Ivy, wearing Uggs, studying Kabbalah (ah the beads)When? Where? Who? LOL, that is a make over!;-)I want one too! http://www.suntimes.com/output/wiser/sho-sunday-paige14.html Thanks everyone.

Woops, must have been all that tongue kissing talk. closing bold

Don't know who's tongue kissing him, but it certainly isn't anybody onscreen.;-) NY Film Critics Online Awards (as opposed to the NY Film Critics) NYFCO FILM AWARDS FOR 2003 Picture...... Lost in Translation Director...... Sofia Coppola (Lost in Translation) Actor...... Bill Murray (Lost in Translation) Actress ...... Charlize Theron (Monster) Support Actor...... Alex Baldwin (The Cooler) Support Actress ...... Scarlett Johanson (Lost in Translation) Screenplay ...... In America (Jim, Naomi & Kirsten Sheridan) Foreign Language ...... Demonlover Documentary ...... Winged Migration Cinematography ...... Girl with a Pearl Earring (Eduardo Serra) Animation ...... Finding Nemo Breakthrough performance ...... Peter Dinklage (The Station Agent)

Hello ladies, I will introduce myself at Topic 174 very soon, but wanted to post this now if anyone is interested in voting. CF is one of 10 finalists, the winner to be named London Personality of the Year 2003 this Tuesday. They are still taking votes as of right now. Madelyn

I'll try again.

Sorry. I have to learn. Here's the website's address anyway http://www.thisislondon.co.uk/news/showbiz/articles/7960572?source=Evening%20Standard They want emails to personality@thisislondon.co.uk with name of votee in subject line

(Lora)Colin on msnlive)We're looking into the light. When I first read this during the chat, I had to LOL because I thought immediately of you, Maria, and your explanation of your experience seeing CF on the red carpet in NYC. :-) That line really resonated with me! :-)) Really enjoying the types of articles and responses we are getting with GWAPE! COLIN FIRTH: TAKING THE LEAD Ruthe Stein Sunday, December 14, 2003 Toronto -- A new baby recently arrived in the Colin Firth household, consuming the stalwart British actor with dad duties like changing diapers. He and his wife, Italian producer Livia Giuggioli, have another son, who is 3, and Firth has a 13-year-old with actress Meg Tilly. When all three boys are around, his London home gets so noisy that it's hard for Firth to think, let alone concentrate on preparing for a new role. All this havoc helped him get a handle on 17th century Dutch artist Johannes Vermeer, who had 11 children running around his cramped home in Delft and a wife who was a bit of a shrew. Vermeer nevertheless created some of the most remarkable paintings ever committed to canvas. His simple yet mystical images remain in the mind's eye long after viewing. Cast as Vermeer in the holiday movie "Girl With a Pearl Earring,'' Firth immediately knew he could never capture the great man's genius. "I couldn't touch that. You can't play genius,'' he said over coffee during the Toronto International Film Festival, where "Girl'' premiered. Firth, 43, has built a career on costume dramas -- most memorably as Mr. Darcy in the 1995 miniseries "Pride and Prejudice,'' a role that made him the hunk du jour of the "Masterpiece Theater" crowd. As is often said of him, Firth seems to belong in britches. He looked out of sync in jeans and casual sweater, like a time traveler trying to blend in. On the other hand, he's completely convincing in the robes of a marginally prosperous mid- 1600s painter. Firth found the "practical details'' of Vermeer's life a "useful accessible element'' in capturing him. "This was a man who painted seemingly serene pictures repeatedly, capturing the calm of the moment in a house that is incredibly chaotic,'' said Firth, who studied Vermeer's work in museums. "Everybody knows what it's like in a noisy house. Everybody knows what it is to need to work, to close yourself off in a room and have the sounds going on. Everybody knows what it is like to have a bit of a secret life, a secret passion or a dream. Looking from my own vantage point, I think one of the most interesting things is that kind of creative intensity within a very earthbound domestic environment.'' Firth wouldn't reveal much about his own secret life, except to say that "you can share these things with your partner.'' He's become guarded since his first brush with fame, when paparazzi followed him home after he had purchased a vacuum cleaner. A headline in the tabs screamed, "Mr. Darcy does the household chores.'' The notoriety intensified after Helen Fielding, in the midst of writing "Bridget Jones's Diary,'' named the romantic hero Mr. Darcy in the actor's honor. Firth was catapulted to a gentler English version of superstardom when he was cast as Darcy in the screen adaptation. He's reprising the role in a sequel. Firth is opinionated on the subject of Vermeer's secret life, which, the movie suggests, may have entailed a romantic liaison with his young housemaid, possibly the model for his sexually charged painting "Girl With a Pearl Earring.'' In her novel of the same name, Tracy Chevalier took fictional license in telling the story of Griet, a 16-year-old employed by the Vermeers to tend to the children and perform menial tasks for Mrs. Vermeer. Scarlett Johansson, fresh from enticing Bill Murray in "Lost in Translation,'' again plays muse to an older man in "Girl.'' As portrayed in the movie, Vermeer's relationship with Griet is loaded with sexual tension, but Firth is convinced it was never consummated. "I don't think he does womanize at all. I think he is utterly faithful to his wife. His mother-in-law covers up (the times she sees Griet and Vermeer together) because his wife is extremely jealous, and the mother-in-law knows there will be nothing but trouble.'' Still, the scene where Griet poses in his studio is awfully hot, especially when Vermeer smears red paint over her lips. According to the movie, this accounts for the girl's moist red-parted mouth, which leaps out from the canvas far more than her subtle earring. "The direction in that scene was eloquent,'' Firth recalled. "You see a brush going across her lips, then you see my thumb going across. There was no more contact (between them) than that.'' Firth came away impressed with Johannson, no more than a teenager herself. "She's quite committed to what she does. I think she's exceptional.'' Her resemblance to the model in the painting is remarkable. "Scarlett has a Scandinavian background, so she is not a million miles away. She is very fair skinned, and she bleached out her eyebrows. She wore no makeup, just white (coloring). She showed a lack of vanity.'' Because so much of the movie deals with her character, Firth didn't feel a need to do extensive research on methods of painting. "If the movie was all about Vermeer, we would have seen more of that. In the end, I wanted to look like I could hold a brush and put it on canvas. I've had a go at painting. It's not a regular hobby, but I know how to do it. The way Vermeer moved things around his desk was more interesting for me than watching his hand on the canvas.'' Although it's not obvious to the audience, it meant a lot to Firth that the tools in the studio were reproductions of what Vermeer would have used. The brushes were crudely made of horsehair and crooked wood, the paint composed of shellac and various odorous components. "One of the things the film actually can't really communicate, which is really striking, are the smells. Some of them would have smelled horrible. Vermeer would have had to make his own paint in the laboratory and get those colors right.'' On most movie sets, Firth has felt "an element of stress because you are carrying a lot of responsibility.'' It was acute on "Girl With a Pearl Earring, '' the first movie in which he has the undisputed male lead. By contrast, "Love Actually'' was a lark. A huge ensemble cast meant "I wasn't carrying anything. I was just having a holiday on a film.'' By odd coincidence, his character in that movie also has a relationship with a maid. Firth said that actually happened to Richard Curtis, "Love's'' writer and director. "He was in France writing, and he fell in love with a Portuguese cleaning lady.'' Unlike the movie, however, their romance did not have a happy ending. "Richard never even spoke to her.'' Firth laughed when told that there's an impression in the United States that he and the other prominent British actors in the movie are all pals. He said he doesn't hang out with Hugh Grant -- his co-star in the "Bridget Jones'' movies as well as "Love Actually'' -- or Alan Rickman or Emma Thompson or any of the others. "We're not one big happy family at all,'' he says. "But 'Love Actually' was a happy shoot.'' http://www.sfgate.com/cgi-bin/article.cgi?f=/chronicle/archive/2003/12/14/PKG4U3JNFM1.DTL

International Playboy Bartenders Create Cocktails For Stars Of Love Actually http://www.fashion-uk.co.uk/fas_news.taf?_function=detail&_record=172353&_UserReference=E88B2E4C306A232FC36F4A70&_start=1

Still, the scene where Griet poses in his studio is awfully hot, especially when Vermeer smears red paint over her lips. According to the movie, this accounts for the girl's moist red-parted mouth, which leaps out from the canvas far more than her subtle earring. "The direction in that scene was eloquent,'' Firth recalled. "You see a brush going across her lips, then you see my thumb going across. There was no more contact (between them) than that.'' They cut something here?! A reshoot? You mean I have to go see it *again* to take a better look at the lips? ;-) She wore no makeup, just white (coloring). She showed a lack of vanity. Well, duh, that was in character. She wears quite a bit otherwise. Esp bright red lipstick often. On most movie sets, Firth has felt "an element of stress because you are carrying a lot of responsibility.'' It was acute on "Girl With a Pearl Earring, '' the first movie in which he has the undisputed male lead. Hasn't seen many of his movies, has she? Thanks, Maria!

Great article Maria! (Dorine)They cut something here?! A reshoot? You mean I have to go see it *again* to take a better look at the lips? ;-) I was going to say that too! . .when did I miss THAT scene???? If it was cut out of the theatrical release that we saw . .I hope it will be on the extra features on the DVD.

He looked out of sync in jeans and casual sweater I think he looks great in jeans.:)) Everybody knows what it is like to have a bit of a secret life, a secret passion or a dream. Looking from my own vantage point, I think one of the most interesting things is that kind of creative intensity within a very earthbound domestic environment.'' Ha! I do, and it's you..... the first movie in which he has the undisputed male lead Is this a quote of his or hers?

Would just like to thank you all for the articles. The last two from Dorine and Maria were really very interesting. Bee, you took my qoutes and replies right out of my mouth :-) Kindred spirits :-))

http://www.ent-today.com/movies/mo121203_gwape.htm Girl With a Pearl Earring reviewed by Brent Simon Set in Holland in 1665, Girl With a Pearl Earring details the relationship between master painter Johannes Vermeer (Colin Firth) and Griet (Scarlett Johansson), a tilemaker�s daughter forced to take work as a second maid in his household when her father passes away. Fascinated by his use of color and light, Griet exhibits a native interest in and appreciation for Vermeer�s work that the rest of his family does not possess. Soon she becomes part of his work, their growing acquaintanceship spreading disruption and sowing jealousy throughout the house. Vermeer�and by extension Griet�both contend with cohabitating and intersecting forces that disapprove of their burgeoning non-relationship: Vermeer�s prone-to-histrionics wife Catharina (Essie Davis) and domineering mother-in-law/�agent� Maria Thins (Judy Parfitt), weasely benefactor Van Ruijven (In the Bedroom�s Tom Wilkinson) and young butcher boy Pieter (28 Days Later�s Cillian Murphy), Griet�s would-be paramour. Directed by Peter Webber, from a screenplay by Olivia Hetreed, Girl With a Pearl Earring is a movie of a certain sumptuous malaise (darkly lensed by Eduardo Serra, it exudes a beautiful gloominess). Yet even if you can appreciate its elaborate posing, there�s never a lavish emotionalism, characteristic of the best period piece heart-tuggers, which sweeps you along. A fine actress, Johansson makes us feel for Griet and her predicament, but neither the script nor her performance tell us anything lasting about her character�s inner makeup. Instead, we get a couple dozen slack-jawed curtsies and gasps � wan, signifying markers of costume drama emotion. Firth, on the other hand, truly exemplifies the dictum that less is often more; something dark lies behind his stormy brown eyes, and his Vermeer is a tantalizing character, someone about whom we want to know more. The crucial, defining difference in movies of this sort�movies of scope and ambition but limited means�boils down to the fine line between small and intimate. Can the filmmakers successfully convey a grander emotional and psychological palette without the full resources of a big Hollywood production? If a script is hitting on all cylinders, yes, certainly. But Girl With a Pearl Earring is a movie of small charms � a chamber drama unprepared for the limelight. (Lions Gate/Path�, PG-13) ***************************************************** http://news.yahoo.com/news?tmpl=story&u=/usatoday/20031212/en_usatoday/thispearlisofgreatvalue This 'Pearl' is of great value (USA Today -Fri Dec 12, 6:20 AM ET) It's a measure of the mesmerizing power of Girl With a Pearl Earring and the flawless performances of Colin Firth and Scarlett Johansson that audiences feel as if they are spying on a moment of artistic inspiration when painter Vermeer creates the title work. The cinematic adaptation of Tracy Chevalier's novel attempts to unravel the mystery behind one of Vermeer's best-known paintings. Chevalier's fictional account of a 17-year-old servant girl who served as the artist's model is the scaffolding upon which a much more nuanced, sensuous tale is built. Because of the film's meticulous attention to detail - and because cinematographer Eduardo Serra perfectly captures the rich light, shadow and colors of the Dutch master's world - we are transported seemingly effortlessly to 17th-century Holland. Johansson plays Griet, a farm girl with an intuitive appreciation of art who becomes a servant for Vermeer's family. Firth plays the artist, about whom little is known historically, with a blend of smoldering intensity and quiet understatement. He is meant to be enigmatic, as is Griet in some ways. Yet we feel their growing attraction as she works in his studio; it reaches a climax when he pierces her ear with the earring that he asks her to wear for the portrait. It's a strangely compelling and sexy scene in a movie that is fraught with palpable, but unexpressed, passion. In contrast to their suppressed lust, Tom Wilkinson plays a wealthy patron whose leering lasciviousness becomes a real threat to Griet. Also threatening to Griet is Vermeer's jealous wife (Essie Davis) and conniving mother-in-law (Judy Parfitt), both of whom leave lasting impressions with small roles. Fans of the book will note that the ending is different, but most should pleased with the majestic visual rendering of the story and the brilliant casting. Johansson, so perfect in Lost in Translation, is having a banner year that Oscar voters should recognize. Firth's quietly contained but emotionally tortured performance should erase any lingering memories of his lackluster part in Love Actually and put us more in mind of his complex charms from Pride and Prejudice. Girl with a Pearl Earring is a rich gem expertly told in a surprisingly scant 95 minutes. The film's deliberate pacing beautifully complements the nuances of a story about the complexity of creativity and the part it plays as a powerful outlet for repressed emotions.

Firth's quietly contained but emotionally tortured performance should erase any lingering memories of his lackluster part in Love Actually and put us more in mind of his complex charms from Pride and Prejudice YIPPEE!!! Need to see more of those "complex charms"! But Girl With a Pearl Earring is a movie of small charms � a chamber drama unprepared for the limelight. UH OH. That doesn't sound good. Wonder what terrible things will befall a drama "unprepared for the limelight"???

I don't remember seeing this ...From a Sept. article about Esther Freud - She then wrote her fourth novel, The Wild, and set up a film company with David, "largely as a way of ensuring we spent more time together". She is currently working on a film script of The Wild and they are trying to raise money to make it. Colin Firth and John Malkovich have both expressed a keen interest in being in it and David will direct. http://www.thisisbrightonandhove.co.uk/brighton__hove/leisure/interview/artists_writers/esther_freud.html

Interesting, Maria - Perhaps this is one of the roles Hola Lola was hinting at? Ah she also wrote - Hideous Kinky - that was made into a film w/ Kate Winslet - Anyone see it? Here's a bit about Wild from: http://www.impacdublinaward.ie/2002/titles/Freud.htm ABOUT THE BOOK It is the '70s. In an old bakery converted into a home, two single-parent families have come together under one roof. For nine-year-old Tess it is a new start and she sees in William, the tall, blond guitar-playing father of three, both the father she craves and a lover for her mother, Francine. Her brother Jake, however, feels nothing for William but contempt. When Francine becomes involved with William, Tess, eager to share in their love, tries to please the adults as well as win Jake round. But Tess soon finds that good intentions don't always bring happiness and that adults are sometimes capable of making mistakes. I take it he'd be William . .bringing out his guitar again? . .they might think of Ewan McGregor for this role too . . . (thinking of his guitar playing in Nora)

Sorry about double post: A little more on The Wild - w/ an excerpt . . . http://www.penguin.co.uk/static/packages/uk/readers/bookshelf/freud.html

(Kimberly) I take it he'd be William. .bringing out his guitar again? Or maybe he would be Jake, the 12 year old brother, and they could have the make-up crew from WAGW that worked such magic in making him look 20 years old really show us what they've got! ;-)

Long interview with Webber, Colin, and Scarlett: http://www.phase9.tv/moviefeatures/girlwithapearlearringfeature1.htm

Yes, I saw Hideous Kinky not too long ago -- but that's too off-topic to discuss here, I'm sure. (But I was outraged that KW's character dragged her children through so much while trying to "find" herself.)

(Deb)But I was outraged that KW's character dragged her children through so much while trying to "find" herself.) Yes, it was an okay film, and based on Esther's real life. Her parents were a couple of pills, alright, and the poor kids just wanted to be "normal." Am sure that this was *not* one that Lola mentioned; remember, she said we'd be pleased.;-) This one, they don't even have the money to make it, and even if they do scrape the financing together, it may not ever see the light of day. No ready-made distribution deal = waste of time, IMO.

(Mari)This one, they don't even have the money to make it, and even if they do scrape the financing together, it may not ever see the light of day. No ready-made distribution deal = waste of time, IMO. Another one for my now -groaning night table...:-((( Uh, uh.

Mari - Wonderful article! I think I liked the best, Colin's view on dialoge in film: Firth adds �I think dialogue is very limiting, particularly if it is anything other than excellent. Mediocre dialogue is utterly crippling to the process and brilliant dialogue is a free ride, but no dialogue is a very liberating and inspiring thing to do as long as you�ve got the confidence, and you�ve got a director who�s going to go with what you do. There�s nothing more dispiriting than having a whole lot of ideas about what your tacit performance is going to be if no one�s on the other end of it with the camera. I�ve got this complex view of this woman and I�m going to have to do it all with my eyes. Unless it�s being photographed, unless somebody�s playing the game, it�s entirely mutually dependent, entirely symbiotic. So we wouldn�t have been able to do any of it if we hadn�t known that was the convention that we were working in. And there were times when there were two words being said and the camera was going to be here for a very long time. You were going to have to fill that, and so it gave us all a kind of added sense of responsibility. Somebody said earlier today that they seemed to imply from that that it had reduced the role somehow of the scriptwriter, that less dialogue meant less responsibility by the scriptwriter. In fact it�s almost the contrary. Something [Peter Webber] said when we were in Toronto was the confidence and the skill to be able to use silence in your writing is unusual and requires great maturity. �It�s called cinema!� cuts in Webber. I also read the phase9 review . .This gave me a chuckle: One of the highly anticipated films of the year because it stars the lush Colin Firth (oh, all right, and because it�s adapted from the hugely popular novel of the same name by Tracy Chevalier) GIRL WITH A PEARL EARRING will not disappoint the many fans of the original novel. That and his "Iron Maiden" wig . .hmm . .is that a better description than Fabio, I wonder . . .

Or...Colin will get this underfinanced no distribution deal job while JM gets a part in "Le Sauvage", a darker version of The Wild,about two single-parent families that have come together under one roof in an old boulangerie converted into a maison which will, of course be a blockbuster as it is released several months prior to The Wild....

LOL, Maria. Maybe it will all balance out when ODB takes the lead in Being Colin Firth. ;-)

LMAO Maria and Mari! Thank you!!! And thanks for all the links Kimberly!

BBC Home Vid in DVD push for Film Line By Brett Sporich BBC Home Video has begun producing double-disc DVDs of its BBC Film Line for distribution in the United States and Canada beginning with four releases next year. While BBC Video and its American distributor, Warner Home Video, have successfully marketed such BBC television fare as "Absolutely Fabulous" and most recently "The Office" on DVD in North America, this is the BBC's first foray into the distribution of the BBC Film Line's product acquired from independent producers throughout the United Kingdom to be marketed to American consumers, BBC Home Video and Direct vp Burton Cromer said. The first double-disc release will be director James Ivory's 1986 Academy Award-winning "A Room With a View" on April 6, carrying a suggested retail price of $26.99. "Another Country" is slated to be the second double-disc DVD release Sept. 7 and will carry a suggested retail price of $19.98. "There is so much crossover talent with whom Americans and Canadians are familiar � such as Ridley Scott, who started out with the 1963 BBC TV series 'Doctor Who,' and Colin Firth in the 1995 miniseries 'Pride and Prejudice' � that it just seemed a logical extension for us to expand beyond television to film," Cromer said. [...] The bonus disc for "Another Country" will include interviews with cast members Rupert Everett and Firth at the 1984 Festival de Cannes; "Newsnight: Another Country � Discussion" on the original play, starring Everett, Julian Mitchell and Kenneth Branagh; and an audio commentary with director Marek Kanievska.

Karen - Fabulous news . .another film to add to my ever growing wish list;)!

(Karen-BBC)Another Country" is slated to be the second double-disc DVD release Sept. 7 This is great news indeed :-) Thank you all, once again for the articles and reviews.

Also, here is the WSJ's review: Wall Street Journal Friday, December 12, 2003 Review/Film by Joe Morgenstern 'Girl With a Pearl Earring' Peter Webber's debut feature, "Girl With a Pearl Earring" is eye caviar that doesn't pretend to be much else. Exquisitely visualized (with cinematography by Eduardo Serra), deliberately underdramatized and snorefully paced, this film version of a bestselling literary fiction stars Scarlett Johansson as Griet, a comely young housemaid who, in 17th Century Delft, becomes the model for one of Vermeer's best-loved paintings. The story, as adapted from the novel by Tracy Chevalier, puts Griet at the center of domestic intrigue. Vermeer's materialistic mother-in-law, impatient with the pace of his work, urges him to do a portrait of Griet in the belief that his lecherous patron will buy it, then offends her own daughter - Vermeer's wife Catharina - by secretly lending the girl Catharina's pearl earring. Although Colin Firth plays the painter with suppressed passion, the main fun is watching Tom Wilkinson's quick-eyed wickedness as the patron, Pieter van Ruijven. Yet there's pleasure to be had from Ms. Johansson's thoughtful portrait of a portrait model, and from the way Eduardo Serra has matched the lighting of the film with the creamy light that suffuses the painter's canvasses. During his lifetime the Dutch master made only about 45 paintings, but Mr. Serra outdoes him. No matter where he points his camera there's another Vermeer.

If this is a repeat, I apologize. But - in case you haven't seen it here's the chance to watch the camera obscura-scene along with a review of the movie. (I'm getting more and more depressed about this movie not getting a theatrical release here, but am happy for all the droolers, who has or gets to see it). http://www.tvguide.com/movies/database/ShowMovie.asp?MI=45031

Thanks for that Phase9 interview Mari! Sounds like they really bonded there on the set... And thanks Karen for the great news about the AC DVD! Definitely one of my favorites. Can't wait to see the 1984 ODB Cannes interview!

Karen -- thanks for the DVD news and WSJ review (and nice to have you back!) ;-) Am keeping my fingers crossed that "A Month in the Country" will be next.

(Zing)Am keeping my fingers crossed that "A Month in the Country" will be next. I'm a goober, got prematurely excited with thought that it was AMITC we were talking about.. Oh well, still looking forward to the interview at Cannes...

(MariaT) I'm a goober... LOL, Maria! Is that another title you have, along with "Google-ier"?! ;-)

(WSJ)"During his lifetime the Dutch master made only about 45 paintings, but Mr. Serra outdoes him. No matter where he points his camera there's another Vermeer." Thanks Boss. Have to agree. I am not a fan of the Dutch School of Painting. Mr Serra does Vermeer proud; and PW outdoes Tracy C.

Great articles Maria and Maria. Karen, great DVD news. I wonder if at some time they will include T-down that was BBC, wasn't it? I know it's made for TV but they're doing things like The Office, too. (Maria)Oh well, still looking forward to the interview at Cannes... Me too, I wonder if he's got that fluffy AC hair in the interview?

(Lindak)Great articles Maria and Maria. Mari, I think you need to buy a vowel ..;-)

Nothing will likely come of this, but I don't mind seeing Colin lumped in with Penn, Kingsley, Duvall, Crowe, Depp, and Macy!:-) Epics, history and lots of horses highlight Oscar season By David Germain Associated Press Movie Writer December 15, 2003 The Academy Awards are shaping up as a literal horse race. Sweeping spectacle and historical pageantry -- featuring tons of horse flesh -- could dominate the ceremony Feb. 29. Everyone from jockeys and Hobbits to samurai and Civil War combatants are saddled up for a run at Oscar gold. Among the top contenders: the fantasy epic "The Lord of the Rings: The Return of the King," the Civil War saga "Cold Mountain," the racehorse drama "Seabiscuit" and the 19th century warrior tales "The Last Samurai" and "Master and Commander: The Far Side of the World." More intimate contemporary dramas produced many of the year's finest performances, including "Mystic River, "21 Grams," "In America," "Lost in Translation" and "House of Sand and Fog." Oscar nominations come out Jan. 27. The rundown of possible contenders in major categories: Best Picture: The top prize should come down to Frodo in Middle-earth vs. Odysseus in the Confederacy. Peter Jackson has scored back-to-back best-picture nominations with his J.R.R. Tolkien adaptation, and "Return of the King" is certain to make it three straight. The final chapter follows Hobbit Frodo Baggins' desperate attempt to destroy a ring of ultimate evil. But will Oscar voters crown a fantasy flick as the year's best? Such fanciful tales rarely are taken seriously enough to get nominated, and no fantasy film has ever won. Still, there's never been anything like "The Lord of the Rings," one of the most lavish spectacles in cinema history, whose three parts were shot simultaneously and rushed into theaters just a year apart. Academy members might lean toward "Return of the King" for best picture as a collective prize for the entire trilogy. Traditional Oscar wisdom should make Anthony Minghella's "Cold Mountain" the front-runner, though. Adapted from Charles Frazier's Civil War best seller, "Cold Mountain" is a reimagining of Homer's "The Odyssey" as a wounded Confederate deserter (Jude Law) wends his way home to his sweetheart (Nicole Kidman). "Cold Mountain" has the weighty drama, tragic romance and historical sweep that often clicks with Oscar voters. And it has something to offer every branch of the academy: A tremendous ensemble cast, passionate dialogue, lovely music, artful editing and cinematography, sumptuous sets and costumes. Since Minghella already has a best-director Oscar for "The English Patient," which also took the best-picture honor, academy voters might split their ballots. "Cold Mountain" could come away as best picture, with Jackson taking directing honors for his monumental "Lord of the Rings" achievement. Two other epics could creep into the best-picture mix, Peter Weir's Napoleonic-era naval tale "Master and Commander" and Edward Zwick's "The Last Samurai," an East-West culture clash set in 19th century Japan. Among more contemporary films, the strongest contender looks to be Clint Eastwood's "Mystic River," a somber drama of murder, remorse and suspicion centering on three reunited childhood friends. "Mystic River" is Eastwood's finest work since "Unforgiven" earned him best-picture and director Oscars. Other possibilities: Alejandro Gonzalez Inarritu's "21 Grams," a stark rumination on mortality, grief and vengeance; Gary Ross' buoyant "Seabiscuit," the story of the Depression-era racehorse that captivated the nation; Tim Burton's "Big Fish," a fanciful reunion story between a grandiloquent father and his down-to-earth son; "In America," Jim Sheridan's semi-autobiographical story about an Irish family in New York City; and Nancy Meyers' "Something's Gotta Give," a romantic comedy about a woman in her 50s wooed by a 60-something and a 30-something man. A handful of other acclaimed smaller films -- "Lost in Translation," "House of Sand and Fog," "The Station Agent," "American Splendor" and "Girl With a Pearl Earring" --probably will not have the clout to compete for best picture but could score nominations in acting, writing and technical categories. Best Director: As with best picture, this looks to be a two-man race between Anthony Minghella for "Cold Mountain" and Peter Jackson for "The Return of the King." Clint Eastwood can figure on a nomination for "Mystic River." Other possibilities: Peter Weir, "Master and Commander"; Alejandro Gonzalez Inarritu, "21 Grams"; Tim Burton, "Big Fish"; Jim Sheridan, "In America"; Gary Ross, "Seabiscuit"; and Edward Zwick, "The Last Samurai." Women historically fare poorly, with only two female directors ever earning nominations. Still, Sofia Coppola for "Lost in Translation" and Nancy Meyers for "Something's Gotta Give" might have longshot prospects. Best Actor: Sean Penn has two great performances in the running, a plus and minus for his prospects. Penn plays a reformed hoodlum out for revenge over his daughter's death in "Mystic River" and a dying man who gets a second chance with a heart transplant in "21 Grams." The two roles could split Penn's support and leave him short of votes for a nomination on either film. But if he manages a nomination for one or the other (Oscar rules allow actors to be nominated only once in the same category), Penn could become the front-runner to win on the strength of both performances. Other possibilities: Jude Law, "Cold Mountain"; Bill Murray, "Lost in Translation"; Russell Crowe, "Master and Commander"; Ben Kingsley, "House of Sand and Fog"; Jack Nicholson, "Something's Gotta Give"; Tom Cruise, "The Last Samurai"; Tommy Lee Jones, "The Missing"; Michael Caine, "The Statement"; Jeff Bridges and Tobey Maguire, "Seabiscuit"; Ewan McGregor, "Big Fish"; Johnny Depp, "Pirates of the Caribbean: The Curse of the Black Pearl"; Colin Firth, "Girl With a Pearl Earring"; William H. Macy, "The Cooler"; and Robert Duvall, "Open Range." Last winter's top prize winners from the Sundance Film Festival produced two of the year's finest male performances: Peter Dinklage as a train-obsessed dwarf in "The Station Agent" and Paul Giamatti as gloomy comic writer Harvey Pekar in "American Splendor." But with such a strong lineup of bigger names in bigger films, it's questionable whether Dinklage or Giamatti could grab enough votes for nominations. Best Actress: Grim, grimmer, grimmest sums things up for three potential nominees, Jennifer Connelly, Naomi Watts and Charlize Theron. Connelly, a supporting-actress winner for "A Beautiful Mind," delivers a fierce performance in the bleak "House of Sand and Fog" as a woman battling to regain a home lost in a tax foreclosure. Watts is a bundle of fury and sorrow in "21 Grams," playing a woman who moves from grieving to vengeful over the deaths of her husband and children. Theron is absolutely ferocious in "Monster," playing serial killer Aileen Wuornos, a hitchhiking prostitute executed last year in Florida. For the unflinching role, Theron obliterated her cover-girl beauty, packing on 25 to 30 pounds and disguising herself behind dark contact lenses, fake teeth and a splotched complexion. Watts' pal Nicole Kidman, last year's winner for "The Hours," is a strong contender for her third-straight best-actress nomination with "Cold Mountain," playing a china-doll Southern belle who learns self-reliance amid the Confederacy's collapse. Other possibilities: Diane Keaton, "Something's Gotta Give"; Cate Blanchett, "The Missing" or "Veronica Guerin"; Julia Roberts, "Mona Lisa Smile"; Samantha Morton, "In America"; Scarlett Johansson, "Girl With a Pearl Earring"; Helen Mirren, "Calendar Girls"; Patricia Clarkson, "The Station Agent"; Diane Lane, "Under the Tuscan Sun"; Meg Ryan, "In the Cut"; and Gwyneth Paltrow, "Sylvia." Supporting Actor: Two lost souls might lead the way. Tim Robbins gives a career performance as a man emotionally shackled by childhood trauma in "Mystic River." Benicio Del Toro, a supporting-actor winner for "Traffic," adds another tremendous role in "21 Grams," playing an ex-con whose stab at going straight collapses in tragedy. Other possibilities: Last year's winner, Chris Cooper, for "Seabiscuit"; Albert Finney, "Big Fish"; Viggo Mortensen, Ian McKellen and Sean Astin, "Return of the King"; Ken Watanabe, "The Last Samurai"; Kevin Bacon, "Mystic River"; Djimon Hounsou, "In America"; Paul Bettany, "Master and Commander"; Alec Baldwin, "The Cooler"; Bill Nighy, "Love Actually"; and Philip Seymour Hoffman, "Cold Mountain." Supporting Actress: Like her co-star Kidman, Renee Zellweger of "Cold Mountain" stands to earn her third-straight Oscar nomination. This could be her year to win, playing a salt-of-the-earth handy-woman with great heart and humor. There also are possibilities for some child actors, who historically have had their best Oscar prospects in the supporting-actress category. In the running could be Keisha Castle-Hughes for "Whale Rider" and Sarah Bolger for "In America." Other possibilities: Marcia Gay Harden and Laura Linney, "Mystic River"; Melissa Leo, "21 Grams"; Scarlett Johansson, "Lost in Translation"; Shohreh Aghdashloo, "House of Sand and Fog"; Emma Thompson, "Love Actually"; Miranda Otto, "Return of the King"; Julie Walters, "Calendar Girls"; Patricia Clarkson, "Pieces of April"; Kirsten Dunst, Julia Stiles and Maggie Gyllenhaal, "Mona Lisa Smile"; Hope Davis, "American Splendor"; Holly Hunter, "Thirteen"; Christina Ricci, "Monster"; and Marie-Jose Croze, "The Barbarian Invasions." Copyright � 2003, The Associated Press

Coppola Receives Film, Director Awards By The Associated Press NEW YORK - Sofia Coppola (news)'s "Lost in Translation" wasn't lost on the New York Film Critics Online, which named it the top film of the year. Coppola also won the group's award for best director, and stars Bill Murray (news) and Scarlett Johansson (news) were named best actor and best supporting actress. Murray and Johansson play a pair of jetlagged Americans who wander bleary-eyed through a Tokyo hotel and form an unlikely friendship. The online critics group, which voted Sunday on the top films of 2003, chose Charlize Theron (news) as best actress for her portrayal of a serial killer in "Monster." Alec Baldwin (news) won the supporting-actor honor for "The Cooler," in which he plays a sleazy casino owner. The group's top 10 films of 2003 in order are: "Lost in Translation," "American Splendor," "In America," "21 Grams," "A Mighty Wind," "cold Mountain," "Girl With a Pearl Earring," "Lawless Heart," "The Barbarian Invasions" and "The Station Agent." The New York Film Critics Online is made up of 23 reviewers whose work appears exclusively online or who work in print and broadcast but have a strong Internet presence.

(Mari)Nothing will likely come of this, Maybe not, but seeing his name, there, gives me the chills. At leaset his name is getting out, finally! From Hollywood.com (they're a picture of the ear piercig that you can click, too Girl With a Pearl Earring Stacie Hougland Who knew there was so much melodrama behind a 17th-century Dutch master's portrait of a bejewled young blonde? Clearly, some thought, enough to make a movie of a book about it; mainstream audiences, however, may not see it the same way. Story In this Britney-and-Beyonce-obsessed age, 'tis a wonder anyone other than an art history buff knows who Rembrandt is, let alone that other Dutch painter guy--what'shisname, Vermeer. In fact, very little is known about the 17th-century painter, who died in debt at 43 and left most of his works, including his most famous of a young girl wearing a pearl earring, shrouded in mystery. Girl With a Pearl Earring is director Peter Webber's adaptation of the 1999 Tracy Chevalier novel that spun a gauzy fiction about the painter's unrequited obsession with a young maid who became his muse, and the subject of said painting. The maid in question is Griet (Scarlett Johansson), whose tilemaker father's accident forces their family into poverty and her into servitude--and it's no picnic. Morose, henpecked Vermeer (Colin Firth) hides in his studio away from the household, which includes the puffy and pampered wife (Essie Davis) he keeps eternally pregnant; her tyrannical, domineering mother (Judy Parfitt), who brazenly sol cits work for Vermeer from patrons like rich lecher Van Ruijven (Tom Wilkinson); and a multitude of Vermeer brats. Full-lipped and nubile, the servant Griet becomes the artist's secret obsession--he spies on her cleaning his studio, teaches her about painting (or, at least, how to make his paints) and seduces her while painting her portrait behind his wife's back. Acting With little dialogue to speak, Johansson's Griet is a study in silence. Her wide-eyed, earnest stares and Mona Lisa smile do the talking for her, proving a picture certainly can say a thousand words. She may get more attention for Lost in Translation, but this is her vehicle. Johansson's quiet, understated performance makes the others look that much more overstated--Wilkinson's vulgar, mustache twirling art patron, for example, and Davis's jealous and ranting Catharina Vermeer for another, although they too are very solid turns. Firth's Vermeer fades into the background surrounded by these big personalities, understandably and fittingly so; he's the brooding artist who'd be far happier left alone to gaze upon his subject. Although the master and the servant never do much more than exchange looks, the sensual energy between them is palpable. Direction This movie is beautiful, absolutely stunning--it's as if cinematographer Eduardo Serra saw Vermeer's life through the artist's eyes, and that vision comes through in exquisitely framed and lit shots. Some scenes--of young lovers walking along a tree-lined canal in fall, light beaming across the girl's face as she cleans the studio's beveled windows--are literally breathtaking. Just as an artist's work is tactile, so does this film feel--in the sounds of a heavy knife chopping vegetables and a spatula grinding pigment into paste�volumes are spoken in the clean, white crispness of Griet's bonnet. First-time helmer Webber occasionally allows the camera to hang too long (a lip-licking scene in extreme close-up, for example), but he creates a fully enveloping period and confidently leads his cast through this fairly thin story. You can pretty much guess what you're in for with a movie about a 17th-century Dutch master; knowing that, if there's any criticism to be made it's that the pic feels every bit of its 95 inutes long. A lovely score by Alexandre Desplat also deserves a mention, although it sometimes overwhelms scenes with unwarranted portentousness. Bottom Line With superb performances marking a contrived story about a 17th-century Dutch artist and his muse, this film is not just for art lovers, it's for anyone who appreciates gorgeous filmmaking. http://www.hollywood.com/movies/reviews/movie/1736373

(Mari)Maybe it will all balance out when ODB takes the lead in Being Colin Firth. ;-) I'm afraid the chance of that happening has already been nixed in TEoR. ;-)

LOL, Lora!! And Welcome back, Moon!! Missed you and your comments while all the excitement's been going on. :-D

'Girl' pretty as a picture Sun Dec 14, 7:00 PM ET Diane Garrett (Variety) HOLLYWOOD For a movie that hinges upon watching paint dry, filmmakers spent an awful lot of time talking about the script. Pre-unspooling, "Girl With a Pearl Earring," helmer Peter Webber reminded the aud that a good script is about more than dialogue. Stars Colin Firth (news) and Scarlett Johansson (news) picked up that theme at the Dec. 10 Academy post-bow bash. Firth, the pic's brooding Johannes Vermeer, admitted to a youthful fantasy about becoming a painter, before adding the project's appeal "wasn't the painting, but the tone of the piece." Johansson, meanwhile, said the script was "so visually stimulating, I immediately wanted to do it." And Lions Gate's Tom Ortenberg brushed off marketing concerns for the scantily worded period pic. "Certainly there are marketing challenges, but there are also so many marketing opportunities," he said. "There's always room for well done period pieces, and this is about as well done as it can be." http://story.news.yahoo.com/news?tmpl=story&u=/variety/20031215/va_vp/_girl__pretty_as_a_picture_1

The New York Film Critics Online is made up of 23 reviewers whose work appears exclusively online or who work in print and broadcast but have a strong Internet presence. Oh :( Anyway, I've finally put up the BWTA interview, transcribed by Kimberly.

The url might be nice ;-) http://www.firth.com/int/03bwtadec7.html

Thank you Kimberly for the transcription and Karen for the lovely presentation and photos. I love those pictures of him. So many lovely treats here for the holidays.

I enjoying these articles too! It's about time! Thank you ladies! (Mari), Don't know who's tongue kissing him, but it certainly isn't anybody onscreen.;-) LOL! How true! She is currently working on a film script of The Wild and they are trying to raise money to make it. Colin Firth and John Malkovich have both expressed a keen interest in being in it and David will direct. Oh Lord! The last time those two had the same role, one ran off to a log cabin. Not hoping for that one, Colin can do much better. International Playboy Bartenders Create Cocktails For Stars Of Love Actually Link is not working. :-( Theron is absolutely ferocious in "Monster," playing serial killer Aileen Wuornos, a hitchhiking prostitute executed last year in Florida. For the unflinching role, Theron obliterated her cover-girl beauty, packing on 25 to 30 pounds and disguising herself behind dark contact lenses, fake teeth and a splotched complexion. This is just the type of role that wins Oscar. There seems to be a large list this year for the actresses. I have to catch up on so may films!

From THR: Thanks mainly to its strong hold in the U.K., "Love Actually," No. 1 for four weeks in a row, picked up $10.6 million over the weekend from 2,658 screens in 26 countries, raising its cume to $87.7 million and giving it a good chance to reach the $100 million brass ring. In the U.K. alone, the romantic comedy has chalked up $42.4 million in 11 weeks. [Ed note: 11 weeks? Try 3.]

Thanks, Kimberly, for the A&E transcript! Also, Ada, I'm just catching up to The View transcript that you did--thank you! It's great to have these gems preserved. (Lora)I'm afraid the chance of that happening has already been nixed in TEoR. ;-) Hee hee. (Maria)Mari, I think you need to buy a vowel ..;-) I think I'll spin.;-) (Moon)There seems to be a large list this year for the actresses. There's a large list for the men too. Good to see so many talented people doing challenging work, instead of phoning it in. (Karen/THR)raising its cume to $87.7 million That must not include North America.

The Love Actually gang gets a nom from the Broadcast Film Critics Assn. for ensemble acting. http://www.moviecitynews.com/awards/2004/critics_awards/bfca.html

Probably not, as the article was about the Intl box office. For 38 days in release, LA has made $52 million and is in 12th place; it's in 1,566 theaters now. Here are some of the individual country totals: Australia (just opened, on 204 screens) and brought in slightly over $500,000 France - $2.9 cume in its second week) Germany - $8.7 mill in its third week) Hong Kong - $600,000 in second week; only on 2 screens ??? and second week Italy - nearly $8 million in 4 weeks S. Africa - $800,000 in 2 weeks Sweden - $1.4 mill in its 2nd week That's all they show for individual charts

Here's a new one on me -- "Hollywood Stock Exchange" -- where you receive 2million cyber-$$$ when you register, and you buy and sell stock in movie stars to make or lose your fortune (which you can supposedly exchange later for real items). A star's stock value varies according to the current box office returns, and might be fun to check as new movies are released. Looks like a pasttime for the seriously anal, but too time-consuming for me. (And besides, my DH and I have sworn off the stock market forever, as we noticed that every stock we bought ultimately went down the crapper. I wouldn't want to be blamed for any career slumps for ODB.) Here's the link: http://movies.hsx.com/servlet/SecurityDetail?symbol=CFIRT&day_span=90&field=

I know this may be *new* for some, but the HSX has been around for several years. Please either use Firthology or try reading our archives.

There are now dates for Trauma at Sundance. They are as follows: Monday January 19th: Eccles Theater (6 p.m.) Tuesday January 20th Eygptian Theater (9 a.m.) Screening Room (Broadway Center Cinemas VI) SUN (7 p.m.) Screening Room (Broadway Center Cinemas VI) SUN (10 p.m.) Wednesday January 21st Trolley Corners Theater SLC (6:30 p.m.) http://festival.sundance.org/ May be packing my Uggs and heading out.....;-) Have fallen behind on thanks! Thank you everyone for all the articles and links...it is much appreciated!

"The Girl with the Pearl Earring" Pierces the iW BOT Top Spot; "In America" Remains Decent in Expansion by Brian Brooks/indieWIRE Lions Gate's "The Girl with the Pearl Earring" pierced the top spot of the specialty BOT over the weekend, making a solid debut in theaters. Peter Weber's "The Girl with the Pearl Earring" adorned the number one spot of the specialty box office over the weekend. The Lions Gate release bowed on seven screens, grossing $89,472 for a sparkling $12,782 per screen average. "It's a terrific opening so far," said Lions Gate president Tom Ortenberg in a conversation with indieWIRE. "We had numerous sell outs in New York, and our exit polls were fantastic." Ortenberg commented further that 92% of respondents to the poll called the film "excellent" or "very good," and 81% said they would recommend the film. "We think the film will play for a long time," he commented further. The Lions Gate prez said the audience was skewed toward the 'mature' end at most screenings and that he expected the film to remain strong in the coming weeks. "With that audience, the crowds don't necessarily rush out to attend the first weekend," he said, "We're a hit critically and commercially so far. It should play well through the awards season." Continuing further, Ortenber said, "[We expect] the film to be reviewed even better as we spread out around the country, [and] believe the film will play even better around the country. It's making a lot of top ten lists, [and] we're expecting a long shelf-life for the movie." Ortenberg also lauded the film's chances as the awards season kicks into high gear. "The Girl with the Pearl Earring" will add a few suburban dates in New York and Los Angeles December 26th, and will bow on screens in San Francisco and Chicago. The film will roll further into the top 20 markets on January 9th. The rest of the article here: http://www.indiewire.com/biz/biz_031216boxoffice.html

*The Girl with the Pearl Earring" will add a few suburban dates in New York and Los Angeles December 26th, and will bow on screens in San Francisco and Chicago. The film will roll further into the top 20 markets on January 9th. Oh dear, I don't really think *here* will be one of the top 20 markets...:-(

Just a quick note to clarify: LA hasn't actually officially opened in Oz yet - it opens officially on Boxing Day (26 Dec). They showed it over the weekend in "preview" showings, but very limited - i.e., only two showings per theatre in which it is being "previewed", as opposed to showing it four or five times per day on those screens. So the numbers for Australia can't really be compared to other films, which are being screened many more times per day...

Got it! Though the "official" preview screenings are being reported and counted in the totals from the US (sneak the week before) and UK. Have put up most of the LA prem pix (though Soph has a bit of work to do) and will get the "other" press the flesh appearance pix together next. Starts here: http://www.firth.com/p_eye013.html and continues http://www.firth.com/gwape_premgal6.html

Review :HOLLYWOOD LIFE (US) January 2004 GWAPE based on Tracy Chevalier's novel about the Dutch painter Vermeer and the model for his famous painting, follows in the tradition of other movies (like 1952's "Moulin Rouge" and "Lust for Life") that try to ape the style of the painters they scrutinize. Like those earlier biographies, this is stunning to watch, with compositions awash in the dark, burnished colors and striking play of light and shadow that characterize Vermeer's work. While it's all well-directed by PW, the real artist at work here is cinematographer Eduardo Serra, who demonstrated his gifts on "What Dreams May Come", "Unbreakable " and "The Wings of the Dove". Once again, Serra confirms that he is one of the great cinematographers now working; the ravishing exteriors and the haunting interiors are all lit and framed with loving care. It,s a sensous treat, but like many painterly movies, rather static. There is a distinction between pictorial beauty, which this has in abundance, and the more dynamic cinematic flair that you find in masterpieces by Fellini or Bertolucci, George Stevens or David Lean. Webber allows his gorgeous shots to sit there like canvasses in a museum, while too many crucial moments take place offscreen. We never quite get a handle on Vermeer (Colin Firth) or Griet (SJ) , the maid who becomes the model for his celebrated painting. Their relationship builds almost imperceptibly, in sidelong glances and only a few highly charged moments, such as one in which he pierces her ears. By the end, there is something touching about the elusive bond they share, but one wishes there had been a bit more dramatic fire along with the array of breathaking images."

Thanks everyone for the articles and links....and Karen! Thanks for the pics (and Sophie for work past and present)! It looks like Tanneke wouldn't mind grinding ODB's paints! She is in several of the pics that I have seen!

Thank you all for all the fun stuff!!! Karen-so many great pictures! My head hurts! ;-)

My head hurts! ;-) Oh Shosh! You make me ROTFL!!

Must proclaim my ignorance here... This doesn't give much info about it, will the film tie-in be the book with extras about the film or is it just with the films cover...In other words, do we need a third copy of GWAPE? http://www.abbeys.com.au/items.asp?id=253039

Just the film's cover, but from an Australian publisher as there was an American publisher, a UK publisher, etc.

(Shoshana)My head hurts! ;-) Hmm . . . Perhaps one too many martinis at one of the after-parties??? Karen - Thanks for the pics and write up! Evelyn - Thanks for the article .ahh didn't know that Serra also did the cinematography for "What Dreams May Come" . .another film I thought was visually stunning;), and a favortie of mine. . .

(Karen/THR) Hong Kong - $600,000 in second week; only on 2 screens ??? and second week LOL! Now, this I can tell you: it should be 22 screens, not 2.

Some LA news from Australia Novice's labour of love December 18, 2003(Daily Telegraph, Australia) RICHARD Curtis drew on, and stretched, his writing skills when directing his first film. MICHAEL BODEY reports. http://dailytelegraph.news.com.au/story.jsp?sectionid=1267&storyid=649753 *************************************************** LA reviews from Sydney Morning Herald, Australia. I just took the snippets about LA out . . you can read the whole article below. http://www.smh.com.au/articles/2003/12/17/1071337017604.html Critics' picks - December 18, 2003 We asked our experts to nominate three must-see movies. Alexa Moses - Love Actually Reviewers are giving it patchy write-ups, but my loyalty lies with this sprawling romantic comedy only because it's written and directed by Richard Curtis. I can't give up on the writer of works such as Blackadder and Four Weddings and a Funeral, even after the bland Julia Roberts-vehicle Notting Hill. Love Actually is made up of eight interlocking stories of romance, which sounds rambling and probably sketchy, but I'm intrigued to see how Curtis attempts to juggle so many storylines. Oh, and Love Actually stars Hugh Grant, Colin Firth and Alan Rickman on one screen. Sigh. Sandra Hall - Love Actually The first film to be directed by hit maker Richard Curtis weaves its way through more sub-plots than a Robert Altman film and has just as many stars. Hugh Grant, Liam Neeson, Emma Thompson, Colin Firth, Laura Linney and Alan Rickman are all present and exulting in Curtis's ability to deliver the gags. And if the theme tying them all together gets a little wobbly at moments, there's no time to think about it until the laughter has stopped. Tom Ryan - Love Actually The directorial debut for Richard Curtis is a delight, a sparkling romantic comedy in which a dozen or so characters learn that love is almost all you need. What can you say about a film that puts eligible bachelor Hugh Grant at 10 Downing Street and makes him a worthier resident than his predecessor, that hits its emotional peak when an 11-year-old gets to say "hi" to his dream girl, and that has Christmas arriving right on cue? Guaranteed to be the date movie of the summer.

I'm imagining an army of Emily Latellas watching the immoral scenes over and over to make sure they count every possible action of depraved intent...They do GWAPE and LA... http://www.kids-in-mind.com/g/girlwithapearlearring.htm

A woman whips a young woman's hand with a cane (we hear the cracking of the cane) Oh, what have we come to when a very bad child being punished is described like this? :-( Interesting "message" they've interpreted between dissecting every scene. :-(

My favorite: Under "Violence & Gore" " A woman picks her nails and ear" You girls watch that violence and gore out there;-)

From Leonard Klady's column at MCN: "...Eight seems like an appropriate number of films to cite though I'm sorely tempted to include Girl with a Pearl Earring, an extraordinary examination of the personal and political dynamics of art in the microcosm of Johannes Vermeer's studio in 17th Century Delft. I hesitate only because I'd prefer a little time and objectivity before committing completely. I feel similarly about Peter Pan, a charming, enchanting and clever adaptation of J.M. Barrie's fairy tale." http://www.moviecitynews.com/columnists/klady/2003/gb_031217.html

GIRL WITH A PEARL EARRING by David Geffner December 11, 2003 Before photography and cinema, painting was used to record the details of the physical world. This was particularly true in post-Renaissance Europe. Artists like Raphael, Rembrandt and Caravaggio painted Biblical scenes to satisfy the church and the state, but when institutions failed to support them, these artists turned to local patrons, for whom they created delicately nuanced portraits of everyday life. GIRL WITH A PEARL EARRING, Peter Webber's translucent new drama, transports us back in time to investigate the origins of one such masterpiece. Based on the 1998 novel of the same name by Tracy Chevalier, the film weaves together what little is known of the brilliant seventeenth century Dutch painter Johannes Vermeer to create a tantalizing and plausible scenario of the creation of Vermeer's most famous portrait. This 1665-66 painting, "Girl With A Pearl Earring," hangs permanently in Holland's Mauritshuis Museum. The painting's model -- a young woman turned in three-quarter repose, her head wrapped in a blue scarf and accented by a single piece of jewelry -- is unknown. This much is known about Vermeer: he lived his life in the Dutch city of Delft. He converted to Catholicism after marriage. He joined the artistic Guild of St. Luke after having served an apprenticeship, and he painted professionally all his life, creating much of his work in a home studio suffused with northern light. He died at the age of 43, deeply in debt, with 11 surviving children. There are a mere 35 paintings in existence that are attributed to Vermeer. The story of GIRL WITH A PEARL EARRING centers on Griet (Scarlett Johansson), an impoverished teenager who enters Vermeer's (Colin Firth) household as a maid to help provide for her family. Griet's father, a tile painter, was blinded in a kiln explosion, and cannot support his austere, Calvinistic household. Vermeer's world is the opposite. It is noisy, chaotic, and Catholic. Vermeer's wife, Catharina, churns out babies to confirm her workaholic husband's love. His mother-in-law, Maria Thins (Judy Parfitt) maintains the family's plush lifestyle by protecting Vermeer's relationship with a local patron of the arts, the lascivious and manipulative Master Van Ruijven (Tom Wilkinson). Van Ruijven is a lusty, carnal soul who, sensing a relationship between Griet and Vermeer, commissions the portrait of Griet that will become the painter's masterwork. Because Dutch painters of this time lacked church or court patronage (as Dutch leaders were elected), these artists relied upon portraits commissioned by wealthy community figures. Most of these paintings included household objects, local landscapes, and everyday settings, giving production designer Ben van Os a wealth of details to draw upon as he recreated the story's time period. The production design is enhanced by Academy-Award-nominated Eduardo Serra's luminous cinematography, which appears to channel the same textures of light, color and composition that possessed Vermeer. "We conceived Vermeer's house to give us that sense of frames within frames, so familiar from the paintings," van Os notes. Although Vermeer's home looked out onto a busy canal with the city's main square half a block away, director Peter Webber says Vermeer was able to paint works that were "the definition of tranquility and perfection." Like a Vermeer canvas, the film is laid out in overlapping textures and layers. There are open doorways and windows everywhere, giving the impression that light follows the young maid wherever she goes. And since there is no privacy in Vermeer's home, passions must go unrequited, fulfilled through the artist's canvas. "We were determined that the studio -- the room that contained that familiar, almost holy corner represented in so many of the great paintings -- should be the magical space," Webber relates. "It is a private world that he allows Griet to share because she alone understands why it is special." Screenwriter Olivia Hetreed wisely chose to avoid voice-overs and expository dialogue in her adaptation of Chevalier's quiet book. Instead, we are treated to Scarlett Johansson's almost wordless performance as a na�ve girl transformed by artistic genius. Her character wanders through the painter's world wide-eyed with astonishment at his ability to harness light. The scenes of Vermeer teaching Griet to grind and mix his paints, and the scenes of them huddling together behind a draped camera obscura are almost unbearably sensual, though not even a kiss is shared. It seems odd that a man who produces children faster than artwork would choose temperance when alone with his maid.(LOL!) But GIRL WITH A PEARL EARRING offers a world immersed in Calvinist moderation. Passion, when expressed, is modulated through one of the great currencies of the day -- artwork. Only in the paintings can such secrets validated: a shy glance back from a nubile subject, a hand draped across the thick satin folds of a dress, a pair of young lips pursed just so. The clandestine relationship between painter and maid is allowed to flower, to better appease the family's patron, creating what might be called a psychosexual implosion of the social mores of the time. Griet agrees to pose to satisfy the patron's commission, but she must do so secretly, under threat of losing her position in the household. The young maid enters Vermeer's studio to be painted, providing the film's defining moment. Griet has crossed over from apprentice to subject, from student to artistic deity. Fully clothed, Griet slips off her white skullcap in exchange for the blue scarf of the painting. When her long cascading locks of hair are seen for the one and only time in the film, she could not be more naked. Vermeer's stolen glance of Griet without her cap feels invasive. His piercing of Griet's ear lobe with a needle (dabbing away the virgin's blood to make way for his wife's pearl earring) is extraordinarily erotic. Indeed, when Vermeer's wife Catharina's finally sees her husband's portrait o Griet wearing the earring, she can only state: "It's obscene!" GIRL WITH A PEARL EARRING shows us that art in seventeenth century Europe was anything but safe. The film's final frame -- a long, slow reveal of Vermeer's actual painting -- gives us the time to ponder the mystery of that time and its artistic creation. As we take in its measured beauty and acute gaze, the painting leaves us with a twinge of sadness, for there are no more girls with pearl earrings and nor a world that cares to paint them. DAVID GEFFNER is a writer based in Los Angeles. http://www.reallygoodfilms.com/articles/rgf_031211_girlwithapearl.php

(IndieWire)"It's a terrific opening so far," said Lions Gate president Tom Ortenberg in a conversation with indieWIRE. "We had numerous sell outs in New York, and our exit polls were fantastic." . . . 92% of respondents to the poll called the film "excellent" or "very good," and 81% said they would recommend the film. " Thanks, Kimberly. Interesting that more people liked the film than would recommend it.;-) I'm happy to read that LG is optimistic. thaks for the GWAPe premiere pics, Karen! Are we giong to get the Mikimoto party ones, I hope? Looks like the London Film critics have nommed Scarlett for GWAPE as Best Actress. List is at link below, but they left off the male categories. Somebody goofed. Maybe someone can find a better source. http://www.moviecitynews.com/awards/2004/critics_awards/london.html

More LA #'s from Variety: "Love Actually" picked up an estimated $12 million in 28 countries. Cume reached $91.1 million and conceivably could hit $150 million with Japan and Australia ahead. Ensemble comedy was little loved in Argentina, mirroring the response in Mexico the previous weekend, and declined by a moderate 33% after a surprisingly soft start in France, earning $3.1 million in 12 days. All U.K. needs is 'Love' Pic helmed and penned by Richard Curtis ruled Britannia in its fourth chapter, amassing $42.3 million so far, 11% ahead of "Bridget Jones's Diary" (which wound up with $60 million) and 20% up on "Notting Hill" ($53 million). Hugh Grant starrer has wooed a juicy $8.1 million in 25 days in Germany and $5.3 million in 24 days in Spain. http://www.variety.com/index.asp?layout=show_detail&eventid=1117489159

(Mari)[London Film Critics Nominations....] but they left off the male categories. Somebody goofed. Maybe someone can find a better source. It's up now :-(((( ROTF. They list Best Actor, Best British Actor etc as separate categories.... Hey, if Hollywood did that they would be a great hue and cry. Absurd.

(Mari) thanks for the GWAPE premiere pics, Karen! Are we going to get the Mikimoto party ones, I hope? Oh, yes....Pleeeeze **and** the "Huggy Squeezey" ones too.

(Evelyn), ROTF. They list Best Actor, Best British Actor etc as separate categories.... How provincial. Great reviews and articles, thank you firthettes!

Grrrr...I was just going to post to say how marvellous it is to see Colin finally getting the recognition he deserves (ie a very talented actor), and then the London Film critics strike again. We have British Actor of the Year:Jude Law, Paul Bettany (M&C), Ewan McGregor (Young Adam) Daniel Craig (The Mother) And Paddy Consadine (who?) and Actor of the Year: Russell Crowe, Ed Harris, Sean Penn, Bill Murray, Nic Cage, and thenScarlett is nominated as Best Actress in GWAPE. So who's missing, and what does that say about the sort of reviews CF is going to get from our beloved critics?! He can't even be given a nomination for Best British Actor (or Best British actor in a supporting role) in a film that's getting great reviews in the US. I've always thought that CF *has* to get international recognition because the critics over here will choke on their poisoned quills before they say something nice about him. Glad to hear that he got a 5 minutes standing ovation at the Women of the Year Lunch. Women have good taste!

And what is Bill Nihey to say? He was superbly brilliant in LA.

(Bethan) Glad to hear that he got a 5 minutes standing ovation at the Women of the Year Lunch. Women have good taste! But they don't support his starring films!!

That was a *reallygoodreview* from the reallygoodfilms website. Thanks, Maria. (Evelyn) They list Best Actor, Best British Actor etc as separate categories....Hey, if Hollywood did that they would be a great hue and cry. Many of the awards are structured this way outside the US. Even the Baftas has Best Film and Best British Film. Nothing new about this. (Mari) Are we going to get the Mikimoto party ones, I hope? (Evelyn) Oh, yes....Pleeeeze **and** the "Huggy Squeezey" ones too. Yes and yes (am assuming the latter are the nanookie of the north ones) (Bethan) So who's missing, and what does that say about the sort of reviews CF is going to get from our beloved critics?! I wouldn't worry about his reviews; he'll do fine. Your critics won't pick on him, as he's finally doing what they've wanted him to do. He's not nominated because his role is not the type that gets nominations. They need to be showier. Subtle doesn't cut it at award time. Plus you shouldn't really shove him into the supporting category for convenience sake because it is the co-lead.

Here are the huggy and squeezy ones: http://www.firth.com/gwape_premgal7.html

Article about Mena Suvari in THR about her appearing in story arc in 6FU next season, says: "Suvari, whose credits also include the first two 'American Pie' movies, next stars opposite Colin Firth in the indie 'Trauma,' set to premiere next month at the Sundance Film Festival."

(Karen) Many of the awards are structured this way outside the US. Even the Baftas has Best Film and Best British Film. Nothing new about this. Insular...bigoted, IMO. Thanks for the Huggy- Squeezies; my fave, the one with his hand on her knee;-)

Thanks for the pics Karen. I especially like those Sept 8 press conference photos.:-))

Karen - love those huggy pics . . wish I was Scarlett!!!

On my way to work this morning, big poster in Green Park tube station - v. alluring photo of ODB as Vermeer looking straight at you, and oh crap I just realised I can't remember the caption. But it was something about what his paintings do to you, a line from the movie. Anyway. It was nice!

(Karen) Many of the awards are structured this way outside the US. Even the Baftas has Best Film and Best British Film. Nothing new about this. (Evelyn)Insular...bigoted, IMO. These awards are just trying to support the British film industry. American films have been behemoths in most countries around the world, leaving other countries to pick up the crumbs. The Brits are just trying to boost their own films which rarely do well outside of their own country. Because of their international domination, American films don't need that. Anyway, too bad that except for Scarlett, GWAPE didn't get recognized by the London critics for other award consideration, like for Weber for newcomer. I agree that though he did an excellent job, Colin's role was not showy enough for this kind of recognition.

Trio paint pretty picture Wed Dec 17, 7:00 PM ET Olivia Hemaratanatorn (Variety) "Girl With a Pearl Earring" stars Scarlett Johansson and Colin Firth chatted up the oft-wordless pic following its unspooling Dec. 11 in the Variety Screening Series. Thesps said filming was fun despite the pic's somber mood. "Very often it's the opposite," Firth said. "You make a very serious film and it's one of the grimmest places to be." Helmer Peter Webber said the chaste yet highly charged scenes of physical contact between painter Johannes Vermeer and his servant were inspired by Japanese films. "I like the way that Asian cinema makes very intimate moments into something epic," Webber said. "That's what we had to do. The big moment was a finger moving a quarter of an inch." "That finger moving a quarter of an inch was a big deal for the both of us," Johansson joked. "Well, it was good for me, anyway." Pete Hammond moderated the Q&A sesh at the Pacific Galleria Stadium 16 in Sherman Oaks.

Oops! Forgot to add my comment.. hahaha (slap!) badmariabad!

Thanks for the huggy squeezy pics, Karen. So adorable!:-) Here's your buddy Capone's review from Ain't It Cool News: GIRL WITH A PEARL EARRING This is an easy film to review because very little happens, but that isn�t necessarily a bad thing. Based on the popular novel by Tracy Chevalier about master painter Johannes Vermeer (played by the master actor of angst Colin Firth; serious has any actor played more characters in love with women below his character�s standing than this guy?) and the maid (LOST IN TRANSLATION�s Scarlett Johansson) who served as the model for one of his most famous paintings. The story speculates that Vermeer fell in love with the maid (although never acted on that feeling) much to his wife�s disapproval. There are countless subplots in the film involving Vermeer�s wicked children, his lecherous patron, Van Ruijven (Tom Wilkinson), the other servants, and a butcher�s son played by 28 DAYS LATER�s Cillian Murphy, but none of these are as interesting as the nearly wordless interplay between Firth and the stunningly expressive face of Johansson. Never has catching a glimpse of a woman�s uncovered hair seen quite so erotic. And never has Colin Firth been so pent up and repressed as he is here. Yes, the brief glimpse that first-time feature director Peter Webber gives us of Vermeer at work and his technique is fascinating, but the fact remains that next to nothing actually transpires here, and this may turn some people off to the film. It feels like everyone in this film is on the brink of exploding from repression. Vermeer�s wife suspects him of all sorts of indiscretions, although he hasn�t done anything but sin in his heart. So little goes on in the household that the servant gossip about even the smallest out-of-the-ordinary events. GIRL WITH A PEARL EARRING might be the most tension-filled movie I�ve seen this year that didn�t result in some explosion or bloody death. The film is an excellent chamber piece, beautifully photographed, with a handful of perfectly understated performances. What more do you need? I have no idea whether any of this took place in the Vermeer house, but the film is so convincing that in my mind, this is exactly what happened. It opens wide this Christmas.

Scarlett got two noms: Lost in Translation (musical/comedy) and GWAPE (drama). GG discussion over at O&E

Scarlett Johansson was just nominated for a Golden Globe for Best Actress in a Drama for GWAPE!!!! No mention of Colin but as was said, his part was not showy enough. Good news for the movie , though. May get him some attention he never seems to garnish.

(Karen) Many of the awards are structured this way outside the US. Even the Baftas has Best Film and Best British Film. Nothing new about this. (Evelyn)Insular...bigoted, IMO. (Katty)These awards are just trying to support the British film industry. American films have been behemoths in most countries around the world, leaving other countries to pick up the crumbs. The Brits are just trying to boost their own films... *in Lizzie mode* "Thank you, Mary";-)

Girl with a movie star Tracy Chevalier�s best selling book, Girl with a Pearl Earring, is now a film starring Colin Firth. Lew Matthews meets the chuffed author THE delicious moment when heart-throb actor Colin Firth met author Tracy Chevalier on the set of The Girl with a Pearl Earring was recalled with a dreamy smile before an audience at Burgh House, Hampstead, on Friday. The dashing Colin Firth, who plays Vermeer in the film, became very involved with the whole idea, she revealed. �Colin took on the role completely and became obsessed with it and with Vermeer and tried to find out all he could about the artist and Dutch society of the time,� said Ms Chevalier, who lives in Woodsome Road, Kentish Town. �And when I visited the set, he pounced on me � almost literally, I am delighted to say � and he said he just had to talk to me. Naturally, like any woman, my reaction was: Talk to Colin Firth? Oh boy, sure, I�ll talk to you as much as you like. . . You could say that I was very happy with Colin Firth.� Ms Chevalier, appearing in the Burgh House Lifelines series of interviews with writers and celebrities, spoke about how delighted she was with the film, directed by Peter Webber, that has been made of her remarkable book, which is due to go on general release on January 16. The book, which suggests a fictional account of how the famous Dutch artist Vermeer could have come to produce one of his most popular paintings (the dark haired young girl wearing a pearl earring) has become a publishing phenomenon since it came out about three years ago. At first it sold very modestly, but then it took off on the strength of word-of-mouth popularity, and has now sold more than two million copies worldwide. It has been translated into 32 languages, including Icelandish, and has also been a bestseller in Thailand. Ms Chevalier said that she had seen the film three times � �and I am delighted to be able to say that I loved it,� she said. �It was an amazing experience to see something that has been in my head being projected onto a screen. It�s not the film that was originally in my head � I don�t think anyone could ever make that, including me � but I think they have done a remarkable job at remaining true to the ethos of the book, without copying it scene by scene. �It still has the same feel to it, and that�s why I was so delighted. They understood the essence of it � but they made it their own. It�s beautiful to look at; like a series of paintings.� But Ms Chevalier also revealed that the film had been shot in Luxembourg, and not in Delft, Holland, where the book was set. �The producers discovered that there was a set already built in Luxembourg that they could use, something that had originally been used for a film set in Venice. But they changed the shape of the windows and changed the lovely Italian stone look by spray painting a brick effect onto the walls, and it looks great. Perhaps people who live in Delft will be horrified, but I found it very convincing.� Some filming was done in Delft itself, and that showed up just how difficult it was to use real streets and towns. �The scene was in the town square, and when they got there they found the square covered in ice. They had to hire blowtorches to melt the ice. �Then when Scarlett Johannsen, the actress who plays the young girl, Greet, walked across the square, there were clouds of condensed breath every time she breathed out � and this was supposed to be in summer. In the end she had to walk across the square holding her breath! �Scarlett turned 18 on the set during filming. That was one of the reasons why they chose her � because she was so young. �She has been in many films, and has had the experience, but she looks remarkably like the young girl in the painting. She doesn�t say very much and she was very self-contained. She came out of nowhere and acted very instinctively. �She didn�t prepare for the role, she didn�t find out anything about Dutch society, and she didn�t read the book. And in a way that was right, because Griet herself comes out of nowhere, and is thrown into a situation where she has to respond with her gut � and that�s what Scarlett did as well. So in the end it worked perfectly.� Ms Chevalier said that she hoped the film would be shown at the Screen on the Hill, in Belszie Park, �because that�s where I go to see films like that, and it would be very pleasing�. She continued: �If it does open there, I am going to go one day and just stand in the lobby and wait for people to come out from the earlier show so that I can look at the expressions on their faces to see if they like it or not. I want to have that moment to myself. I�m really looking forward to it.� http://www.camdennewjournal.co.uk/archive/f271103_1.htm

I loved that AintitCool review. Unlike some others, which make the movie sound too highbrow and off-putting, it prepares viewers for a no-action movie where the excitement is in the dramatic tension, not the explosions. Sexy without the sex. This is great, because Aintitcool is such a popular site, and anyone going to see the film because of the review will be well-prepared to look for - appreciate - the subtleties of the film and the real action beneath the surface. And Capone seems to know Colin very well, too.

Looks as though Colin will be in Utah in January. From today's "Times" ... "There will be stars strolling the streets of Park City, Utah in January. Matt Dillon, Kevin Bacon, Courtney Cox, Colin Firth and Helen Mirren will be among dozens of performers who will be promoting films at the 2004 Sundance Festival." Marc Evans is also reported to be showing "Trauma" at the Cannes Film Festival.

Part of an article in last Sunday�s Mail magazine supplement. Scarlett Johansson Why I love older men (just ask Colin Firth, Sean Connery and John Travolta) No one does turbulent and sexy intensity better than 43-year-old Colin Firth, and the unspoken, forbidden attraction between the two creates the most powerful study of erotic tension since Jane Campion�s The Piano. �It was really lucky that Colin and I had such good chemistry. I had seen him in Pride and Prejudice and Bridget Jones and he was very sexy, but I still didn�t know what to expect when I met him. He�s such a genuinely nice guy, so sweet. It was so meant to be Colin and me in those roles.�

Whoops, don't know what happened to these two paragraphs "It's such a rare role because it's about her wonderful inner thoughts, which is so appealing for an actor to play. There's no cheesy dialogue to describe the way she's feeling," she explains, "I could just be quiet, which is rare. Often writers fill the voids with awful dialogue that's very hard to say." And there's no denying that the taboo attraction between Johansson and Colin Firth is at its most electrifying in those silences.

(SJ DM)"It was so meant to be Colin and me in those roles.? " Awwwww Hey Aishling, does she say the same thing about John Travolta and Sean Connery? Inquiring minds want to know;-) Thanks.

(Bethan) Marc Evans is also reported to be showing "Trauma" at the Cannes Film Festival. Perhaps it's been submitted or they'll be screening it out of competition for sales purposes, but it's way too early to even know if Cannes has accepted anything. IMO Colin would have to go to Park City with the film. It'll wouldn't stand a chance without him. Besides, he thinks Marc Evans is one of the most talented directors around (or similar). How could he let his friend down? ;-) Thanks, Aishling, for the article. Has SJ ever said before that she's seen P&P and BJD? (lately I'm just scrolling)

Has SJ ever said before that she's seen P&P and BJD? (lately I'm just scrolling) I read maybe a couple months ago about her mentioning P&P. She said something like, "I know Colin can be sexy - I've seen Pride and Prejudice." Sorry, I can't remember which article that was. I've never before read about her seeing BJD.

Interesting article from the LA Times about Scarlett and her older men co-stars. Sorry if it's been posted before. http://www.scarlettjohansson.org/english.html This maturity also translates to Johansson's relationships with her older co-stars in real life, with the exception of Murray, whom she says was a bit remote. Firth, she says, has "got a part of my heart. He's a great guy and good friend. He never weirded me out." Of John Travolta, whom she just worked with on "A Love Song for Bobby Long," she says: "I love that man like a family member. He's so adorable. He's so funny and not funny. I used to miss him over the weekend [during the shoot]. It was weird. I would tell him that, and he would get overly emotional and cry." To hear Firth describe it, she treated him as an equal- that is, she teased him mercilessly. "She reminded me that she had been in the film business as long as I had," Firth says, laughing, adding that they were as talkative off-screen as they were taciturn on. "She's one of the best actresses I've ever worked with."

Just so no one thinks I've been idle all day (though I can think of better things I might have done with about 2 hrs and 20 min of it), here are some more pics: http://www.firth.com/gwape_otherla.html Only the cocktail party to go. I know of you are eager to see (hic) the man with martini glass. Soon.

Thank you Karen for all of the lovely pictures. I'm not sure about ODB's ability to create an outfit... but good pics with lots of smiles! Thanks!

Re: Trauma and Cannes Forgot the most important point. Trauma couldn't be entered if it opens in the UK on Feb 27th.

Besides, he thinks Marc Evans is one of the most talented directors around (or similar). How could he let his friend down? ;-) It's surprising such talent has not yet found a US distributor. ;-) Thanks, Aishling. Lovely pics Karen!

(Bethan)Looks as though Colin will be in Utah in January. Great! That improves its chances of picking up a US distributor. Here's the info from the Sundance website; did we know Brenda Fricker is in this? Trauma United Kingdom, 2003, 93 Minutes, Color Director: Marc Evans Screenwriter - Richard Smith Producers - Jonathan Cavendish, Nicky Kentish Barnes Cinematographer - John Mathieson Editor - Mags Arnold Production Designer - Crispian Sallis Cast - Colin Firth, Mena Suvari, Brenda Fricker Screening Times Monday, Jan 19 6:00 PM Eccles Center Tuesday, Jan 20 9:00 AM Egyptian Theatre Tuesday, Jan 20 7:00 PM Sundance Village Tuesday, Jan 20 10:00 PM Sundance Village Wednesday, Jan 21 6:30 PM Tower Theatre Stunning camerawork and startling sound design create an atmosphere of steely anxiety that permeates every frame of Trauma, the postmodern psychological chiller directed by Marc Evans. In London, Ben (Colin Firth) awakes from a coma frightened and disoriented. When he learns he has been in a car crash that claimed the life of his wife, his world goes dark. Unable to make sense of the situation, he retreats into a delusional world where he can no longer distinguish between what is real and what is not. He seeks help from those in reach, including his old psychiatrist, a beautiful new neighbor (Mena Suvari), even a highly regarded medium (Brenda Fricker). Inevitably it is up to him to put his life back together and make sense of the altered existence he struggles to reenter. But something is not right in his world. Evans enters this territory flanked by a crack team of artists. The writing is crisp and precise, and the cinematography is exquisite. The tone, sustained by the entire cast, creates the ideal conditions for dread to grow just under the surface. In Trauma, Evans expertly builds tension by slowly and deliberately stacking images, reshuffling them, and letting them fall where they will.

(Tracy C) You could say that I was very happy with Colin Firth.� (Scarlett)He�s such a genuinely nice guy, so sweet. It was so meant to be Colin and me in those roles. . . Firth, she says, has "got a part of my heart. He's a great guy and good friend. Ahh, so nice to read. Really, no one ever says anything but great things about him, except maybe Huge and that's been taken care of.;-) Thanks, Maria, Aishling, and Katty. with the exception of Murray, whom she says was a bit remote. Gah, she came out with this on the Charlie Rose show, later contrasting him to Colin who was so great to work with. This kid can be blunt, but I suppose disguise of any kind is her abhorrence.;-)

Love this one especially! Thanks, Karen. I see you have the Mikimoto teaser up.;-) *tapping foot, looking at watch*

Thanks for all the lovely photos and all your hard work, Karen. Those boots he's wearing at the Pacifica Gallery look like "blunnies" (Blundstones). I have wanted a pair of blunnies for a couple of years now... (they do make them for women, though they're pretty pricey). Maybe if I get a Xmas bonus, I'll lash out and buy myself a pair. ;-)

Thanks for the lovely pics Karen! We appreciate the 2 plus hours you spent! Variety is doling out these articles on GWAPE like vitamins...one a day... Repressed passion Thu Dec 18, 7:00 PM ET DAVID WEDDLE (Variety) In a year when many filmmakers risked the deathblow of an NC-17 rating and battled the MPAA to bring more graphic and realistic depictions of sexuality to the bigscreen, the most erotically charged movie turned out to be one in which the lead characters never make love, take off their clothes, or even kiss. Director Peter Webber understands that sublimated passions can be the most powerful, both in life and in a movie. "Whoever said the most important sex organ is the brain was right," Webber says. "It's anticipation and the fact that two people can't get together that builds up a tremendous charge of energy, like static electricity. You're just waiting for it to discharge. That's an interesting register to work in." The two people are the 17th century painter Johannes Vermeer (Colin Firth (news)) and his 17-year-old model, Griet (Scarlett Johansson (news)). When Vermeer decides to paint Griet's portrait, he manipulates both her emotions and his own, exploiting the sexual tension between them to coax from Griet a mixture of sadness, longing and frustration, which he captures on canvas. Their relationship climaxes (both dramatically and symbolically) when Vermeer presents Griet with one of his wife's pearl earrings --- which he has taken without her knowledge --- and then pierces Griet's ear so that she can wear it. "When I read that scene in Olivia Hetreed's screenplay, that was the moment I decided I wanted to do the movie," says Webber. "We make a lot of period movies in Britain that are fairly dull --- 'Masterpiece Theater' type films. They're rather pretty and everything, but you're not emotionally engaged. Then I got to that ear-piercing scene and I suddenly realized there was a darkness to this story, an edge of sexual obsession and power plays." A $10 million budget for a period piece may be threadbare by Hollywood standards, but for Webber --- who cut his teeth directing documentaries and movies for British television --- it seemed quite luxurious. This would be his first feature, and Webber was determined not to squander the opportunity. "You're remembered by your first film," says Webber. "People pigeonhole you, and you may never get to make a second film."

Thank you, Karen for the picutres. Can't wait to get to the cocktail party;-) Maria, thanks for the article. (PW)Then I got to that ear-piercing scene and I suddenly realized there was a darkness to this story, an edge of sexual obsession and power plays." I like the idea of Vermeer being borderline lech. I think I'll go to spoilers.

Scarlett Johansson prompts Oscar buzz 'GIRL WITH A PEARL' JAM: Considering all the Oscar buzz for Scarlett Johansson's nuanced and understated performance in "Girl With a Pearl Earring,' it's quite fitting that the film premiered in Los Angeles at Oscar Central, the Academy of Motion Picture Arts and Sciences in Beverly Hills. Johansson, 19, was pure Oscar bait on the carpet Wednesday night in an elegant, long cream-colored Prada gown with black onyx earrings and a black swirl applique on the side of her gown. Nothing like the rough-hewn peasant garb she had to wear in the period film based on Tracy Chevalier's novel by the same name, a fictional account of a young maid's life in the household of Dutch master painter Johannes Vermeer. "My only request was that I not have to wear wool,' Johansson said. "And my only costume ended up being a rough wool dress that looked like a burlap sack.' British actor Colin Firth, who played Vermeer, looked much more casual in a gray suit with no tie. But that could be because he's a bit more practiced at the premiere routine, having landed his first film role the year Johansson was born. Much of the film is composed of faithful re-creations of Vermeer's famous color and light, which caused Firth to feel a bit antsy early on. "In the early stages, I would be standing by a lot of the time. It was frustrating because I would be held up in my trailer just to walk down a corridor.' But he'd researched and studied the artist and his work for months, so when he did get into character, the experience was "quite magical.' Paying compliments to director Peter Webber and Johansson at the reception following the film: Essie Davis (who plays Vermeer's wife), wearing a red strapless Armani gown, Aisha Tyler, Dominique Swain and Jesse Bradford. Of course, everyone just had to try the delicious chocolate martinis made with a Dutch liqueur. Hey, when in Rome, er, Holland. http://u.presstelegram.com/Stories/0,1413,214%257E24178%257E1829144,00.html?search=filter

(lindak)I like the idea of Vermeer being borderline lech. My 17 year old niece saw the trailer for GWAPE recently, and knowing of my interest in all things CF, advised me that he was playing a pervert in his new film!

(Maria) We appreciate the 2 plus hours you spent! LOL! That was time wasted on something else...that could've been better used on the pics. ;-) Good piece of PR by the Sundance crew to make Trauma sound brilliant, a must-see! (UPress) But that could be because he's a bit more practiced at the premiere routine, having landed his first film role the year Johansson was born. Ouch!! :-( Of course, everyone just had to try the delicious chocolate martinis made with a Dutch liqueur. Ah, so maybe he got a taste for them and that's what he's holding at the Mikimoto reception that next day?

this took care of the tags, i hope... (karen)"Good piece of PR by the Sundance crew to make Trauma sound brilliant, a must-see!" yeah, well, could be, but... : (trauma blurb)"(...)the postmodern psychological chiller (...)" *groan*

(trauma blurb)"(...)the postmodern psychological chiller (...)" (Sophie) *groan* I know, that caught my eye initially, but I'd bet it only means the story is deconstructed, no grand narrative style.

The January issue of American Cinematographer (page 94, with Cruise on the cover) has a several page article entitled "Lighting Vermeer" (Eduardo Serra). With loads of pictures from the set. Don't have time myself to scan it all, but perhaps someone could - for Karen?

Wish I'd known about it before, as I was right across the street from a Borders and I could've scanned it myself. Will take care of it tomorrow.

Karen: Just looked at it right before my post. I sent you an e-mil.

Interview in the Independent today: Colin Firth: Still sitting pretty From Mr Darcy to Vermeer, Colin Firth seems drawn to smouldering roles - but he thinks he's dead ordinary By Fiona Morrow 19 December 2003 There's something slightly cheesy about Colin Firth. Not in the flesh, you understand, but in the idea of him. It's something about the way middle England panted in unison when he strode out of that lake in Pride and Prejudice. "Ooh, Colin," you could hear them whisper, faintly reproachfully. "You are naughty." Now, I had as big a crush on Mr Darcy as the next gal. I was 14 at the time, and I got over it as quickly as I did strawberry-mint lip gloss. My Mr Darcy served his purpose and was then cast aside - and Timothy Dalton never did it for me again. Ever. Unlike the erstwhile Bond, Firth's career is easily split into pre- and post-Pride and Prejudice. He started out well. Another Country, Apartment Zero, A Month in the Country, Tumbledown, Valmont: small but interesting projects, with Firth given the chance to develop complex, often troubled characters. Mr Darcy changed all that: suddenly Firth was bankable. He became an actor sought out by the high-end heritage market of the British film industry. But for every English Patient and Shakespeare In Love on his CV, there's a Relative Values or an Importance Of Being Earnest. Bridget Jones's Diary was fun, but What A Girl Wants? Love Actually? What more evidence do I need to muster? Definitely a bit cheesy. So I wasn't nearly as excited at meeting Firth as perhaps I should have been. Certainly, every female with a pulse to whom I mentioned the interview appeared to go glassy-eyed at the mere sound of his name. A tall, slim, rather diffident Firth arrives. He's smiling and instantly affable, looking younger than his 43 years but also less substantial than he does on screen. His is a handsome face, but not extraordinarily so. We're in Luxembourg, on the set of Girl With a Pearl Earring, the film version of Tracy Chevalier's bestselling novel. Firth plays the 17th-century Dutch artist Johannes Vermeer, who becomes captivated by the family maid, Griet (played by Scarlett Johansson). It's a pretty torrid tale: Vermeer and Griet's mutual attraction is repressed beneath the demands of social etiquette; the slightest glance becomes weighted with meaning, the sexual atmosphere building to an almost unbearable intensity. Plenty of opportunity for Firth to smoulder, then? "Oh, God!" exclaims Firth, aghast. "I hope it doesn't come across like that. I don't consciously smoulder anyway - I never have." He pauses for a wry little grin: "Smouldering is something that's kind of come to me. "Actually," he adds, not ready to let the subject lie. "It was a bit worrying the other day on set. I was looking at Griet and going through my own process and doing what I thought, you know, was wanted, and afterwards I got a comment about my smouldering look and I just thought, 'Oh, Christ'." He says it more in sadness than in anger, as though really fearful that he is reduced to "one look". Unfortunately, because Girl With a Pearl Earring is a film of intent rather than action, Firth does vacillate rather between a smoulder and a scowl. His limitations in the emoting department are not helped by the fact that he's up against Johansson, an actress who can say more with her eyes than any page of dialogue. "Very few actors would decide to take on a role and just do a look," comments Firth, a little dejectedly. "You hope you can be elegant without speaking, and that once the film's cut together, you come out in the wash the way you intended to." Such concern is emblematic of his lack of arrogance: he seems genuinely surprised and cheered by his good fortune in doing a job he enjoys. He became an actor, he says, as a last resort. The son of academics, Firth lived in Nigeria until he was four, eventually growing up in Hampshire where he attended the local comprehensive. His posh accent is the product of "old-fashioned drama school RP". "My father was worried when I decided not to go to university," he recalls, "but only because he wanted me to be able to find something that was stimulating from which I could make a living. I lit on acting because there really wasn't anything else that seemed feasible." Though he loved what he was doing, the decision preyed on his mind for many years: "I did say to my dad later that I felt like I hadn't fulfilled the family tradition and that I had missed something by not going to university, by not following that path." His father, however, sees it differently: "He told me that, considering all the things I've learnt for various roles, I haven't missed out on much." It soon becomes clear that for Firth, it's the research that really gives him a kick: "I enjoy the homework very much," he says with a slightly embarrassed guffaw. Girl With a Pearl Earring has certainly delivered for him on that front: "It's allowed me to go to school, in a way," he shrugs. "I like going to the galleries and pretending to be this bloke. That thrills me." The bloke himself remains an enigma: "Here's a guy we basically don't know anything about, whom Tracy has written a story about. And this story is told through the eyes of a girl who doesn't know much about him either. I think," he says, after pausing for a moment to think, "that what Tracy has done brilliantly, and what the production has done so far, is to keep that mystery intact. I just hope I can continue to do the same in my leg of the relay." He rubs the side of his face, crosses his legs and frowns: "Vermeer's only hint at a self-portrait is in a mirror," he ponders. "It's in the background of - I think it's called The Concert [in fact it's The Music Lesson]." He shakes his head and shrugs: "The titles are all so interchangeable... But anyway, it's basically two people standing at a virginal at the back of a room, and there's a mirror above the instrument which reflects [the player's] face and then if you look further you can see the leg of his easel..." He stops and pulls a sheepish face: "I've never quite been able to make it out myself, to be honest, so I'm just going on what others say. But there seems to be some kind of box and his foot - so he's quite consciously hinted at himself, but kept himself out of it." As he prattles on happily, I realise that the great sex symbol of the Home Counties is, in fact, a big kid, eyes still wide with wonder at the world. Even that laugh, with its throat-tickling rumble, belongs to a boy. I tune back in, and find that Firth has moved on to the known facts he has unearthed about Vermeer: "He had 15 children, four of whom died. There were wars going on - the French invaded, and the dykes were broken in a kind of scorched earth policy. He grew up in a pub that his mother ran..." He leans back in his chair to deliver what is clearly his favourite piece of Dutch miscellany: "The annual beer consumption in Delft was absolutely jaw-dropping!" We pause in respect for the constitution of the apparently permanently pickled locals before returning to art. Specifically, Firth's lack of aptitude for it: "The physical side of painting is beyond me," he proffers. "You can't teach me to draw a face with two eyes in the right place. All I'm hoping for is to look as if I've picked up a palette before and to hold a paintbrush without dropping it." He won't be drawn on how he thinks the film is going. "I'm hopeless at predicting that kind of thing - I was the one who thought Shakespeare In Love couldn't work, which shows how strong my instincts are. I just thought: 'there have been so many star-studded flops,' and my worry was that it would be panto for clever clogs." As for his own part in it, he starts to giggle: "I was the absolute antithesis of everything that was charming about that film - the guy with no humour, no poetry and no romance. The beauty of the film," he declaims in cod-Shakespearean, "was thrown into relief by my lack of it." He's less happy-go-lucky when, inevitably, we find ourselves having a Mr Darcy moment. "You know, this whole star persona nonsense that came from Pride and Prejudice is not something I actually occupy, and I only ever have to answer for it in a press situation." He lets out a sigh. "When the question is asked, I often have to wake myself up to remember what to say about Mr Darcy. I can't recall it very well, not least because it was a very ordinary working experience. I've had to talk about it so much, I can no longer distinguish my own memories from other people's mythology about it." He does remember thinking it wouldn't be up to much: "I went to South America [to film Nostromo]. I thought it would be nice to be away when everyone was having a go at it." He didn't pay much more attention when he got a call from home saying he was the subject of some intense press interest: "I just thought it was the sort of thing that mums say." Meanwhile, on the set of Nostromo, Firth fell in love with an Italian, Livia Guiggioli (they are now married). Intrigued by reports of Firth from England, her family went to check him out at the cinema. "The only thing that was on at the time was Circle of Friends," he grimaces. "And appealing in that I am not. They were in despair at this ghastly, bloated, moustachioed English fool. Then, when they were sent tapes of Pride and Prejudice, there was a general kind of disbelief that anyone could find this man sexy." Firth himself remained unconvinced until his mum sent him a recording of a radio discussion about the series: "I thought, 'Christ! This has never happened before, this is extraordinary.'" He leans forward to add sincerely: "It can make you a bit jittery." He continues, sounding as though he still can't quite fathom it: "The interesting thing was that I thought I'd been doing great up until that point. I'd been doing stuff that I found really interesting. I'd been working away - had never been out of work, actually. I was doing central roles in things that interested me a lot and were sometimes well received. If people liked me, they liked me and if they didn't they didn't. And then, with Pride and Prejudice, it was as if I'd never done a thing before." Or since? I prompt: "Well," he shrugs, resigned, "if people want to bang on about it eight years on, if they're still interested, I can't really complain." He has, of course, had a hand in inspiring such longevity himself, by starring as Mark Darcy in Bridget Jones's Diary and its forthcoming sequel. "I know," he shrugs apologetically. "The first one just seemed such fun, but I was worried about a sequel. The very idea conjures up all sorts of dreadful thoughts. But I read the script and found a new affinity with it, so..." he trails off. "Nevertheless," he picks up, with a shake of the head, "I have to say I find it weird that there is this hologram of me as Mr Darcy still wandering about." The notion reminds me of something Firth told me about the moment he saw his first original Vermeer: "I don't know if I've ever seen such a difference between reproduction and the real thing. Even in print, you can see they're marvellous, but nothing compares to coming face to face with one." Firth may not be a great work of art, but he's certainly nothing like his image. Neither scrumptious nor cheesy, he's more like a reliably decent pint of beer. Something, it seems, of which Vermeer himself would have approved.

( Independent)"Neither scrumptious nor cheesy, he's more like a reliably decent pint of beer." Hmmm....don't like beer. I prefer to think of him as a nice glass of vintage wine. Thanks boss; *Clap, clap* You're always on the mark...this was just published today.

That was great, Karen! And so are those gorgeous pics you put up. Thank you! Thanks for all the info ladies, I very much appreciate it. (Evelyn) I prefer to think of him as a nice glass of vintage wine. Yesss. Me too. :-)

(Evelyn) I prefer to think of him as a nice glass of vintage wine. ...a fine ruby port does it for me. Scrumptious, but not cheesy (CF)"I'm hopeless at predicting that kind of thing - I was the one who thought Shakespeare In Love couldn't work, which shows how strong my instincts are. LOL, ain't that the truth;-)

My son watched Talking Movies on BBC News 24 very early this morning (5.30am!). It features an interview with CF discussing LA and GWAPE. My son thought he came over very well. It's being repeated this afternoon at 3.30pm.

Thanks for posting all the info and pics! Karen - Great article from the Independant . . Colin described as cheesy? . .Definitely not . .I'd go more for the scrumptious side;)

Colin Firth: Still sitting pretty From Mr Darcy to Vermeer, Colin Firth seems drawn to smouldering roles - but he thinks he's dead ordinary By Fiona Morrow 19 December 2003 Once more a case of much more information about reporter than I care to know. She came off a bit cheesy IMO:-(

Thanks for the heads-up, Janet, about the new Talking Movies segment. I hope we'll hear a full report once you've seen it yourself. (Beedee) Once more a case of much more information about reporter than I care to know. Or anyone cares to know. Agreed. The reporter's name seems familiar to me, but I can't place it with any other article on the archive. Hmmmm Had a report from Jennie in England, who said that there are posters all over London for GWAPE, featuring at least 6 different images (other characters), plus one showing Vermeer looking around the side of the easel. (I'll upload later but you've seen it on other sites.) There is also a special Vermeer night on 7 January at the National Gallery, but it is sold out. The foyer of the Gallery's Sainsbury Wing will have live music, a bar and events -including author Tracey Chevalier signing copies of the book. Attendees will also be able to enter a drawing to win one of 300 tickets to an advance screening of Girl with a Pearl Earring on 14 Jan at the National Gallery that will be introduced by the film's director Peter Webber. Info at http://www.nationalgallery.org.uk

Here's a better link: http://www.nationalgallery.org.uk/education/events/discuss%5Fjan.htm

(Karen) There is also a special Vermeer night on 7 January at the National Gallery, but it is sold out. The foyer of the Gallery's Sainsbury Wing will have live music, a bar and events -including author Tracey Chevalier signing copies of the book. Attendees will also be able to enter a drawing to win one of 300 tickets to an advance screening of Girl with a Pearl Earring on 14 Jan at the National Gallery that will be introduced by the film's director Peter Webber. Classy promo.Thanks Jennie. I wish they would have done the same at the Met in NY. The National owns one Vermeer:

(Evelyn) I wish they would have done the same at the Met in NY. Yeah, me too. :-( Or even the Frick, since they have 3.

(Karen)Thanks for the heads-up, Janet, about the new Talking Movies segment. Thanks, Janet. I just checked BBCAmerica's site for talking movies and they still have the Dec.6-11 schedule showing. Last time, we got the GWAPE segment almost at the same time the show aired in the UK. I'll keep checking. (Karen)Had a report from Jennie in England, who said that there are posters all over London for GWAPE, featuring at least 6 different images. hmmmm...there will be less of them in about a week;-)

whole bunch of new GWAPE pics at firthissimo... http://digilander.libero.it/firthissimo/index.htm

Thanks, Ada for the link and the scan on the other topic. Looks like someone has a high quality bootleg or the screener. I know some people who have the screener and it's like gold. Oh to be a voting member of a guild. :-(

Once more a case of much more information about reporter than I care to know. She came off a bit cheesy IMO:-( (Beedee) Makes me wonder just how much personal interpretation goes into these interviews. As he prattles on happily, I realise that the great sex symbol of the Home Counties is, in fact, a big kid, eyes still wide with wonder at the world. Even that laugh, with its throat-tickling rumble, belongs to a boy..... As for his own part in it, he starts to giggle The interviewer is (by her own admission!)22, CF is 43. Can't imagine him prattling and giggling. More worrying is Unfortunately, because Girl With a Pearl Earring is a film of intent rather than action, Firth does vacillate rather between a smoulder and a scowl. His limitations in the emoting department are not helped by the fact that he's up against Johansson, an actress who can say more with her eyes than any page of dialogue So can Mr Firth, young lady! Didn't you notice? Hope she doesn't write the reviews for the Independent!

Thanks, Ada, those look like from a VHS tape, not a DVD. OK, the tapping and poking can stop. The Dean Martin or Humbert Humbert Memorial gallery is up (take your pick): http://www.firth.com/gwape_otherla2.html

Karen, Wonderful pics! - Doesn't he look a little inebriated?

Funny - his glass is full or almost full in every shot that he's got a glass in his hand. Do you think that the martini is just another "affectation"? ;-)) LA is rated number 8 in the Australian market at the moment on yourmovies.com.au - not too shabby for a movie which hasn't even opened yet! ;-) It's now playing in many more theaters and at times throughout the day, so I'd say it's on an even footing with everything else. I think they've done this "pre-launch launch" because it's opening opposite LOTR3 on Boxing Day, and hasn't got a hope in hades of competing...

(Karen) The Dean Martin or Humbert Humbert Memorial gallery ROTF! This one is one of my all time favorites now. Not always fond of the toothy smile, but he looks so relaxed and dare I say.....happy. ;-) (Janet) Doesn't he look a little inebriated? Just a tad, perhaps? ;-) Thanks, Karen! those look like from a VHS tape, not a DVD. Um, is that good or bad?

Oh bugger!

Thanks for all of the lovely Hannukah presents, especially those fun pics!

(Janet) Doesn't he look a little inebriated? Hmmmm .. .perhaps a just little???? Karen - do love the pics . .nice to seem ODB relaxed and having a good time! Ada - thanks for the link . . great pics also!

"That last martini at the Mikimoto party did me in."

"Who's she talking to?"

"Mishimoko . . . Mokomiti . . . Mooshimuki . . ." "Fabio . . . you're flagged!" (Boss)OK, the tapping and poking can stop. But it was so much fun.;-) The Dean Martin or Humbert Humbert Memorial gallery is up LMAO! Thanks, Karen, these are priceless and worth the wait!

According to this, HS will be on VHS (NTSC) in April: http://www.comingsoon.net/movies/h/hopesprings.php There's a big ad supplement in Entertainment Weekly for the Sundance Festival. Pics from all the films; Trauma one we've seen. Says there were 6,000 entries, but about 200 selected. "Many are called, but few are chosen." ;-) Trauma is screening out-of-competition in the "Premiere" section. Did Ebert & Roeper review GWAPE this week by any chance?

"Everybody loves somebody sometime. Everybody falls in love somehow."

(Mari) Did Ebert & Roeper review GWAPE this week by any chance? Nope; it just finished airing. Next week is a recap of the holiday blockbusters.

(Mari) Did Ebert & Roeper review GWAPE this week by any chance? (Karen)Nope; it just finished airing. Next week is a recap of the holiday blockbusters. OOOOOHHHHHHH! The injustice of it all. Ebert is always, always, always at Telluride and Toronto---but not his year because of cancer treatments.:-( I just know he would have given it both of his thumbs up if he could have been there to see just how excited I was about GWAPE!:-) Thanks again for the all the pics and articles! You ladies are in rare form again with those Mikimoto ones!:-)

Hey, these are pretty good! Could someone bring me another? What do you mean I can't have another one until I have a free hand? I'll finish this while waiting to get the next one and *then* put the glass down! Feel free to erase the other Karen. THanks.

I haven't had time to post much lately but I just had to comment on the Mooshimito party pics. Karen, you have outdone yourself! Dean Martin indeed. LOL!!! Those chocolate martinis must have been something else. I think Scarlett needs to pay a visit to CF's LA hairstylist;-)

What a hoot with those pictures,..... Thanks Karen from I who am not worthy(on floor raising and lowering arms overhead in praise). Could ODB look any more earnest in his expressions? Great fun!

(Karen)"Who's she talking to?" I dunno...but she's saying: "How come Vermeer doesn't put his arm around *me*?";-))

(Caribou) Ebert is always, always, always at Telluride and Toronto---but not his year because of cancer treatments.:-( I just know he would have given it both of his thumbs up if he could have been there to see just how excited I was about GWAPE!:-) He's going to give it a "rave" review whenever they get around to broadcasting it, probably closer to when it opens around the country. Ebert gives GWAPE his "Special Jury Prize" (didn't make his Top 10):"Girl With a Pearl Earring" is Peter Webber's sensuous meditation on artistic inspiration, starring Scarlett Johansson in the second of her great performances this year, as a poor girl who is employed as a maid in the home of the 17th century Dutch master Johannes Vermeer (Colin Firth) and not only inspires a famous painting but also makes an unmistakable artistic and emotional connection with him -- which the rigid social code of the time prevents them from acknowledging.Then, Roeper ranks Love Actually as #12 in his Top 25 list. You can see them all here: http://www.suntimes.com/output/entertainment/sho-sunday-rogerrich21.html

(Karen)"Who's she talking to?" (Evelyn)I dunno...but she's saying: "How come Vermeer doesn't put his arm around *me*?";-)) I thought that it looked like Joanna had been goosed (and both Alexandre and Colin seem ever so slightly guilty). ;-)

Another comment from the Pop Idol contestant who adores Colin in the Sunday Mirror: During Pop Idol, Michelle has been taken to all sorts of celebrity parties. And although she enjoys them, she insists the fame is not what attracted her to being a Pop Idol. "What's important to me is music and that's why I'm doing it," she said. "Having said that, the Love Actually premiere was fantastic. I'm in love with Colin Firth and I met him, which was amazing. Unfortunately he didn't know who I was! Someone told him I was from Pop Idol and he just went, 'Oh, charming'. I'm sure he's far too busy to watch TV on Saturday night. But he's lovely." http://www.sundaymirror.co.uk/news/news/content_objectid=13746362_method=full_siteid=106694_headline=-MICHELLE--MY-SEX-AND-THE-CITY-LIFE-name_page.html

Mari and Karen, you are cracking me up!!! You'd think he'd be an expert by now after all those birthday parties. ;-) Picture precious. ;-) (beedee), Once more a case of much more information about reporter than I care to know. She came off a bit cheesy IMO:-( I agree. They are so full of themselves.

(whatshername at the independent) "Now, I had as big a crush on Mr Darcy as the next gal. I was 14 at the time, and I got over it as quickly as I did strawberry-mint lip gloss. My Mr Darcy served his purpose and was then cast aside - and Timothy Dalton never did it for me again. Ever." **duh ?** what's t. dalton got to do with this ? (ada) "The interviewer is (by her own admission!)22 (...)" you know what, ada ? this dalton nonsense had me wondering about this would-be confessional crap, so much so it had me reread the interview (oh sacrifices !) : i actualy believe she had a crush on darcy (the book character) when she was fourteen, and that she gave him the shape of t. dalton and hasn't even seen the bbc series (foolish antelope). would have taken place in the eighties, and she then would be in her thirties... anyway what do we even care, i agree on the lame quality of the whole thing. most of it sounds like soundbites from previous interviews, not to mention the annoying "it's for real !" special effects (he shrugs, he grimaces, he laughs, he picks his nose, he hits the stoopid interviewer on the head with a rather large and blunt instrument, etc. ) that suspiciously look like they come straight from "writing fiction in 10 lessons, chapter four : how to make great characterization". what a total waste of interview time. re: the dean martin / humbert humbert (LOL ! but don't martinis look more like a clare quilty thing ?) gallery : wahhahhaaaahhaaaa ! these are now my new favorite pix ever ! and just realizing the animatronic potential they have, i laughed so hard i almost peed my pants ! karen, i'll drink one to your health tonight (which is right now btw) ! (jane) Funny - his glass is full or almost full in every shot that he's got a glass in his hand. Do you think that the martini is just another "affectation"? ;-)) getting drunk without swallowing, just like smoking without inhaling ? or maybe he drank too quickly for the photographer : careful ! beware of the dreadful martini-elbow ! ahaha for the caption contest ! keep it up everyone ! (with a slight slurr) "and ! and ! and ! let me introbooze, introdushhhh you to my new beshhhh, friend, the bartender, johnnywhat'syournameagaingogetmeanotheronepronto?"

lovely pictures! He is looking so good, hair and all (and that chest hair too ;-)

tags closed. "come on colin, that's enough, hold on tigt and i'll call you a taxi" "oh shuturp scarlett, you know, now that i'm in my fourties, i can hold my drink... oooops !"

ooops, forgot this one : of course, "hugh grant ? where ?"

ROTF Sophie.... Wonder if Mushimoto gave her those gorgeous pearls keepsies. I didn't think the Independent interview was any different than any of the others. Remember a few weeks ago we had the gal from the Daily Scotland Express who proceeded to tell us the saga of getting an interview and her cold legs etc. They all have an axe to grind, it seems.

I would think if it involved an interview with Colin, they'd have something they'd prefer to grind than an axe. ;-D Sophie, thanks for the theory that gives the possible reason for the Timothy Dalton connection in that interview. Thought maybe she confused P&P with the version of Wuthering Heights TD did. ;-)

I have to agree that these are some of the best pics of him I've seen in a long time. A few drinks seems to agree with him - he's even better looking than usual. -Most people look a bit bedraggled after a few!!

Can you say, Veeta, vita, vegamin? Thank you, Karen for these Dino cocktail beauties, and everyone for making me LMAO, today.

(Janet) I have to agree that these are some of the best pics of him I've seen in a long time. A few drinks seems to agree with him - he's even better looking than usual. A few drinks and...........oh, nevermind. ;-)

LOL! Ladies! Those pics were meant for creative captioning. (Karen)"Who's she talking to?" The "she" is SJ. Don't know about you, but something else has caught his eye and he isn't amused. A little possessive?? ;-) (Sophie) i actualy believe she had a crush on darcy (the book character) when she was fourteen, and that she gave him the shape of t. dalton and hasn't even seen the bbc series Interesting deductive reasoning. The woman probably extrapolated Heathcliff onto Austen's pages. Funnily enough, Heathcliff came to mind when I first saw Colin's Darcy. I remember thinking to myself, 'who does he think he's playing? Heathcliff?' ;-) True, true re: Dean Martin and his drink of choice (would've been Scotch or similar) but he had htat bobbing and weaving look. Comments from Alexandre Desplat upon hearing of his GG nomination: "Each of the collaborators had a jewel box to fill with his idea of what the jewel should be," said "Girl With a Pearl Earring" composer Alexandre Desplat, a first-time nominee. "My role was to lighten up the restrained love and desire between Griet (Scarlett Johansson) and Johannes Vermeer (Colin Firth)." Desplat said he wrote for a big-string orchestra with a harp, piano, cello and vibraphone played with a bow to depict "the delicacy of Griett and her purity." The music was written in Desplat's atelier in Paris' Montparnasee district, which was where sculptor Constantin Brancusi had his first workshop. "He definitely played some part in inspiring the score," Desplat said. "In certain movies, the stars align and bring everything to life." Desplat said the Golden Globes are a "very big deal for a little composer from France."

(Karen)The "she" is SJ. Don't know about you, but something else has caught his eye and he isn't amused. A little possessive?? ;-) Ah, now all is clear. I wonder...;-)

Thanks Karen for the cocktail pics and the hilarious caption party they ignited! Not sure if this is what Janet's son saw but hopefully we can catch it at some point... Colin Firth appears in two notable end-of-year films, the romantic comedy Love BBC World's 'Talking Movies' Actually and the 17th century drama, Girl With A Pearl Earring. Laura Metzger sits down with Firth to discuss these two very different roles and whether he yearns for A-list Hollywood status. Airtimes: Wednesday 24th December = 04:30 hrs Friday 26th December = 00:30, 16:30 & 21:30 hrs Sunday 28th December = 05:30 hrs http://www.astro.com.my/v4/highlight/new.asp

(Dorine)I would think if it involved an interview with Colin, they'd have something they'd prefer to grind than an axe. ;-D Good one, Dorine. Never mind that stupid lapis;-) Has anyone see that Talking Movies segment on BBC America?

If there are any people planning trips to Sundance, who want to meet up with other Drooleurs, contact me at my "office" and I'll give you the keys to the broom closet, where such discussions take place. ;-)

Laura Metzger sits down with Firth to discuss these two very different roles and whether he yearns for A-list Hollywood status. The Beeb always asks him the same crap. Last time, Tom Brooke asked him why aren't you a big star in Hollywood. What can he say other than I'm happy the way things are. If he wasn't/isn't, do you think he'd tell them? I have an answer for him this time: "Mishimoko." ;-)

Colin is interviewed on the Independent Film Channel's "At the Angelika" show, which runs throughout the week. Anybody get this one? Check your local listings.

(MariaT)Not sure if this is what Janet's son saw but hopefully we can catch it at some point... The very one! Having watched it, there's nothing new - and she does ask him about Hollywood!!

The Beverly Hills Weekly had a small bit about the Mikimoto, unfortunately it was not done by a woman or I'm sure there would have been more about YKW... http://www.bhweekly.com/aroundtown.html

I don't think this has been posted yet . .if it has, sorry . .the flu has my brain a bit adled . . . LA Page - http://www.showbizdata.com/contacts/credits.cfm?mid=230574 GWAPE page - http://www.showbizdata.com/contacts/credits.cfm?mid=232298

Hi everyone LOVE ACTUALLY's international cumulative thus far (NOT including US Box office)is $104 million, which makes it Universal's sixth film to pass $100 million in 2003. This is not only great news obviously for the studio but for a certain someone who then continues to be considered for our future projects. A win win in my opinion. I look forward to BJD2 which will be distributed domestically (U.S. and Canada) by Miramax and worldwide by Uni like the last time. There are a couple of projects still in talking stages that I am excited about. I would have loved to see him cast in SYNERGY and THE GOOD SHEPHERD but there are others out there still a possibility. I would also like to see him in THE INTERPRETER. But we'll see :) But what do I know? :) HAVE A HAPPY AND SAFE HOLIDAY SEASON EVERYONE. I HOPE TO SEE YOU ALL NEXT YEAR :)

(Hola Lola)This is not only great news obviously for the studio but for a certain someone who then continues to be considered for our future projects. A win win in my opinion. I so agree . . . can't wait to hear more about the projects of his that are still in negotiations!!!! Happy Happy Holidays Hola Lola!!

(BH Weekly) he next stop on the cocktail circuit was Mikimoto�s recently expanded berth in the Beverly Wilshire Hotel, where hunky Colin Firth (�Love, Actually�) was raising his glass in celebration of his latest film, �Girl with the Pearl Earring� LOL! Not an aberration. Even this guy noticed this aspect. Thank goodness he didn't find the HH part noteworthy. What am I saying, he's in Beverly Hills. ;-)

Thanks Hola! Put in my vote for The Interpreter; just the kind of thing I've always wanted to see Colin do since...well, since I got here. ;-)

Hmmm, so does that mean that Sean Penn has turned The Interpreter down and has Dennis Quaid bowed out of Synergy?

(Karen)Hmmm, so does that mean that Sean Penn has turned The Interpreter down and has Dennis Quaid bowed out of Synergy? Hola's insider hint's?;) . .this could be interesting . .

sorry, did not mean to insinuate that Colin would be in SYNERGY or THE GOOD SHEPHERD. DiCaprio and Quaid are done deals. But there are others....... :)

(Hola) I would have loved to see him cast... My mistake. You were very clear about it.

Hola - Ah well . .just havin some wishful thinkin' . . .

(Lola), But there are others....... :) But... I thought you'd get back to us with "others", not done deals. Come on Lola, we can take a little speculation.

(Karen)Thanks Hola! Put in my vote for The Interpreter; Add my vote for this one, too! Oh, the thought of it!!! Thanks Hola. Happy Holidays! Just a tid bit: The Interpreter Release Date: November 19, 2004 Studio: Universal Pictures Director: Sidney Pollack Screenwriter: Charles Randolph Starring: Nicole Kidman, Sean Penn Genre: Thriller MPAA Rating: Not available Official Website: Not available Review: Not available DVD/VHS: Not available Movie Poster: Not available Plot Summary: Kidman will play a U.N. interpreter who overhears an assassination plot. When she becomes a target she's paired with a federal agent and together they work to stop the murder of an African leader addressing the General Assembly.

Looks like Sean Penn is the federal agent. Maybe Colin can be the African leader? ;-) (A dream come true) ;-))))))

Thanks for the exciting news Hola! (Moon)Looks like Sean Penn is the federal agent. Maybe Colin can be the African leader? ;-) (A dream come true) ;-)))))) Colin could always play the cuckolded husband/lover! Just kidding, just kidding... ;-)))

The soundtrack of GWAPE will be released on 19 January 2004. Can be pre-ordered now: http://www.amazon.co.uk/exec/obidos/ASIN/B00013YQME/ref=sr_aps_music_1_1/202-8224568-1598264

(Moon) Maybe Colin can be the African leader? ;-) (A dream come true) ;-)))))) LOL! Interesting that all three projects require an American accent. I'd have to think way outside the box to come up with an FBI agent with a British accent. But that project isn't up for grabs anyway...

Can't believe but BBC has actually transcribed his interview (missing those ums and you knows) and you can watch it here, from the latest Talking Movies: http://www.bbcworld.com/content/template_talkingmovies.asp?pageid=665&co_pageid=6

(Karen)Interesting that all three projects require an American accent. I'd have to think way outside the box to come up with an FBI agent with a British accent. His "American" in A Thousand Acres wasn't all that bad . .a bit jarring for me though, b/c well, I always expect to hear that lovely deep posh voice to come out of his mouth;) . .I'll help ya think outta the box . .how bout a British Secret Service on loan to the FBI? . .doing consulting work? . .an expat? Would be interesting seeing ODB in some sort of Tom Clancy-ish project . . . lord, I'm rambling . .it's time to go to bed. . .

Channel 10 (Sydney) is showing 'The Making of Love Actually' on Thursday 25th at 3.30pm. Has this been shown elsewhere? Is it worth watching?

Enjoying all the speculations...It's nice to know even if it remains unnamed that there are projects out there with his name attached. And thanks for the BBC transcript Karen. Colin Firth's painful festive memories Last updated 22 December 2003 One celeb who perhaps isn't looking forward to Christmas as much as others is Colin Firth. The 'Love Actually' star admits he still has nightmares about the big day because of a bad childhood experience: "I remember electrocuting myself on the Christmas tree lights. I remember actually finding a socket and sticking my finger in it and lighting the Christmas tree up - literally." "I can remember the pain involved in that. I've always associated Christmas tree lights with pain as a result of that." "I also remember wondering why Santa Claus has such appalling teeth, and realising that this was my grandfather's attempt to disguise himself on his Santa visit." "He'd got some horrible false teeth from somewhere!" http://www.bbc.co.uk/radio1/news/entertainment/031222_colinfirth.shtml

From Film Stew.com - http://www.filmstew.com/Content/ReviewsViews/Details.asp?Pg=1&ContentID=7550 Monday, December 22, 2003 Girl with a Pearl Earring This somewhat superficial examination of the motivations behind Vermeer�s famous painting allows cinematographer Eduardo Serra to shine with his own palette of colors. By Todd Gilchrist Films about artists, much less their best known works, are often a tricky business. While some explain the creative process and suggest the verisimi-litude between the creator�s life and livelihood, others merely demystify the artist�s methods, or fail outright to explain much more than his or her penchant for outr� behavior. Johnannes Vermeer left behind a remarkable legacy with his body of work, but far be it from Girl With A Pearl Earring to reveal the shroud of mystery which surrounded it. The film, which stars Colin Firth and Scarlet Johannson as (respectively) the author and his subject, is about time, space, and texture, and sufficiently creates a fable around which the painting�s origins can be attached without so much as suggesting it is true. Johansson (Lost In Translation) plays Griet, a 17-year old who is sent to work in Vermeer�s home after her father, a once-famous painter himself, is blinded in an accident. Although treated coldly by her mistress Catharina (Essie Davis), Vermeer takes an odd shine to Griet and introduces her to the world of his art, from the appreciation of color to the creation of the materials themselves. When Vermeer�s patron, a lecherous glutton named van Ruijven (Tom Wilkinson) asks for another painting, Vermeer finds inspiration in Griet�s luminous, low-key beauty, and crafts one of his most famous works. For those (like myself) unfamiliar with Vermeer�s legacy, it must be understood that the relationships between the characters are of secondary importance to the film�s purpose. Rather, the imagery - that of Vermeer�s canvas and director Peter Webber�s lush framing - is the key to the film�s resonance, and if you prefer a well-told narrative to stories of beauty and lyricism, you likely won�t enjoy Pearl Earring. The characterizations are ripe with melodrama and woven with conflicts that, unlike many films remain succinctly observed throughout the course of the film (or explained by its end), exist only to sustain the artistry of the moving image. As usual, Johansson is fantastic, playing to her strengths as a young, uncertain woman whose febrile curiosity gets the best of her good judgment, while Firth balances the attractive elusiveness of Vermeer with a sincere desire to create meaningful work. Wilkinson�s versatility is demonstrated yet again as Vermeer�s slimy, self-glorifying patron, and Davis perfectly captures the petulant jealousy of a woman so enraptured by her husband�s passion that she fails to realize that it by and large is his only one (despite his ever-growing progeny). However, the star of the film is clearly Eduardo Serra, the cinematographer for Unbreakable and What Dreams May Come amongst others, who will almost certainly a second Oscar nomination with Girl With A Pearl Earring (his first was in 1998 for Iain Softley�s Wings Of the Dove). The images are clean and beautiful, full of texture that the story cannot supply, revealing the very essence of Ver-meer�s work. Serra�s artistry creates a palpable atmosphere for the film that few others can sustain and works in tandem with Webber�s storytelling to create a deliberate pacing that never bores. It burns into the viewer�s mind the images and the characters, setting the stage for a post-cinema conversation over coffee or, in some cases, a solitary meditation about further comprehension of the film�s images. Girl With A Pearl Earring certainly isn�t for everyone - impatient fans of action spectaculars will likely find little to enjoy here - but it remains one of the year�s most curious spectacles. It almost seems like a film from another time and place, when patience and atmosphere transcended the need for gear-shifting plot points or exaggerated characterizations. Think of it as a Blow-Up for today�s generation. At a swift ninety minutes, however, the film hardly taxes one�s patience, and makes for a captivating transference of an artist�s work from one medium to another. Far be it from me to suggest anyone will achieve a resoundingly greater understanding of Vermeer�s work from this film, which bears more likeness to the paintings he completed than the life he lived. But Webber�s vision ought be considered a success if he convinces but one viewer to see more than one color in those clouds that cast down upon him or her once they�ve finished watching it. Like Griet�s stunning facial features, Girl With A Pearl Earring possesses a beauty that may not easily be explained, but it�s well worth a closer look.

Sorry . .I know I posted this on Odds and Ends . .but before it just had the Tracy Chevalier talking about the book . .now they posted the actual report entitled: Art Imitating Art: 'Girl with a Pearl Earring' A New Film Is Born of a Novel Inspired by Vermeer's Painting http://www.npr.org/features/feature.php?wfId=1555495

(Kimberley)His "American" in A Thousand Acres wasn't all that bad 3 DOR was. His voice gets distorted. Channel 10 (Sydney) is showing 'The Making of Love Actually' on Thursday 25th at 3.30pm. Has this been shown elsewhere? Is it worth watching? *rolling eyes* I like the BBC interviews that give the videos.Thanks. He doesn't come off "all" that stuffy as in print.

(Kimberley)His "American" in A Thousand Acres wasn't all that bad (Evelyn)3 DOR was. His voice gets distorted. TA was an American midwest accent. .I forgot . . was 3DOR a Boston accent? . .or was it NY?

(Moon) Looks like Sean Penn is the federal agent. Maybe Colin can be the African leader? ;-) (A dream come true) ;-)))))) LOL! But an assassin *would* be one of my dream roles for him. Thanks for the wee tidbit, Hola. Have a great holiday!! :-D

I forgot . . was 3DOR a Boston accent? . .or was it NY? Trans-Atlantic.

From IndieWire: This was a grand year for docs, and as 2003 draws to a close, one more doc topped the specialty box office over the weekend. Errol Morris' "The Fog of War" opened with a strong showing, while the previous weekend's number one, "Girl with a Pearl Earring" remained robust in the second position. Lions Gate's "Girl with a Pearl Earring" added one more venue, taking in $71,051 for a sparkling $8,881 per-screen average at eight sites. Lions Gate president Tom Ortenberg last week told indieWIRE the film will continue to have a slow expansion through December and will open the top 20 markets early in the new year. So far, the film has cumed $205,640. Ed note: GWAPE is currently on only 8 screens (NY/LA)

(Indie wire)This was a grand year for docs,......while the previous weekend's number one, "Girl with a Pearl Earring" remained robust in the second position. Wot? GWAPE considered a "doc"???

(Evelyn) Wot? GWAPE considered a "doc"??? No, but IndieWire's box office chart includes both docs and feature films. I only excerpted from the weekly news item and a documentary is currently in No 1 position.

That BBC Talking Movies interview is on this week's show on BBC America. What the online tape doesn't show is Tom Brook's generous intro: "Colin Firth is not an A-list star." Wot is this guy's hang-up??? :-( And to think we were nice to him at the premiere, Ev. Next time, I tell him off.;-) Good opening shot of the fan base at the LA premiere, though. Repeats on Thursday.

(Moon) Maybe Colin can be the African leader? ;-) (A dream come true) ;-)))))) LMAO, Moon! Re: American accents. We're hearing some *really* bad ones this holiday season, Emma Thompson and Ewan McGregor being among the worst offenders. But the performances are good so nobody cares. He wouldn't do any worse than them. A good dialect coach could help him maintain the tibre of his natural voice. while the previous weekend's number one, "Girl with a Pearl Earring" remained robust in the second position. Robust is good! Thanks for the latest articles and reviews, ladies.

An excerpt from: http://www.christianitytoday.com/ct/2003/151/22.0.html Film Forum: Return of the Raves By Jeffrey Overstreet | posted 12/23/2003 Christianity Today Magazine Imagining the story behind Girl with the Pearl Earring The origins of a famous painting by Johannes Vermeer are at the center of novelist Tracey Chevalier's book Girl with a Pearl Earring. The painting, sometimes called "the Dutch Mona Lisa," gave Chevalier the idea to explore the life of the woman who might have been the subject of the work. She used what we know about Vermeer to invent a tantalizing plot about repressed passion, class prejudice, and the rare gift of artistic insight. Now, director Peter Webber has delivered a beautiful, soft-spoken work based on the novel, bringing this provocative fiction to life with the help of two talented actors: Colin Firth (Bridget Jones's Diary, Love Actually) and Scarlett Johansson (Lost in Translation.) Webber captures a vivid and convincing recreation of 17th century Holland, where young Griet goes to work as a maid for Vermeer's household. Griet sees to it that nothing in Vermeer's studio is disturbed as she cleans, so his painting will go untroubled. But her intuitions about light and composition lead to an inevitable influence on the master's work, and her humble service impresses him deeply. He spends his life surrounded by greedy and arrogant family members and patrons, and thus Griet's quiet spirit draws him powerfully. This is the second time this year that Scarlett Johansson has played a young lady with repressed longings, underappreciated and neglected, who is suddenly noticed by a depressed but observant older man. In both stories, their budding friendship toes the line of infidelity, and yet their ill-advised relationship draws the flaws in an already established marriage into the light. While this film is not as complex or as satisfying as Lost in Translation, it is worth seeing for lush, "painterly" cinematography, and for Johansson's performance. Webber captures the young actress's unique ability to suggest deep reservoirs of intelligence and emotion concealed behind dark eyes that seem to belong to a woman older and wiser than herself. In doing so, Webber finds the precise passion that indwells the painting, so when we finally see the finished work, we don't blink; it seems perfectly plausible that this is what someone would paint after looking at Johansson for hours. An actress has not communicated so much through so little since Juliette Binoche in Three Colors: Blue. Fortunately, they have found an actor who can bring the same amount of gravity to the screen to portray the painter. I never would have thought of Colin Firth to portray a contemplative, passionate painter, but he makes the intense, brooding figure intriguing without making him laughably morose. Strong supporting work is contributed by Tom Wilkinson as a lecherous but wealthy patron who keeps the Vermeer home afloat; Essie Davis as Catharina, Vermeer's statuesque wife, possessed of both a cold beauty and a volatile temper; and Judy Parfitt as Maria Thins, Catharina's mother, a formidable figure whose wicked arrogance is cracked by the fragility of her financial condition. Watching the film, I found myself easing into a reflective, contemplative state that movies rarely allow an audience to reach. While very little is said or done, there are important things happening in every minute of the film: curiosities developing, risks taken, covert endeavors, revelations. By inviting us to look closely for hints of emotion and suggestions of betrayal or sympathy, Webber quietly prepares us to approach Vermeer's visual art with sharper discernment. It never lectures us about the art, but it does inspire us to look more closely. I wish he could have taken this approach even farther. The film's most important theme, however, regards the liberating and inspiring experience of being seen. This poor, abused, overlooked girl never intentionally does a thing to draw Vermeer's attention; in fact, she avoids his gaze. But when his keen vision catches in her something of substance and of shared longing�not for erotic adventures, but for beauty and revelation�it is as if, to alter a line from e. e. cummings, "the eyes of her eyes are opened." Michael Elliott (Movie Parables) says, "The filmmakers have taken great care to honor Vermeer's genius and process. The cinematography in particular is superb and helps to give insight into Vermeer's world and vision. Scarlett Johansson is sublimely expressive in a nearly nonverbal role." Mainstream critics are again praising Johansson's talents, as well as the cinematography of this handsomely filmed story.

Caught the end of GWAPE with Scarlett, Colin and Peter at the Angelika last night: 10pm. He doesn't look as good as in those Mikimoto pictures. (Mari), A good dialect coach could help him maintain the tibre of his natural voice. That would be the point. I couldn't watch him in ATA, hated the accent and his voice change. (Dorine), But an assassin *would* be one of my dream roles for him. Wot? Colin kill an African leader? I refuse to believe it. ;-) I never would have thought of Colin Firth to portray a contemplative, passionate painter, but he makes the intense, brooding figure intriguing without making him laughably morose. I wonder how they do think of Colin? Sheesh, it looks like he must count his lucky stars that Ralph Fiennes passed. Thanks, Kimberley for all the articles.

(Mari)And to think we were nice to him at the premiere, Ev. Next time, I tell him off.;-) I even took his picture several times, I'm going to remove them from my album. Take that TB! Thanks for the articles, ladies, and Talking Movies heads up, Mari (Dorine)LOL! But an assassin *would* be one of my dream roles for him. Mine too, and he did say either on The Daily Show or CK thathe was dying to do a shoot 'em up type of role. Fingers crossed

(Mari)And to think we were nice to him at the premiere, Ev. Next time, I tell him off.;-) You can do it right here... http://bbcamerica.com/genre/movies_specials/talking_movies/tm_ask_question.jsp I plan to aft I see it on Thurs: ET 6:30, 7:30 8:30

Girl With a Pearl Earring By Michael Wilmington, Chicago Tribune 3 1/2 stars out of 4 "Girl with a Pearl Earring," a movie about Dutch painter Johannes Vermeer and the creation of one of his masterpieces, is a work of resplendent visual beauty, a film in which every frame pays tribute to Vermeer's genius and the power of art to transcend the world around us. But it's also a sad study of how society can entrap artists and lovers, an absorbing romantic drama full of acute psychological detail and social nuance. Director Peter Webber's picture, faithfully based on Tracy Chevalier's excellent 1998 novel, has the brilliant notion of showing Vermeer's world through the innocent eyes of one of his models, the fictitious Griet (Scarlett Johansson). "Girl" captures the look of Vermeer's city of Delft, Holland, 1665, through images meticulously patterned on his paintings. But it also convinces us that Griet and her employers are real -- and their world a living, breathing place of mud, bustle and sordid family tangles. The movie becomes another rapt portrait, and at its center, Johansson gives the second of two remarkable 2003 film performances. (The other is in "Lost in Translation.") As Griet, who barely says a word, Johansson creates both the portrait's image and a resilient but deeply sensitive girl, a social victim who becomes a sublime icon. Forced to become a maidservant to support her family, Griet is hired by Vermeer's imperious mother-in-law Maria Thins (Judy Parfitt), instructed by the veteran housekeeper Tanneke (Joanna Scanlan) and subject to the whims of Vermeer's neurotic and envious wife Catharina (Essie Davis). She is an outsider sucked into their intrigues and, more important, into the painter's vision. The movie constantly juxtaposes Vermeeresque images, bathed in magical light, and the mundane everyday routines they reveal. As Griet quietly goes about her chores, we sense her resentment, awe and wonder, and when the sad-eyed, slightly disheveled Vermeer (Colin Firth) spots her for the first time, something ignites between them. Is it love, sexual desire or simply the artist's recognition of a face suitable for framing? In any case, Vermeer, whose obsessive perfectionism keeps his family always on the financial edge, selects her as the model for a painting demanded by his main patron, the cynical voluptuary Van Ruijven. Van Ruijven (a stinging, nastily magnetic performance by Tom Wilkinson) has partly base motives, promoting Griet because he has sexual designs on her. But something more unspoken and tender flares up between Griet and Vermeer. The movie is more oblique than the novel, but Vermeer is forced to keep his jealous wife at bay -- especially when he decides to use one of Catharina's earrings, on Griet's ear, as the painting's center point. Griet, inevitably, is forced away from the mixture of hell and heaven into which she has fallen. Personally, I love the 17th-century Dutch masters -- Breughel, Bosch, Rembrandt and Vermeer -- and what I love most is their luminous detail and mastery of both realism and fantasy. "Girl," Webber's first feature, is luminous, too. In its immaculate design (by Peter Greenaway's constant collaborator, Ben van Os) and its radiant cinematography (by Eduardo Serra), it is truly a visual marvel. Almost all of the acting -- especially by Johansson, Wilkinson and Parfitt -- is superb as well: deeply imagined, crisp and lucid, with a touch of fire beneath. The single flaw, mostly a casting gaffe, is in Cillian Murphy's role as Griet's butcher-boy lover, Pieter. Murphy's fashion-model handsomeness contradicts the coarser character Chevalier drew, subverting the tale's precise romantic quadrangle. But the rest of it is wonderful. "Girl with a Pearl Earring" has a sad resolution -- sadder still if we know the fate of the real-life Vermeer, who died at 43 with a small body of work behind him (only 35 paintings extant today), or if we contemplate how Griet and her unknown counterpart vanish afterwards. "Girl" suggests that the greatest art is somehow both fragile and sturdy, sensitive and stubborn, and driven by a sensuality and desire perhaps never realized in the flesh. But in the end, as the camera contemplates the actual painting, art's glories seem worth life's pain. Griet, like Vermeer, sees more than others --and watching their movie, so do we.

Wonderful review, but Mikey seems to have missed someone... Almost all of the acting -- especially by Johansson, Wilkinson and Parfitt -- is superb as well: deeply imagined, crisp and lucid, with a touch of fire beneath. At least he wasn't singled out as a flaw. :-(

Colin being linked with the "cream of Hollywood celebrity?" If you have been too busy shopping to exchange any season's greetings, then how about a special message from the cream of Hollywood celebrity? At the Los Angeles premiere of fantasy epic 'Lord of the Rings: Return of the King', the actors, and director Peter Jackson, all had Christmas messages for their fans. Comic Billy Connolly and actors Sir Michael Caine and Colin Firth(he was there-ed?) wished everyone a Merry Christmas. http://www.itv.com/news/523184.html

Comic Billy Connolly and actors Sir Michael Caine and Colin Firth(he was there-ed?) wished everyone a Merry Christmas. Something he'd do with Will. Where are the pictures? Almost all of the acting -- especially by Johansson, Wilkinson and Parfitt -- is superb as well: deeply imagined, crisp and lucid, with a touch of fire beneath. I noticed that too. Has anyone written suberb acting by CF? A very Happy Christmas to all the firthettes.

(Moon Dreams)Has anyone written suberb acting by CF? GIRL WITH A PEARL EARRING is an utter joy to watch. Based on the acclaimed novel about painter Johannes Vermeer, every frame of the film seems to radiate with the distinctive lighting and glorious colors of the 17th century Dutch Master. The enchanting Scarlett Johansson gives an inspired performance as Vermeer's chambermaid and Colin Firth is superb as the enigmatic painter. This is an astonishingly beautiful film that intelligently explores the life and work of a transcendent artist. :-)) Also a LA article from the Dorchester press event,Hugh being ever more himself.. http://dailytelegraph.news.com.au/story.jsp?sectionid=1267&storyid=683121

..." explores the life and work of a transcendent artist." Hmmmmmm.... More like the life and work of the "transcendent" artist's maid. ...Sir Michael Caine and Colin Firth(he was there-ed?) wished everyone a Merry Christmas. Aw, it was probably Matthew Mondine;-)

I went in search of pictures and found this instead. This is my Christmas present to you. Go hear to hear Colin wish you a merry Christmas: http://www.itv.com/news/541120 Click on: 'Have a funky Christmas'

Here's the correct link: http://www.itv.com/news/541120.html

Excellent Moon! Thanks! He looks quite shy while saying it!

Colin's Christmas message appears to be from the LA GWAPE premiere and the clip is probably made up from many such events. The LOTR's LA prem was 12/3 and Colin was in London on 12/5 for that Women in Film to do. Have scanned and typed up the article Murph sent from American Cinematographer. Lovely pics and interesting text. Left out a few tech descriptions of filters, film stock, etc., here and there. Best thing is we now have visual proof of David Morrissey being in the film, and I liked how there was more of an emphasis on Vermeer and the character of Vermeer than on Griet. Here it is: http://www.firth.com/gwape_notes.html#lighting Thanks Mary!

(Eduardo Serra)"People shouldn?t leave the theater saying ?Every frame is a painting,?... Ooops, thatsa' me!! Peter Weber's lucky day is when he enlisted ES. That film wouldn't be as mesmerizing without him. What an artist.Thanks Murph and K. The photos are extraordinary. I recognized that forest scene from Wings of the Dove...as well as the canal scenes in Venice. I was one of the 10 people;-)who saw that jewel of a film on the big screen.

Best thing is we now have visual proof of David Morrissey being in the film, Where? You mean the guy on the right? http://www.firth.com/images/gwape/bts004ac.jpg

Yeah, that's him, on the right. The photo captions kind of ignore him too (LOL!) They just say: "The dutiful Griet tries to ignore another interested party in the Vermeer home." Most of the other pics will mention the actor's name. When he hit that cutting room floor, he hit it hard. ;-)

Did anyone, by any chance, tape this morning's BBC America's Talking Movies interview with a-# Tom B.introduction? If so pl. email me. I'll trade with Sundance tonight.

Interesting take on GWAPE, especially in regards to Colin, from Karina Montgomery of CINERINA http://www.rottentomatoes.com/click/movie-1128236/reviews.php?critic=columns&sortby=default&page=5&rid=1232574 If you have not read Tracy Chevalier's novel... you will probably come out of Girl with a Pearl Earring thinking, "wow, sexual attraction does good things to artists..." This does a disservice to the film for its audience. ...the core issue of the desperation of the main character, Griet (Scarlett Johansson) seems to be missing. In addition, the powerful presence (even in his absence) of the artist himself in his household and in the thrumming panic of Griet's difficult existence in a papist home leaves out whole chunks of vital character.... To be fair, you don't cast Vermeer with someone as hot as Colin Firth (with long, fierce hair, oh my word!) and have him skulking about in another room, making Griet tremble with fear, heavens no. No doubt the psychological layers of the book are too difficult to portray when keeping our stars apart, but to reduce their relationship to a crush or to physical attraction is just plain old demeaning to the story... Tom Wilkinson (In the Bedroom) and Cillian Murphy (28 Days Later) and Judy Parfitt (Ever After) circle around Johansson, each with their own brand of torment, but she is most affected by Vermeer. The film touches on how they actually do connect but it is difficult to fully understand the constraints and religious differences of the period with so little assistance from the screenplay. Poor Scarlett is turning into the older-man-asexual-object-of-longing poster child of 2003 (see Lost in Translation); but she is establishing herself as more than just a bee-stung lipped ninnyhammer with aplomb. It's worth seeing for the scenes with her and Firth, but please read the book before you pass judgement on Ms. Chevalier. Though a negative review, it's kinda nice that it criticizes Colin for being TOO sexy .

Karen - re American Cinematographer -- Glad I could be of help. You did a great job on the article. I particularly love the winter scene -and the candlelight dinner. Most interesting.

Here's Ebert's print review: GIRL WITH A PEARL EARRING / **** December 26, 2003 BY ROGER EBERT Sun-Times Film Critic 'Girl With a Pearl Earring" is a quiet movie, shaken from time to time by ripples of emotional turbulence far beneath the surface. It is about things not said, opportunities not taken, potentials not realized, lips unkissed. All of these elements are guessed at by the filmmakers as they regard a painting made in about 1665 by Johannes Vermeer. The painting shows a young woman regarding us over her left shoulder. She wears a simple blue headband and a modest smock. Her red lips are slightly parted. Is she smiling? She seems to be glancing back at the moment she was leaving the room. She wears a pearl earring. Not much is known about Vermeer, who left about 35 paintings. Nothing is known about his model. You can hear that it was his daughter, a neighbor, a tradeswoman. You will not hear that she was his lover, because Vermeer's household was under the iron rule of his mother-in-law, who was vigilant as a hawk. The painting has become as intriguing in its modest way as the Mona Lisa. The girl's face turned toward us from centuries ago demands that we ask, who was she? What was the thinking? What was the artist thinking about her? Tracy Chevalier's novel speculating about the painting has now been filmed by Peter Webber, who casts Scarlett Johansson as the girl and Colin Firth as Vermeer. I can think of many ways the film could have gone wrong, but it goes right, because it doesn't cook up melodrama and romantic intrigue but tells a story that's content with its simplicity. The painting is contemplative, reflective, subdued, and the film must be, too: We don't want lurid revelations breaking into its mood. Sometimes two people will regard each other over a gulf too wide to ever be bridged, and know immediately what could have happened, and that it never will. That is essentially the message of "Girl with a Pearl Earring." The girl's name is Griet, according to this story. She lives nearby. She is sent by her blind father to work in Vermeer's house, where several small children are about to be joined by a new arrival. The household is run like a factory with the mother-in-law, Maria Thins (Judy Parfitt) as foreman. She has set her daughter to work producing babies while her son-in-law produces paintings. Both have an output of about one a year, which is good if you are a mother, but not if you are a painter. Nobody ever says what they think in this house, except for Maria, whose thoughts are all too obvious, anyway. Catharina (Essie Davis), Vermeer's wife, sometimes seems to be standing where she hopes nobody will see her. It becomes clear that Griet is intelligent in a natural way, but has no idea what to do with her ideas. Of course she attracts Vermeer's attention; she's a hard worker and responds instinctively to the manual labor of painting -- to the craft, the technique, the strategy, even the chemistry (did you know that the color named Indian yellow is distilled from the urine of cows fed on mango leaves?). In one flawless sequence, Griet is alone in Vermeer's studio and looks at the canvas he is working on, looks at what he is painting, looks back, looks forth, and then moves a chair away from a window. When he returns and sees what she has done, he studies the composition carefully and removes the chair from his painting. Eventually he has her move up to the attic, closer to his studio, where she can mix his paints, which she does very well. And then of course they start sleeping together? Not in this movie. Vermeer has a rich patron named Van Ruijven (Tom Wilkinson). If Vermeer is too shy to reveal feelings for his maid, Van Ruijven is not. He wants a painting of the girl. This of course would be unacceptable to Catharina Vermeer, whose best-developed quality is her insecurity -- but it is not unacceptable to her mother, who must keep a rich patron happy. Thus Griet becomes a model. There is a young man in the town, Pieter (Cillian Murphy), a butcher's apprentice, who is attracted to Griet. He would make her a good husband, in this world where status and opportunity are assigned by caste. Griet likes him. It's not that she likes Vermeer more; indeed, she's so intimidated she barely speaks to the artist. It's that -- well, Griet could never be a butcher, but she could be a painter. Mankind has Shakespeares who were illiterate, Mozarts who never heard a note, painters who never touched a brush. Griet could be a painter. Whether a good or bad one, she will never know. Vermeer senses it. The moments of greatest intimacy between the simple peasant girl and the famous artist come when they sit side by side in wordless communication, mixing paints, both doing the same job, both understanding it. Do not believe those who think this movie is about the "mystery" of the model, or Vermeer's sources of inspiration, or medieval gender roles, or whether the mother-in-law was the man in the family. A movie about those things would have been a bad movie. "Girl With a Pearl Earring" is about how they share a professional understanding that neither one has in any way with anyone else alive. I look at the painting and I realize that Griet is telling Vermeer, without using any words, "Well, if it were my painting, I'd have her stand like this."

Pretty bad one from Metro, a Silicon Valley paper: Pretty as a Picture: Scarlett Johansson models (and more) for Dutch artist Vermeer in 'Girl With a Pearl Earring.' Veils of Decorum 'Girl With a Pearl Earring' brings Vermeer's famous painting to life By Richard von Busack SINCE IT'S BOTH swank and snoozy, Girl With a Pearl Earring can't be saved even by its genuine beauty. Scarlett Johansson of Lost in Translation stars as Griet, the model for the famed Johannes Vermeer painting from which this film has taken its title. In Holland, in the city of Delft, in the mid-1600s, Griet becomes a servant in the crowded, spying household of the master artist. Vermeer (Colin Firth) is bedeviled, caught between his pregnant and jealous wife on the one hand and the whims of his art patron, a coarse burgher named Van Ruijven (Tom Wilkinson), on the other. Griet is not blind to art. Her father was an artisan who made Delft's famous tiles before he was disabled in an accident. Vermeer understands the young girl's covert interest in him. He teaches her how to mix pigments and returns her unspoken fascination by ordering her (imperiously) to model for him. Johansson carries herself well as a simple girl, but was ever a girl that simple? Girl With a Pearl Earring bears a strange eroticism: the key moment of indiscretion has Griet unwinding her head cloth and revealing her hair to a man. This is followed by the suggestive scene of her flinching as she has her ear pierced for the first time. (The movie would fit right in with the short-lived modesty craze of a few years ago.) When was the last time we had a European film that placed all the errogenous zones above the neck? As such, Girl With a Pearl Earring provides one explanation for the gaze in the well-known painting: the veils of decorum have parted, and an instant of longing is shining through. The film is well appointed but juiceless; even the carnage of a butcher shop seems quaintly arranged, as in the paintings of the time. Because the Dutch Republic was an era when money talked almost as loudly as it does today, it would have been fun if Wilkinson had seasoned the role of the boorish patron with a little more insinuation. If his dark money and wicked ways seemed spicy against the rigorous morals of the day, the film could have shown a little more tension in the most basic kind of romance. In the part of the genius, Firth seems wise enough, but unfortunately his long floppy hair makes him resemble Steve Zahn at his most miffed. The actor is a lighter romantic lead than some directors suspect. With its stilted dialogue, written in the familiar international style of Merchant/Ivory ("You're not the first to forget your manners in front of one of his paintings"), the cast of Englishmen and Americans in the lead roles deracinates the picture worse than the English and Australian stars in Cold Mountain. Insisting that we look at a painting as staged by actors in a tableau vivant is the opposite of the pleasure we experience in a museum gallery--of wandering, until one particular picture seizes us. This film, as well as Jon Jost's All the Vermeers in New York, suggests that the early death and subsequent obscurity of Vermeer may be more enticing than what's in the frame. Is this fascination with Vermeer like the old-time worship of Da Vinci's Mona Lisa, rendered dead in all but the corniest movies, such as Mona Lisa Smile?

Kudos to Roger Ebert for an intelligent review(I like that last phrase ,"Well, if it were my painting,I'd have her stand like this"-puts it on an entirely different level), and Bah! Humbug! to Richard von Bus*ck! Thanks, Karen-always on the job.....

Thanks for the reviews Karen. Oh the ups and downs...;-))

Anyone see Firth on ET earlier this evening?

I didn't see ET, Terry--was he interviewed? Wow, 4 stars from Roger Ebert--great! Pretty bad one from Metro, a Silicon Valley paper Never heard of it. Probably a freebie, and a weekly one at that. Not all reviews are created equal, folks.;-) Here's one from a real newspaper. Sexual tension meets timeless art 'Girl With a Pearl Earring' explores Vermeer's family dynamics Ruthe Stein, San Francisco Chronicle Staff Writer Friday, December 26, 2003 A shrewish wife suspects her husband of hanky-panky with the housekeeper. The discovery of a portrait he surreptitiously painted of the girl provides damning evidence. "It's obscene,'' the wife shrieks, going ballistic as she notes the coup de grace -- her own prized earring dangling from the subject's ear. More than four centuries later, "The Girl With a Pearl Earring,'' a masterpiece from the brush of Johannes Vermeer, would hardly strike anyone as obscene. But look again at the sensuous parting of the model's moist lips and her come-hither gaze, and you may sympathize with Mrs. Vermeer. The Vermeer family dynamics are a conceit of Tracy Chevalier's best- selling novel, which has been made into the provocative "Girl With a Pearl Earring'' (the introductory "the'' in the painting's title evidently deemed too much of a mouthful for movie audiences). Like the book, the film focuses on the fictional teenage maid, Griet. Scarlett Johansson plays her with a palpable feeling for what it's like to be on the brink of sexual awakening -- "ripe as a plum,'' in the words of Vermeer's lecherous art dealer. Johansson (who's having quite a year with this film and "Lost in Translation") shows a notable lack of vanity, going through "Girl'' with no apparent makeup and her hair covered by a scarf. She bears a startling resemblance to the painting's anonymous sitter. Vermeer doesn't appear until a third of the way through, bursting into his noisy household in Delft (his wife was perennially pregnant, which may have accounted for her foul moods) and anxiously searching for a modicum of quiet. Since the artist left no searing self-portraits, Colin Firth in a pageboy has an easier time convincing us he's Vermeer than Kirk Douglas did when he took on van Gogh. Painstakingly slathering paint on canvas, Firth displays the intensity of a great artist. Vermeer's legion of enthusiastic fans may wish there had been more conjecture about his miraculous ability to turn simple household scenes into timeless art. The movie offers tantalizing glimpses of the leaded glass windows, rich mosaic fabrics and cobbled streets immortalized in his work. But the only painterly moments come with the creation of "The Girl With a Pearl Earring'' -- an anomaly for Vermeer because it features a single face against a sea of black instead of the detailed settings for which he's famous. Director Peter Webber is at his best in the scene of Griet posing. It's tightly woven (displaying Webber's roots as a film editor), as the camera moves back and forth from Vermeer assessing his model to her trying to comprehend his expectations. Nothing overtly sexual happens, but incendiary looks pass between them. To fit her with the pearl earrings, Vermeer must first pierce her ears with a hot needle. Griet passionately cries out, as if her virginity had been taken. He instructs her to wet her lips, smoothing them over with his fingers. When Vermeer finishes with her, Griet runs to her young boyfriend, portrayed with gusto by rising hunk Cillian Murphy. The implication is that the sitting has aroused her, and she expects him to do something about it. And he does. He fulfills her as a woman, but it's Vermeer who makes her immortal.

(Mari) Not all reviews are created equal, folks.;-) True, true. When I looked for the Chronicle's review, all I found was a one paragraph synopsis. They must have put it up later. Thanks, though I'm not sure Ruthe knows what a 'pageboy' is or remembers too many of the particulars of the film. ;-)

Anyone see Anatomy of a Scene on Sundance?

I watched it. They focused mostly on the banquet scene. Lots of VanR. Vermeer says maybe 3 words. I can tell I'm going to really really like this movie.;-) They talked a bit about trying to approximate a "candlelight only" look. Recreating the lead glass. Photographing the servant scenes in blues and vivid colors, and then softening everything to ambers for the family scenes. Last month's episode on The Cooler was better, IMO.

(Mari) Vermeer says maybe 3 words. I can tell I'm going to really really like this movie.;-) Well, he doesn't really say much in that scene anyway. Those three words are about it. The scene focuses on Mama trying to get son-in-law another commission. From the third Chicago paper (albeit a freebie, this guy is major and serious); it only got a capsule review but by the main guy: Capsule by Jonathan Rosenbaum From the Chicago Reader A greeting card disguised as a historical drama about Jan Vermeer and his 17th-century Dutch milieu. Scarlett Johansson plays Grete, a 16-year-old domestic in the household of the dashing young painter (Colin Firth), who sublimates his feelings for her into his painting. The maid is lit like a Vermeer portrait even when she isn't posing or mixing his paints, which reduces his art to photo-realism and undercuts the reverence accorded to him as a sacred visionary. The period detail is more vibrant than the minimal story (adapted by Olivia Hetreed from Tracy Chevalier's novel), which includes Grete's romance with a butcher's assistant. Tom Wilkinson plays Vermeer's patron as a lascivious ogre. Peter Webber, a first-timer, directed. 99 min. (JR)

Anyone see Anatomy of a Scene on Sundance? Me... (Mari)Lots of VanR. Vermeer says maybe 3 words. To Griet: "Make it" Everyone is interviewed except YKW. Agaree with Mari that it enhances the film viewing. The most interesting part is that the Editing director said GWAPE was 3 hrs and 20 minutes on the first run. Ya'think part of the ending was left on the cutting room floor;-) Will show again tomorrow and Wednesday. I'll do more taping and send it around. If any DD want to be on the Sundance Tape Train email me.

A "how it was made" type article, with some old/new info, by Tracy Chevalier in the Observer today: http://books.guardian.co.uk/departments/generalfiction/story/0,6000,1113053,00.html Mother of Pearl On the eve of its cinema release, Tracy Chevalier describes how she felt as she saw her bestselling novel Girl with a Pearl Earring being transferred to the screen 'I hear a film has been made of your book! Have you seen it? Did you like it? Did you have anything to do with making it? Did you meet Colin Firth? What are you wearing to the premiere? Do you get to go to the Oscars if it's nominated? Will your other books be made into films?' Over the past few months I've been bombarded with such questions about the upcoming film adaptation of my novel Girl with a Pearl Earring. Not just from family and friends, but from readers and journalists as well, all of them giddy with the kind of excitement I never hear over the publication of a book. No one has ever asked me what I'm going to wear to a book launch. The film world has a glamour that book publishing can never compete with - a bigger budget, flashier ads ('There's a huge billboard of your film on Sunset Boulevard!' an LA friend emailed), and glitzier awards ceremonies. Despite this, the bright stage lights of a film don't necessarily cancel out the small, steady candle flame of a book. Indeed, that flame may last longer. These days a film has to do well in the first weekend's takings or it gets pulled from cinemas, whereas a book has a few months to earn its shelf space in a bookshop, as well as a second chance on paperback publication. I didn't write Girl expecting it to be made into a film. Nor did I expect it to sell two million copies around the world. Of course I secretly hoped both things would happen - who doesn't dream of success? Sometimes during low points in the writing, I kept myself going by imagining the perfect cast (a younger Alan Rickman as the painter Vermeer, and some unknown actress, plucked fresh from drama school, as his servant and muse, Griet). I was aware too that the book is very visual, as well as having a straightforward story line, and so might translate easily into a film. I researched and wrote the book in just eight months (I was pregnant and had a biological deadline). The film had a rather longer gestation. I sat in the London office of Archer Street Films, drinking cappuccino and chatting to producers Andy Paterson and Anand Tucker about selling the film option in the summer of 1999, just before the book was published. In August 2003 I first saw the finished film. Four years from first meeting to first screening is a long time in book publishing terms. I've published two novels since Archer Street bought the rights to Girl. When I first talked with Andy and Anand, I didn't have great expectations. I was delighted they were interested in making the book into a film, but I had also heard the statistic that only 5 per cent of books optioned for films ever get made. I suspected Girl would sit on a shelf gathering dust in some film executive's office. On the other hand, Andy and Anand were persuasive and appeared to have integrity. They seemed to 'get' the novel, understanding that the key to the story was its restraint. One of the first things I said to them was that I did not want the main characters to sleep together. Hollywood would want to sex up the film, and I thought a small British production company would be more likely to remain faithful to the book in that respect, as well as to ensure the film had a European feel to it. When they promised to try to replicate the 'emotional truth' of the book, I believed them. I was aware that I might be hoodwinked, but at least they were talking a language I would never hear in Hollywood. Does Hollywood know the meaning of restraint? When we began negotiations, Archer Street Films asked if I wanted any involvement in writing the screenplay. I answered blithely that I wouldn't mind taking a crack at the first draft. At that point my agent Jonny Geller dragged me away from the negotiating table. 'Unless you want to become a screenwriter, don't do it!' he said. 'You're a novelist, that's what you do best. Go and write books and leave film-making to the film-makers.' It was the best advice he ever gave me. I signed off on any involvement in the film - much to the relief of Archer Street Films, I suspect. Who wants an interfering author breathing down your neck? As a result I probably had the best relationship possible with both producer Andy Paterson and screenwriter Olivia Hetreed. It also gave me an excuse in case the film turned out to be terrible - I could truthfully say that I had nothing to do with it. Keeping the film at an arm's length meant that I didn't have to follow every twist and turn of its tortuous progress to the screen. Andy kept me informed, but usually a few months late so that by the time I found out the bad news, some good news had already come along to replace it. Bad news like: financiers pulling out, actresses 'falling out of love with the script', half-built sets being pulled down, directors likening Vermeer to an Essex man, and Hollywood starlets wanting new endings. Instead Andy emphasised the positive: Olivia's marvellous script, actors who don't normally audition for parts queueing up to do so, Hollywood sniffing around hungrily but not allowed in. One day he told me they'd found their Griet at last. Scarlett Johansson was only 17 and not yet a household name, but experienced enough to handle the difficult role. And she resembled the painting. Then Colin Firth came on board, and it all quickly came together. Though it had seemed like a long haul, suddenly I was on a plane to visit the set in Luxembourg. Luxembourg? That was one of many surprises about film-making. I'd thought of Delft, the Dutch town where the book is set, as very filmworthy. It still retains its seventeenth cen tury layout, with cobbled streets, canals and bridges, gables and a market square with an eight-pointed star in the centre. If you ignore all the cars, bicycles and signs, it looks like a perfect set for a film. But no. There was a pre-built set in Luxembourg which had been used for a film set in Venice, and with a change of window shape and brick replacing Venetian stone it looked quite Dutch. (If you look closely in the film you'll see some brick-filled windows with strangely Venetian Gothic arches at the top.) I found this choice hard to fathom until I spent a few days on the set and saw just how many factors are involved in getting the look of the film right. Director Peter Webber and cinematographer Eduardo Serra needed absolute control of the space and light they worked with - something they could never achieve by shutting down a busy Delft street for an hour or two. I had never been on a film set before. It was a surreal experience. All of the private ideas I'd had about the settings of my book were suddenly, brutally public, with cast and crew crawling all over them, measuring and moving, pulling and prodding. I kept wondering if eventually they would pull so hard the story and characters would fall apart and I'd be caught out as a fraud. It was strange too to see that my scribbling had spawned a whole industry of Vermeer boffins - there were reproductions of Vermeers and other Dutch paintings tacked up everywhere in the production offices, and books strewn about that I myself had read for research. I confess it was rather gratifying to have Colin Firth elbow someone out of the way in the set canteen so that he could sit next to me at lunch and grill me about Vermeer. Someone else also turned to me in the canteen and said, 'Do you realise that your idea is paying all these people's wages for two months?' Yes, surreal it was. When I first walked onto the set of Vermeer's house I immediately thought, 'No, no, this is far too big - they would never have had this kind of space.' However, once I saw just how much equipment and people were needed to film each shot, I understood what the space was for. You hardly see the dimensions of the rooms on the screen. Moreover, all of the opulent details - the paintings hanging everywhere, the dishes, the furniture, the food - blend into the background. When watching the film we focus on Scarlett Johansson's face, not the authentic blue-and-white delftware stacked on the table that some assistant worked so hard to locate. Production designer Ben van Os had designed a spectacular room full of pornography for the house of Vermeer's patron van Ruijven, played by Tom Wilkinson; yet it doesn't even get a look-in on screen, but ended up on the cutting-room floor. That was another surprise: how many changes were made in the editing. Much more was filmed than got used, and this is where readers of the book may most feel the differences between film and book. Whole subplots and characters were shed, and with them some of the subtleties of characterisation and ambiguities in relationships. What it gains, however, is a focused, driven plot and a sumptuous visual feast. The changes have not bothered me. For one thing, the grammar of a film is very different from a book. By and large, films have simple story lines and are linear and active. Books - even simple, spare ones like Girl - shuttle back and forth in time, repeat themselves, go in and out of their characters' heads, and leave gaps for the reader to fill in. No wonder the storytelling has to be different. I think many films are actually less successful if they do follow a book faithfully - witness the stodginess of the Harry Potter films versus Rowling's sprightlier books. Besides, I'm used to other people transposing what I write. After all, that is what a writer does. I wrote Girl with a Pearl Earring for readers to interpret and make their own. When I published it I also let it go. I can't control what readers think, or how they picture scenes and characters; nor do I want to. It's not so different to have film-makers do that to books. And they too have to let their vision go and let us viewers make it our own. It would be sad if films subsumed books - and often they do. In this case, however, I think the film and book reach the same emotional truth, as Andy and Anand promised, but along slightly different paths. They are like sisters rather than the same person, and complement each other rather than fight. I now have two Griets in my head - Scarlett Johansson's luminous Griet and my own, original Griet, small and quiet - but with a steady presence no less diminished for having gained a sister.

(Karen's Tracy Chevalier in the Observer) I now have two Griets in my head - Scarlett Johansson's luminous Griet and my own, original Griet, small and quiet - but with a steady presence no less diminished for having gained a sister. Lovely. Thanks Karen. That was an enjoyable read.

I think I have them all up now, the transcripts from Regis and Kilborn's shows: http://www.firth.com/int/03regisdec8.html http://www.firth.com/int/03kilborndec10.html

(Karen's Tracy Chevalier in the Observer) I now have two Griets in my head - Scarlett Johansson's luminous Griet and my own, original Griet, small and quiet - but with a steady presence no less diminished for having gained a sister. (Beedee) Lovely. Thanks Karen. Indeed. Thanks Karen. Now I'm truly praying with a purpose regarding noms. My local art movie theatre "hopes to get it" around the end of January.

This weekend GWAPE Lions Grossed $175,000 Playing in 25 theatres Average $7,000 [v.v. good] $444,000 Total Gross Wish they'd hurry up and add more theatres.There's a lot of garbage out there now. Love Actually Uni. Grossed$911,000 Playing in 408 theatres $2,232 Average/theatre $55,983,000 Total gross LA is out of my neck of the woods. So much for a Christmas movie.... Hel-lo, this is Christmas week.

Thanks Karen, Mari and Katty for those articles! And thanks for the transcripts too Karen . .! Ordering penne at an Italian restuarant will never be the same again;) Hope everyone had a wonderful Christmas;)

An earring & an enigma VERMEER'S SUBJECT ILLUMINATES SCREEN IN A TALE OF HISTORICAL SPECULATION By Bruce Newman Mercury News Posted on Sat, Dec. 27, 2003 For most of the film ``Girl With a Pearl Earring,'' Griet -- the young housemaid played by Scarlett Johansson -- keeps her hair concealed in a swaddling scarf, a headpiece of such elaborate design that you begin to wonder if she might be bald. When Griet, at last, removes the cover and we catch the first glimpse of her hair, the effect is almost the same as if she had taken off all her clothes. ``Cinematically, repression is seriously interesting,'' says Peter Webber, the film's director. Based on Tracy Chevalier's bestselling historical speculation about Vermeer's iconic portrait, ``Girl With a Pearl Earring'' -- which opened in the Bay Area on Friday -- re-creates the Dutch master's 17th-century household so deftly that even the sight of an uncovered head feels revealing. ``The sexual repression she's operating under within that household disappears,'' Webber says, ``and you realize she's not this little girl anymore.'' Though no one knows who the girl in the painting really was, in Chevalier's story Griet has been employed to clean up after Vermeer's quarrelsome wife, Catharina (Essie Davis), and their 11 children. It soon becomes apparent to the artist (played by Colin Firth) that the only person under his own roof who understands him is this young maid, who is forced by her station to remain virtually mute. The painting has been called ``the Mona Lisa of the North'' because its enigmatic quality is reminiscent of Leonardo da Vinci's masterpiece. ``You look at that girl's face and you see a whole mixture of things going on,'' Webber says. ``You see innocence, you see sexuality, happiness and sadness -- it seems to ask as many questions as it answers.'' Vermeer's reaction to the sight of Griet with her head exposed is emblematic of the film's dramatic turning points: He tilts his head meaningfully. ``You're looking to create these little moments of reality,'' Webber says. ``I know the film is very beautiful to look at. If you hire someone as talented as Eduardo Serra'' -- the cinematographer responsible for the film's painterly look -- ``and you have the visual resource of the art of that period, it's going to be beautiful. The trickier thing is making sure there's some life within that beauty, because beauty can be a trap.'' Chevalier's novel was a kind of reverse engineering of the painting. The film not only extends that speculation but also adds the physical texture of shadow and light, the interplay of youth and experience, the polarities of sexual obsession and repression. ``Those polarities are the beating heart of the film really,'' Webber says. ``He's extremely isolated within that household, so the tenderness he experiences from her is very important. It's good, strong, grown-up stuff. ``I think it's a great advantage that we know a bunch of details about Vermeer's life, but not so many that they constrain you. People may think a film about an artist is going to be boring, but this is a story about money, sex and power. It's not one of those turgid biopics.'' To re-create the atmosphere of a Delft household in the mid-1600s, Webber took a minimalist approach to dialogue, often allowing entire scenes to play out without a word spoken. ``I'm sure some people might equate silent with boring,'' he says. ``I thought it was very important to strip the dialogue away. But to do that, you need Colin Firth and you need Scarlett Johansson.'' The role of Griet was originally to have been played by Kate Hudson, Ralph Fiennes was set to play Vermeer, and Mike Newell (``Mona Lisa Smile'') had agreed to direct the picture. But when Hudson backed out, the opportunity to direct fell to Webber, who had done only documentaries before ``Girl With a Pearl Earring.'' He immediately set about auditioning teenage actresses. ``You knew Scarlett was special the moment you met her,'' he says. ``She was a force of nature. Not that all the other actresses we looked at weren't talented, but Scarlett did something that other people couldn't do. She didn't just do ethereal.'' Johansson, who was then 17, had to fly from Tokyo to Europe and start work three days after finishing ``Lost in Translation,'' another movie in which she has a platonic relationship with an older man, played by Bill Murray. (She's been nominated for Golden Globes as best actress in both films.) A year earlier, she appeared in ``The Man Who Wasn't There,'' as a young girl involved with an older man (Billy Bob Thornton this time). ``Scarlett has a quality about her that's much older and wiser,'' Webber says. ``There's a complexity about her, an emotional depth, a combination of innocence and experience and a budding sexuality.'' Also, as it turns out, a great head of hair. GIRL WITH A PEARL EARRING Now playing throughout the Bay Area .Rated: PG-13 (some sexual content) Cast: Scarlett Johansson, Colin Firth, Essie Davis Director: Peter Webber Writer: Olivia Hetreed (based on Tracy Chevalier's book) Running time: 1 hour, 35 minutes http://www.bayarea.com/mld/mercurynews/entertainment/columnists/bruce_newman/7579977.htm

Thank you all for the articles, pictures and reviews. I'm amazed at the amount of informations, this group of droolers are able to dig up :-) A small contribution, which I hope haven't been posted before: http://www.splicedwire.com/03reviews/girlpearl.html (part of the review: One such moment comes as the Dutch master, played with alluring, untamed gravitas by the solemnly magnetic Colin Firth

A few more google-results. I know, these aren't reviews from "important" sources, but thought it interesting to read anyway. Colin Firth plays a smoldering Vermeer. Though it�s colored by Firth�s usual display of repression, it�s one of his better performances through sheer virtue of its uniqueness in his oeuvre. http://www.filmcritic.com/misc/emporium.nsf/0/d1eef39d2aceec7288256dec0065ea0a?OpenDocument -- Recent film outings have not been too kind for Colin Firth, too often lazily cast as the romantic interest in some below-par rom com (<> or What A Girl Wants anyone?). However he excels here as the brooding painter, ill-at-ease at the world he finds himself in. The scenes between the two are particularly well played, and surrounded by a supporting cast that hits its mark every time. http://www.tiscali.co.uk/entertainment/film/reviews/girl_with_a_pearl_earring.html -- Firth is broodingly virile, amply suggesting why Griet might be in a state of arousal over more than his painting talent, which plays into the ignitable intrigues permeating the residence. His portrayal also captures a degree of sympathy for the man of art threatened by the parlor politics of three generations of women. http://www.variagate.com/pearring.htm?CNr -- It�s odd, though, that the film�s greatest strength � the focus on Griet and Johansson�s appealing performance � ends up taking away from what you�d expect to be its highlight � shedding light on Vermeer, his motivations and inspiration. Compared to Griet, Vermeer seems a secondary character, and we never get as strong a sense of what he�s about as the filmmakers obviously had intended. (ed note: didn�t the filmmakers intend to focus on Griet more than Vermeer??) http://www.apolloguide.com/mov_fullrev.asp?CID=5018&Specific=5847 -- Colin Firth does a surprising turn as a conflicted artist who is unable to let loose with his usual, assertively romantic style. http://www.allmovieportal.com/m/2003_Girl_with_a_Pearl_Earring.html -- Fortunately, they have found an actor who can bring the same amount of gravity to the screen to portray the painter. I never would have thought of Colin Firth to portray a contemplative, passionate painter, but he finds in Johannes Vermeer material for what may indeed be his best performance. He is able to make the intense, brooding figure intriguing without making him laughably morose. His hair and costume do seem a bit too precious, but I was surprised at how much chemisty and tension Weber was able to develop between the nearly silent scenes between Vermeer and Griet, the maid who mystefies him. http://promontoryartists.org/lookingcloser/movie%20reviews/A-G/girlwithapearlearring.htm

Thanks for all of the reviews Annette. . . Not Colin . .but another article on Scarlett . . .nice little blurb on her working on GWAPE For Johansson, becoming 'it' is a non-stop journey - http://seattlepi.nwsource.com/movies/154160_johansson29.html She poured herself into the role, finding herself becoming emotionally spent after shooting some of the scenes. She says, "It became more apparent to me the more that we filmed how completely in love I was falling with Colin as the Vermeer character. And it became more and more apparent to me that the Vermeer character was this sort of untouchable, mysterious man -- this genius -- and my character was completely longing and obsessive and in love with this man and it was actually physically heartbreaking."

If any of the Metro Gals will be in the area of Huntington and are looking for something to do on New Year's Eve: Champagne and Celluloid The Cinema Arts Centre in Huntington will be mixing dancing, dining and movie watching. The film fare includes "In America," a tale of an Irish immigrant family in New York, "Girl With a Pearl Earring," about the painter Vermeer and a young maid, and the French animated film, "The Triplets of Belleville." The celebration, which begins at 7:45 p.m., costs $90 a person for Cinema members and $115 for non-members. (Address: 423 Park Ave, Huntington; 631-423-7611.)

For any Droolers in the area . .win tix to see GWAPE on January 15 ClickOnDetroit.com, Local 4 and Lions Gate Films are giving you and a guest the chance to see a special preview of the new movie "Girl With A Pearl Earring.". Enter to win two tickets to the preview set for Thursday, Jan. 15 at 7 p.m. at Landmark's Maple Art, 4135 Maple Road, Birmingham. http://www.clickondetroit.com/contests/2726579/detail.html

Thanks for finding the lovely comments about Colin's acting in GWAPE, Annette, though I find it more interesting how surprised the reviewers are. :-( it�s one of his better performances through sheer virtue of its uniqueness in his oeuvre. Colin Firth does a surprising turn... I never would have thought of Colin Firth to portray a contemplative, passionate painter... ********* Compared to Griet, Vermeer seems a secondary character, and we never get as strong a sense of what he�s about as the filmmakers obviously had intended. (ed note: didn�t the filmmakers intend to focus on Griet more than Vermeer??) That, Annette, is why these reviewers (I won't call them critics) are merely on the internet. ;-)

Thank you for the all the reviews, photos and photo captions ladies, I laughed myself silly reading those. It's nice to see that GWAPE is getting a good reception, it certainly deserves it. I just hope it'll get a wide enough release that we don't have to travel a hundred miles to see it. I searched for info about when it would get released here in Canada, but didn't find anything. I'm a bit worried that it's a bad sign, but we'll have to see. Karen, thanks for the Colin New Year greeting on the main page. Lovely! :-)

I just hope it'll get a wide enough release Here in the UK, there was a long ad on Christmas Day on Channel 4. Very impressive. They must have a good budget! Christmas Day is the most expensive for advertising time :-)

Don't think this was posted yet . .was given 4 out of 5 stars by this reviewer . . http://www.themediadrome.com/content/reviews/girl_with_a_pearl_earing.shtml Girl with a Pearl Earring by Scott Mantz Inspiration can come in a variety of forms � a song you heard, a movie you saw, a poem you read or a person you met. In director Peter Webber�s first feature Girl With a Pearl Earring, inspiration comes in the unlikely form of a meek housemaid in Holland, circa 1665. Adapted from the best-selling 1999 novel by Tracy Chevalier, the film starts out slow, but like the painting it is based on, it eventually takes shape to become an intense and thoroughly engrossing work of art. In order to support her family, seventeen-year-old Griet (Scarlett Johansson) is forced to take a job as a maid for the acclaimed artist, Johannes Vermeer (Colin Firth). They are worlds apart in just about every way (especially their age), but Vermeer soon finds himself attracted to Griet�s natural beauty and slowly begins to draw her into his craft. Since Griet obviously inspires Vermeer, his superficial mother-in-law (Judy Parfitt) allows their relationship to develop even further, much to the chagrin of Vermeer�s jealous, controlling wife (Essie Davis). How long can Griet survive before she gets in over her head with this chaotic family, and more importantly, how long will it take for Vermeer to finish what will eventually become known as one of the greatest paintings of all time? Other than the painstakingly slow pace at which Vermeer created his 35 paintings, not much is known about him. That gives the book � and ultimately, the film � free reign to take a fictional idea and run with it to make it more than just an art history lesson. While the movie�s setting and subject matter may announce its intentions early on as a high-brow period piece, a curious love triangle soon develops with elements of dramatic tension found in most contemporary thrillers � including jealously, pettiness, spiritual connection and understanding. Since the passion between Vermeer and Griet is more visual than talked about, the acting is incredibly strong and doesn�t overstate the obvious. To that extent, you couldn�t have asked for a better Griet than Scarlett Johansson. Naturally beautiful and wise far beyond her years, Johansson adds yet another strong, seductive � yet somehow innocent � performance to her resume. She also has incredible chemistry with Colin Firth, who plays Vermeer with so much conflicted, self-absorbed torture, it�s hard to tell if he really cares for Griet or if he simply sees her as a muse for his own professional gratification. Comparisons are bound to be made between Girl With a Pearl Earring and Lost in Translation, and for good reason. Both films feature young women (both, ironically, played by Scarlett Johansson) who fall for older, past-their-prime artists (Bill Murray in Translation and, of course, Colin Firth in Earring). In addition, both films rely on mood, atmosphere and connection, and more importantly, both films avoid the predictable trappings that are common in most cinematic May-December romances. Girl With a Pearl Earring may take creative liberties when it comes to the genesis of the famous painting, but it�s certainly an engaging film that makes the unassuming girl at the center of its story a �pearl of great price.� That�s a reference to the biblical story of the merchant, �who, when he had found one pearl of great price, went and sold all that he had, and bought it.� Whether the events depicted in the film are true or not (and let�s face it, they�re obviously not), it hardly matters. The passion that inspires Vermeer is a small price to pay for what ends up being a priceless cinematic experience. Also from:http://www.viewlondon.co.uk/review_1868.html Girl With A Pearl Earring Reviewed by - Matthew Turner NATIONAL RELEASE 16th JANUARY 2004 Four out of Five stars Running time: 103 mins Beautifully photographed and featuring a superb performance by Scarlett Johansson, this is a rewarding drama that is shot through with a palpable erotic intensity. Girl With A Pearl Earring is a period drama based on the best-selling novel by Tracy Chevalier. Primarily a British production, it�s directed by Peter Webber, making his feature debut. As such, it�s an extremely enjoyable drama: sumptuous, erotic and beautifully photographed, with superb performances from its cast. 17th Century Holland The film is set in 17th century Holland in the city of Delft and the story takes an imaginary look at the events surrounding the creation of Vermeer�s most famous painting. Scarlett Johansson (Ghost World, The Man Who Wasn�t There) stars as Griet, a 17 year old girl who becomes a maid in the house of Dutch artist Johannes Vermeer (Colin Firth). Though separated by both class and education, Vermeer recognises her intuitive understanding of colour and light and gradually allows her to assist with his painting. Their tender, clandestine relationship, though never overtly sexual, nonetheless comes at great risk, particularly from Vermeer�s jealous, spiteful daughter Cornelia (Alakina Mann). However, Vermeer�s shrewd mother-in-law Maria (Judy Parfitt) realises that Griet inspires Vermeer and she takes the dangerous decision to hide the details from his neurotic wife Catharina (Essie Davis). Meanwhile, Griet finds herself in danger of an entirely different sort from Vermeer�s wealthy, lusty patron, Van Ruijven (Tom Wilkinson), an extremely perilous position to be in, given that Vermeer depends on Van Ruijven�s patronage� Impeccable Period Detail The period detail of the film is impeccable and the dull, grimy atmosphere is heightened considerably by Eduardo Serra�s superlative photography, which constantly draws attention to light and shade. There�s also an effective score by the gloriously named Alexandre Desplat. Johansson is perfectly cast in the lead role and gives a wonderful performance � her resemblance to the girl in the painting is astonishing. Since she doesn�t have much dialogue, a large part of her performance is conveyed through her face and eyes and at times she�s positively hypnotic to watch. The other performances are good too, particularly Firth (putting his trademarked �dark, brooding� performance to splendid use) and Wilkinson, who seems to be having altogether too much fun as Van Ruijven. There�s also good support from Cillian Murphy as the butcher�s apprentice who falls in love with Griet. The film is full of memorable scenes � Cornelia�s eventual punishment is a thoroughly satisfying highlight. The crowning sequence of the film, however, concerns the preparation for the painting itself: Vermeer piercing Griet�s ears and repeatedly asking her to wet her lips are intensely erotic, unforgettable scenes. In short, Girl With A Pearl Earring is a well-written, well-directed, extremely rewarding drama with an astonishing central performance from Johansson � don�t be surprised if she picks up an Oscar nomination come February. Highly recommended.

Greetings, ladies. This seems like an appropriate place for me to jump into the pool with all of you. I've been a avid fan for years but have only recent ly come upon your website. It has been a source of great enjoyment and information. Thanks to Karen, I'm up and running on the site although I freely admit to being intimidated by the wealth of knowledge and resources you all bring to the topic of our shared Colin obsession. I'm one of the lucky ones in that I was able to catch GWAPE last week at a local art cinema. (Yes, the one he and SJ visited in November for a preview of the film in Westchester County, NY. I'm still nuts at having found out via your site that he had been a mere 15 minutes from my home and I'd been in the dark about it.) Anyway, the film was absolutely beautiful and I think it is sure to become a signature role for him. I must say that although I loved his performances in BJD and LA I am very happy to see him back in a classic dramatic film portraying the quiet, intense romantic lead we all know he does so well. I had feared for a time that he risked being relegated to light comedic fare similar to Hugh Grant's recent career path. My concern was heightend further after this fall's debut of WAGW with Amanda Bynes. But GWAPE puts the breadth and scope of his talents back on full display for the wider audience that is destined to see and appreciate the film. Hopefully, that assures us addicts of many oses of Colin yet to come in the great diversity of roles we know he can play. Karen, thanks for your help with the site and all scoop you pass our way. Today's New Year's picture is great - perhaps you can pass along some hints at how one goes about digging this stuff up? By the way, can anyone fill me in on the abbreviation, 'LOL'? It's the only one I can't quite figure out...

Good to see you've taken the plunge into the Spring's bubbling waters, Leslie. Join the gang on Topic 146: http://www.spring.net/yapp-bin/restricted/read/drool/146/new where they'll give you a proper welcoming reception. And LOL means "laughing out loud." (Ildi) I just hope it'll get a wide enough release that we don't have to travel a hundred miles to see it. I searched for info about when it would get released here in Canada Aren't you near enough to Toronto? 'cause that's where it will play. Don't expect this movie to have anything remotely considered a "wide" release. It is art house, pure and simple. If Evelyn's OKC art museum hadn't had a special screening, she would've had to fly to Dallas for this one. ;-)

Love New Year Colin Karen!

Psst . . Leslie . . . Hi to a fellow Metro Gal and Westchester-ite;) Glad to hear of another Colin fan in close proximity!

Whoops Karen . .did you mean Topic 174? . .for Leslie to introduce her self? http://www.spring.net/yapp-bin/restricted/read/drool/174/new

Thanks, Kimberly. Are there many of us Metro Gals and Westchester-ites out there? Also, will properly introduce my self on Topic 174...

Dorine and Risa (ie Little Bee) are the other Metro Gals that I've physically met so far . .they are down in NYC . .(Queens and Brooklyn I believe to be exact) . .no other Westchester-ites that I know of;) . .Just you and me . . Unless there are more lurkers that I haven't met yet . .and I'm still relatively new too . .so I'm still trying to get all the names and locations of everyone straight;)

Fabio's Got a Real Pretty Mouth, Too By ANTHONY RAMIREZ The New York Times SCARLETT JOHANSSON, the art house It Girl of the moment, may or may not know the source of her cinematic appeal. But she and her directors do know that her ANGELINA JOLIE-class lips should be spotlighted big time on screen. In "Girl With a Pearl Earring" Ms. Johansson's impossibly plump kisser is almost a character by itself. It mesmerizes COLIN FIRTH as Vermeer in a fictional retelling based on TRACY CHEVALIER's novel. Ms. Johansson plays a maid in Vermeer's house in the 1660's who becomes the subject of his iconic art. On a press junket at the Regency Hotel, Ms. Johansson's mouth was painted a berry red. Like Vermeer's enigmatic girl, Ms. Johansson also loves earrings. She has two in her left ear, one in her right ear, and one in her belly button, reported The Times of London recently. And being a fashionable Manhattan teenager (she just turned 19), Ms. Johansson did not want to stop there. She planned to put a pair of earrings through her left eyebrow and, for symmetry's sake, somewhere else on her physiognomy. Her mother, sensing a career-killing trend, shrieked, "Not the mouth, Scarlett, anything but the mouth." Ms. Johansson desisted, she told The Times of London. Unpierced adventure still beckons, however. "I certainly don't want to be an old person looking back at things," Ms. Johansson said. "Why didn't I do all the things I wanted to do when I was younger and vibrant and had no responsibilities to anybody or family?" Such as, our reporter nudged. Ms. Johansson pursed her ringless lips, thought a while, and said, "Why didn't I travel around and meet people and work in Canada? That sort of thing." We see. Next interrogation! Her tall co-star, Mr. Firth, ambled his way into the press room, glanced at his watch and nearly collided with pint-size Ms. Johansson's quart-size bouche. Mr. Firth was bemused. Ms. Johansson smiled a hey-big-guy smile. "Stop checking your watch, you grumpy old man," Ms. Johansson teased. Was there much mockery on the film set, Mr. Firth was asked. Very much so, he said, clearing his throat. "A lot of it was directed at my wig," Mr. Firth said, referring to the long locks that give him a brooding 17th-century look for the film. On the set, Mr. Firth said, Ms. Johansson kept calling him FABIO. "And what I thought was my sizzling look was met with a smirk, and `I can't believe it's not butter.' " http://www.nytimes.com/2003/12/30/nyregion/30BOLD.html

Guess if any Drooler is in the area and would like to meet Tracy Chevalier: 'Pearl Earring' author coming to Naperville -http://www.dailyherald.com/news_story.asp?intid=3798534

From The Mirror: FILMS: THE BEST AND WORST OF 2003 KEVIN O'SULLIVAN looks back at a vintage 12 months which had a fair share of turkeys Lord Of The Rings blah blah. Love Actually blah. Peter Jackson, God Of Hollywood, blah blah. Richard Curtis, Hugh Grant, feelgood film for Christmas, blah. British triumph, blah, blah, bloody blah. Right. That's got rid of the boring positive stuff. Never mind the genuinely fabulous films which made 2003 a vintage year for movies, here's the rubbish! Hope Springs, The Hot Chick, Biker Boyz, Double Whammy, What A Girl Wants, Bad Boys 2, Party Monster, In The Cut and Spun. All of these pathetic cinematic dung heaps plumbed incredible depths, but the worst film of the year was the mighty Gigli. [...] Before he raised his game a little with his turn in the overrated Love Actually, Colin Firth was having a stinker of a time. Hope Springs was a dire dirge of a non-comedy which inflicted serious damage not only on Col's career but also on that of his hapless co-star Minnie Driver. Just a couple of months later, Firth was at again in What A Girl Wants, a slice of solid garbage about an American airhead who comes to London looking for her long lost British father. Unfortunately, she finds him. [Best stuff...] ...Richard Curtis's festive offering Luvvie Actually featured all of his thespian chums but was wildly overrated. [...] Kill Bill: Volume One. This dazzling kung fu masterpiece placed director extraordinaire Quentin Tarantino at the very top of the pile. With the able assistance of stunning Uma Thurman, Mr Q demonstrated he knows more about movie style than Peter Jackson and Richard Curtis ever will. So there. http://www.mirror.co.uk/theticket/tickethidden/content_objectid=13758650_method=full_siteid=50143_headline=-FILMS%2D%2DTHE%2DBEST%2DAND%2DWORST%2DOF%2D2003-name_page.html

(Karen) Aren't you near enough to Toronto? 'cause that's where it will play. Yes, I'm near enough, only 25kms west of it. And if GWAPE'll play there I'm going to be a happy person. But so far I haven't found any info on when and where it would open in Canada. So I'm waiting in suspense. Thanks for the articles, Kimberly, Josie!

(Mirror)Before he raised his game a little with his turn in the overrated Love Actually, Colin Firth was having a stinker of a time. Hope Springs was a dire dirge of a non-comedy which inflicted serious damage not only on Col's career but also on that of his hapless co-star Minnie Driver. Just a couple of months later, Firth was at again in What A Girl Wants, a slice of solid garbage about an American airhead who comes to London looking for her long lost British father. Unfortunately, she finds him. Youch! . .Dorine warned me that HS was pretty bad . .though, much like a car wreck on the side of the road . .I am compelled to see it, just b/c ODB is in it . . .(now that is true fan dedication) OK . . I like WAGW (I'll even admit to owning a copy of it). .it's not his best . .its a silly sugary piece of fluff, but you know what, it makes me laugh, like RV makes me laugh and I love that one as well . . . one can't be serious and smouldering all the time . . . (Mirror)but the worst film of the year was the mighty Gigli. OK. . . this car wreck I have NO interest in seeing . .funny . .I was watching "The Biggest Celebrity Ooops of 2003" . .and the Ben-ifer flick made number one as well . . .

(Kimberly)I am compelled to see it, just b/c ODB is in it . . .(now that is true fan dedication) I do this all the time. Try SLOW...Methinks HS was better... (Mirror)but the worst film of the year was the mighty Gigli. Wrong!! The critics had it in for those two. I saw Gigli. Kangaroo Jack was.

Guess if any Drooler is in the area and would like to meet Tracy Chevalier: Chavalier doesn't ring my chimes but...if ODB was doing the signing I'd hop a plane this afternoon. Hope Springs was a dire dirge of a non-comedy Sorry HS looks to be a stinker based on the opinion of a number or reviewers. The trailer seems quite appealing given all the compromising situations ODB looks to find himself in. Still anxiously awaiting the video release...even bad Colin is better than no Colin. On WAGW... Yes, I agree is was senseless fluff, but I still watch it over and over and over... And Josie, thanks for the piece from today's NYTimes. I looked at the actual ariticle to get a feel for when the press junket occured but it was very vague. I thought he'd left the NY area for the holidays but perhaps he's still around?? Anyone privy to his current whereabouts?

Try SLOW...Methinks HS was better... I agree! Absolutely, actually.

While we're digressing into some of his stinkers... I just got a hold of a copy of WOF w/Peter O'Toole. Would one of you far more astute members of our community please explain what that movie was about? Am I stupid or was it totally bizarre?

I saw WOF a few times before I realised that they were all dead, but then the 'Bobby Ewing' thing happened and so its all a little bizarre for me too. ??

There's a wealth of information on many of the old movies in the film discussions archives -- WOF looks like it is on Topic 98 beginning about Resp 1825. I love the discussions...this has always been a talented group and the discussions have always been "indepth"!

Try SLOW...Methinks HS was better... Hey, try Camille...;-)) I know, I know.. He was young.

(Leslie) even bad Colin is better than no Colin. You obviously must not have gotten to Londinium yet. ;-) (Evelyn) Try SLOW...Methinks HS was better... (Allison) I agree! Absolutely, actually. I have to beg to differ. ;-) While both are technically poor, I've been able to watch SLOW #'s of times and HS, 1/2 a time. Still haven't finished it. Though will say, a good DVD copy may help a bit. I put it just above L'dum at the bottom of the list. But really it's all personal preference with the bad ones. What appeals to one won't to someone else. I did like WAGW for what it was. Not a wonderfully done movie, but I thought it was cute and he was the best thing in it, bias aside. ;-) (Leslie) And Josie, thanks for the piece from today's NYTimes. I looked at the actual ariticle to get a feel for when the press junket occured but it was very vague. I thought he'd left the NY area for the holidays but perhaps he's still around?? Anyone privy to his current whereabouts? Doubtful to say the least. They do those junkets/individual interviews/reviews sometimes weeks and months before they publish them, if the movie isn't coming out directly when the interviews are done.

OK . .so it's not about GWAPE . .but LA . .but it was in this month's issue of Premiere . .so I thought I'd post it . . From Premiere Magazine � December 2003/January 2004 issue On the Set by Mark Salisbury In the Name of Love The writer of Four Weddings and a Funeral and Notting Hill directs a galaxy of stars in the tender comedy Love Actually This afternoon�s topic of conversation on the Love Actually set is who should play the Clintonesque (read: lecherous) U.S. President in a handful of scenes involving Hugh Grant�s British Prime Minister. Various suggestions �including Tom Selleck, David Hasselhoff, and Tony Curtis � are being bandied about by producer Duncan Kentworthy (Notting Hill), script editor Emma Freud, and actor Colin Firth. �Too ancient?� says Firth of Curtis. �Too camp?� What about Bill Clinton? He can�t have much to do.� The part will eventually go to Billy Bob Thorton. In the meantime, this game of fantasy casting is a rather good way of taking everyone�s mind off the fact that it�s sweltering inside Shepperton Studios, England, the result of unusually warm weather in the fall of 2002 and the number of lights required to illuminate this particular set, which is built to look like the arrivals area at London�s Heathrow Airport. But bad as it is for those of us standing around watching, it�s far worse for the actors, who today include, Firth, Liam Neeson, Emma Thompson, Alan Rickman, Keira Knightly (Pirates of the Carribean), Chiwetel Ejiofor (Dirty Pretty Things), and Claudia Schiffer, plus 250 extras, all of who are buried underneath layers of thick sweaters, heavy overcoats, woolen scarves and hats. In fact, today�s most in-demand on-set accessory if a handheld mini-fan. �The power of cashmere,� says a harried looking Firth, who�s wearing a thick turtleneck and a thin sheen of perspiration. The only person who doesn�t seem to be affected by the conditions is Richard Curtis, the writer of Four Weddings and a Funeral, Notting Hill, and Bridget Jones� Diary, here making his debut as a writer-director. Arguably the leading component of contemporary cinematic romance, Curtis has detailed with affection, poignancy and wit6 the optimistic pursuit and eventiual attainment of love. �I think at a fundamental level he�s an incurable romantic,� says Neeson, who plays a widower having to deal not only with his grief but with his stepson�s infatuation with the coolest girl in school. �He loves romance and he likes turning it slightly askew.� Sitting behind a video monitor and nibbling on nuts and fruit, Curtis, who seems to be able to name every girl he�s ever been in love with (at age seven it was Tracy N. Thompson: �Her initials were TNT, and she blew my life apart.�), scarcely breaks a sweat as he orchestrates the comings and goings of his stellar cast. As the day progresses, owever, a pained expression crosses his still boyish features. �It�s a stressful job, � he will later reflect, �but on the other hand I did feel ready for it.� Inspired by Robert Altman�s Nashville and Short Cuts, as well as Wayne Wang�s Smoke (three films that make it into the Curtis Top Ten), Love Actually is set in the weeks leading up to Christmas and laces together nine stories, some self-contained, some loosely connected, dealing with love in its many forms. It was while on holiday in Bali with his longtime partner Emma Freud (the great-grandaughter of Sigmund) and their children that Curtis began formulating lots of different stories, inspired in part by the messages of love sent by the victims of 9/11, a reference to which is made in Grant�s opening voice-over of the film. �When people made phone calls on September 11, they were all love messages, � says Firth, who plays a novelist who heads to France after catching �his girlfriend shagging his brother, � only to fall in love with a Portuguese maid who can�t speak English. �We haven�t got any record of anybody who left a message of resentment or of practical advice, �The gold is in the dot dot dot,� or �I never could stand you.� It seems everybody loved somebody.� But Curtis, 47, didn�t simply want to do another film about a couple falling in love. �Getting older and more familified, I�m interested in love of different shapes and size,� he says. �I�ve been a married man, as it were, for ten years, so I was looking for a change. I thought, �If I know who to do the love thing, why not try and do a really different version of it?� I had made these very structured romantic comedies with a guy of a certain age trying to find the perfect girl to marry, which is just one aspect of what love is all about. Having taken a shiny approach to it in the past, this one�s got more of the darker side of it.� Which is why, alongside the more typical comic stories of romance �such as Grant�s newly elected bachelor Prime Minister falling for a member of his household staff (British soap star Martine McCutcheon) upon entering 10 Downing Street �there�s the sour side of love too, like the mother of two and sister of Grant�s PM (Thompson) facing up to the fact that her husband (Rickman) might be having an affair, or of a woman (Laura Linney) whose brother is in a mental institution. �One of the other jolly reasons for doing it was just greed,� Curtis says, �I thought, �Let�s have seven good beginnings, seven good middles, and seven good endings, and cut the rest of it out.� I find it quite bizarre now how we managed to string the other films out to such a length.� As a screenwriter, Curtis has been afforded the kind of respect most writers only fantasize about. From his first script, 1989�s The Tall Guy, he has helped pick his directors, been involved in casting and rehearsal, and been present on the set and even in the cutting room. He and Kenworthy were so omnipresent during Notting Hill, in fact, it irked director Roger Mitchell. �I didn�t really want to hear their views on what I was doing, so we had to separate our monitors [on the set],� Mitchell says. Once Curtis started directing Love Actually, Mitchell adds, �he very graciously called me and said, �I must have fucking driven you round the bend; I couldn�t bear anybody making any suggestions to me, even Emma.� For his part, Curtis says the decision to direct was an easy one: �I had become so involved in the editing of my films, I started to think it was a bit unfair on the directors that they had to sit there with me expressing my opinion. It was the responsible thing for me, and the fairest thing, that I should direct this one.� A few weeks later Curtis is filming a scene between Thompson and Rickman in an art gallery showcasing large male and female nude photos adorned with a Yuletide theme (body parts adorned with tinsel and red bows), much to the dismay of the gallery�s owner (Andrew Lincoln, another British TV star), whose own story revolves around his unrequited love for his best friend�s wife (Knightley). �He�s very good at writing funny lines, but he�s not adverse to being dark,� says Thompson, who first film was The Tall Guy and whose role here was written for her. �My bit�s rather sad, and I like that about it a lot.� �I said to Emma the other day, �We�ve got the Chekhovian bit,�� says Rickman, who starred opposite Thompson in Sense & Sensibility and directed her in The Winter Guest. �I enjoy the fact it has the most melancholy and the most regret, but just as much love. It�s about how easily you can lose it, if you don�t look after it.� Part of Curtis� skill is his ability to take familiar life events�weddings or funerals, let�s say, which both figure here too � and use them as the basis for a very distinctive brand of romantic comedy, peopled with witty, somewhat hapless characters living in a decidedly nondreary middle-class England (though he himself was born in New Zealand). �You�d be quite wrong to search for direct links,� he says when asked for autobiographical detail, �but a lot of the things I�m writing about, either I or the people I know have had experience of. In fact the most autobiographical may well be the little boy [Neeson�s character�s stepson], because I was a very passionate little boy in terms of falling in love with girls.� �A lot of it�s to do with embarrassment, eagerness to please, that kind of perpetually apologetic side of things,� Firth says. �There�s a self-mockery that�s very, very strong in English culture, the ability of the English person to be an idiot, and then be quite intelligent about it, in terms of mocking oneself.� �The thing with Richard is he�s a really funny writer, and that�s a very rare gift,� Grant says. �If you combine that with another person � he thinks the glass is half full as opposed to half empty, which is kind of unfashionable �I think that�s a powerful thing behind his work and what makes him special.� It�s Grant, of course, who has become synonymous with Curtis� brand of humor. �He�s the Jimmy Stewart of Richard,� says Neeson. �They obviously have a great, unique connection. I don�t know what their personal relationship�s like, but artistically they�ve been kind of a mouthpiece for each other.� This synchronicity has its pitfalls as well as its benefits. �I think I knew I was going to ask Hugh to play the prime minister, even though he wasn�t a really helpful thought,� says Curtis. �After that I wrote [the part] away from him and he tried to perform it away from him a little bit.� �Hugh�s a bit nervous about [this] because he sees it as a return to a character that, in some ways, he feels he�s done already,� says producer Kenworthy. �I think he�s rather enjoying the way he�s perceived now, in Bridget Jones and About a Boy, as having moved on from our first two films. But he has a responsibility as Richard�s mouthpiece on Earth, and he knows that.� Grant laughs when he hears this. �I�m not Richard�s mouthpiece,� he says. �It�s not a responsibility, but. . .partly it�s friendship and loyalty, and it�s also that really good, funny scripts are incredibly rare. When they come along my policy has been to do them, even if it doesn�t fulfill other criteria, like being a desperately new part for oneself.� It�s July 2003 and Curtis is hurrying to ready Love Actually for it�s premiere (as a work in progress) at the Toronto film festival, ahead of it�s November 7 release. Although test audiences have responded enthusiastically thus far, some viewers, he says, found the number of story lines and characters hard to follow, meaning Curtis had to insert a number of short introductory scenes as well as amend the pacing. �I think movies are written four times,� he says. �When you write them, when they�re directed, when they�re edited, and now I believe there is a fourth phase, which is to fight for the essence of the movie you shot. Because so often there�s good, sentimental reasons for hanging onto material, but if you want to deliver the emotional punch you�ve got to be even more harder on yourself, be willing to do quite startling things to make it work. It�s been a big lesson.� He smiles and then says, in the self-effacing way of may of his characters, �I wished I was Robert Altman sometimes, and ha known from the beginning how it�s done.�

(Evelyn)Try SLOW...Methinks HS was better... Hey . .I gotta say I did like SLOW . . for what it was, a very Lifetime channel type of film (which is where a friend of mine had taped it off of for me) . .Still will have to wait to make the comparison after I see HS Leslie - May have to borrow WOF from you, just b/c you've got my curiosity piqued Dorine - OK will agree, Londoninium is probably down on the bottom of my list as well . .ATA is too maybe above that . . . Bee - Camille . .hmm another friend has just taped that for me too . .will wait to see before placing it on my list of faves . .but yes . .he was young . . and one's acting style does mature over time . . .I mean look at the difference between his performaces in AZ as opposed to GWAPE.

(Kimberly) I mean look at the difference between his performaces in AZ as opposed to GWAPE. True, but, to me, to compare these 2 would be like comparing apples and oranges as far as character's personality goes and the type of acting they required. AZ is top of the list for me, but I certainly won't negate what he did in GWAPE. Both are very good, AZ is just the ultimate for me....and came much earlier. Just depends on his projects. Quite a few of his earlier pieces are *much* better than most of what he's done in the most recent past, IMO. And Camille....I have to admit, I keep forgetting he ever did this. Sorry, Evelyn. ;-)

Holiday Numbers Are Solid for New Indie and Specialty Films by Eugene Hernandez/indieWIRE (for the weekend ending December 29, 2003) Lions Gate remains busy with its awards hopefuls "Girl With a Pearl Earring" and "The Cooler." "Girl" made $188,756 for an average of $7,260 and a new total of just under $500,000, while "The Cooler" made $308,756 for an average of just over $4,000 and a new total of almost $1.2 million. http://www.indiewire.com/biz/biz_031230boxoffice.html

Have checked the number before posting, but Firthology was created to discuss the old movies (though not formal discussions) and is especially for those kind of questions by our newbies: http://www.spring.net/yapp-bin/restricted/read/drool/181/new (Dorine) I put it just above L'dum at the bottom of the list. Hey, stop appropriating my list!

From Martin Grove of The Hollywood Reporter weighing in on his favorite movies of the year, with both LA and GWAPE.... (4) Another romantic comedy that I thoroughly enjoyed was Universal, Studio Canal and Working Title's "Love Actually." Written and directed by Richard Curtis, it was produced by Duncan Kenworthy, Tim Bevan and Eric Fellner. Its ensemble cast shines across the board, including Alan Rickman, Bill Nighy, Colin Firth, Emma Thompson, Hugh Grant, Laura Linney, Liam Neeson, Martine McCutcheon, Keira Knightley and Rowan Atkinson. If "Something" is a quintessentially American romantic comedy, "Love" is a quintessentially British romantic comedy. It's nice to be able to include them both on my list of the year's top films. If, as I do, you love London and, in particular, love the way it looks and feels at Christmastime, this is a movie you'll want to see more than once. "Love" marks Curtis' directorial debut, after having written three memorable romantic comedies -- "Four Weddings and a Funeral," "Notting Hill" and "Bridget Jones's Diary." In "Love," as he did in "Four Weddings," Curtis weaves together numerous individual stories and then in the end manages to tie them up neatly into something that we didn't anticipate. And it's particularly pleasing that getting there is so much fun. In my Oct. 15 column, Bevan, who with Fellner is co-chairman of Working Title, spoke about Curtis' background as a writer. "Since 1987, when I first met him basically on 'The Tall Guy,' he's always been a writer who's been all over his work," he pointed out. "He's kind of had a 'producer' role, particularly on the films where he's been a single-credit writer. So he's been involved in a very intimate way in all of those films through working with us on choosing who should direct them and who should be in them, being on the set all the time and then particularly on all of the movies he's been very, very involved in the cutting room. "And there's always been a kind of dream (of his) and it's become more of an acute dream as time's passed that he should direct. He got to a point on 'Love Actually' where it was inevitable, basically, that that should happen. Right from the beginning on 'The Tall Guy,' I think it was a dream of his that one day he would manage to do it and it's fantastic that the collaboration stayed in place and that we've all worked on all of these films together and that it's developed to this point .Not only has it been the backburner of Working Title, but it's sort of become the backburner of British cinema, as well, in the last 15 years." and.... [8] In any case, Lions Gate's drama "Girl With a Pearl Earring" earned a spot on today's list as soon as I saw it. It is the kind of film that really defines the concept of what an independent drama is all about. What makes it all the more impressive is that it's the work of a first time feature director. "Girl," co-financed by Lions Gate and Pathe Pictures with U.K. Film Council, marks the feature directorial debut of Peter Webber. Starring are Colin Firth, Scarlett Johansson, Tom Wilkinson, Judy Parfitt, Cillian Murphy and Essie Davis. Produced by Andy Paterson and Anand Tucker, its screenplay by Olivia Hetreed is based on the best-selling novel by Tracy Chevalier. It was executive produced by Francois Ivernel, Cameron McCraken, Duncan Reid, Tom Ortenberg, Peter Block, Daria Jovicic, Philip Erdoes and Nick Drake. Focusing here on "Girl," Lions Gate's Ortenberg explained, "(It's) such a special film and has been such a rewarding, wonderful experience. I'm just hoping that it gets all of the recognition both in theaters and during the awards season process that it deserves. We're focusing the campaign on so many different areas (such as) Scarlett Johannson's lead role as Griet, the girl with the pearl earring. Scarlett's obviously becoming a movie star before our eyes. But every scene in 'Girl With a Pearl Earring' is a work of art. "Lions Gate has had a fair amount of success in the awards process over the last several years. 'Girl With a Pearl Earring' probably affords us the best chance at numerous awards and nominations as any film we've ever been associated with. Eduardo Serra's cinematography (for example). Eduardo was nominated in 1997 for 'Wings of the Dove.' The score, the costume design, many performances, the art direction (are all categories that could generate nominations). Being a beautiful period piece really gives the film a chance to highlight its specialness in a number of areas -- the costumes, the set decorations, the score, the cinematography." http://www.hollywoodreporter.com/thr/columns/grove.jsp

I just found this slightly old tidbit about GWAPE from this very interesting and quite comprehensive film site called Hollywood Bitchslap. This is a great place to gauge what the general public thinks of a movie. This particular item was in a report from the Toronto Film Festival: http://hollywoodbitchslap.com/feature.php?feature=883 THE MOVIES THAT MATTERED: Toronto 2003. 10 days. 339 movies. No problem. OK, maybe I missed a few. Here are the ones that stuck when I threw them against the wall ... Girl With a Pearl Earring Peter Webber's debut drama about the Dutch Master painter Vermeer and the maiden who inspired his most famous work. Impeccably shot and superbly acted, this tight little drama never hits a false note or gets "historically" boring. Colin Firth remains the best all around UK actor (if unheralded) and Scarlett Johansson continues to amaze with her confident stillness.

Dorine, Katy thanks for the articles! (Dorine)Both are very good, AZ is just the ultimate for me....and came much earlier. Just depends on his projects. Quite a few of his earlier pieces are *much* better than most of what he's done in the most recent past, IMO. True, true . .FP I think will always be one of my top faves . .but it is all relative to a person's likes and dislikes. . . (My friend was rather shocked that that was the film I brought to the Today show to get signed . .I'm believe she really only know of him from BJD and his films he has done afterward. ."Couldn't you have brought something better?" she asked me . . .:) (Hollywood bitchslap)Colin Firth remains the best all around UK actor (if unheralded) Oh how true . .I have a feeling, Colin . .something big is just around the corner for you . . . Hola Lola's sitting on something good . .I'm sure of it;)

BarbS and Karen-- Thanks for the directions to the WOF archives. Very helpful info. Still not a fave, though. Keenly interested in the current chatter re: AZ. My copy happens to be on order as part of an effort to catch all the old stuff that's passed me by. Now I really can't wait for that package to arrive. Have a healthy and happy New Year all..

(THR Martin Grove on LA)"If, as I do, you love London and, in particular, love the way it looks and feels at Christmastime, this is a movie you'll want to see more than once. " If that's his criterion let's send him Londinium.

Ev)If that's his criterion let's send him Londinium. You mean that in the most positive and helpful way right?? rolling eyes:-))

As 2003 draws to a close, I wanted to put up the final group of Drool Darlings and the full list of those who contributed to make this site viable for another year. Over $3,800 was raised from all over the world! This outpouring of generosity will not only keep us comfortable (and safe from Terry's periodic requests) but also facilitate some site improvements which I'll be pursuing with the software developers after the first of the year. In addition, it will cover out-of-pocket subscription fees that are becoming increasingly common at information sources important to the Colin Firth news gathering effort. This community of Firth fans has been in existence since 1997. Its active participants are continually changing and infusing the site with an enthusiasm, wit and intelligence that sets it apart from all others. For that and the wonderful friendships I've made up with the people associated with this site, I thank you and wish you--especially our newbies--the same and to everyone a very healthy and Happy New Year filled with fantastic news and movies for Colin and many opportunities to share our mutual interests with each other, in person and here at this great site!

My sincere thanks go out to Karen and all of these folks whose generous support makes this site possible. May you have a happy and healthy New Year.

My gratitude to Karen and all the DD for making this such a great community and incredible year. It has truly been a pleasure getting to know and meet some of you and share all the Colin news and especially the laughter. I look forward to meeting more of you in 2004! Looks like Colin will be in this Sunday's USA Weekend Magazine. The whole article is here but sans any pics that may be added... http://www.usaweekend.com/partners/mktgpromo/040104articles/040104movie.html

(Maria's USAweekend article)three films rolling out this year, ..... and a medical thriller, "Trauma." Here's betting Firth looks dashing even in a hospital gown. Wot? I'd be happy to see him in a medical gown but...?? Welcome back Maria!

(BeeDee) I'd be happy to see him in a medical gown... Me too, especially if it's open at the back and he turns around a lot. ;-)

(Ildi)Me too, especially if it's open at the back and he turns around a lot. ;-) Ooo, ooo! Me too. Love those cute butt dimples.:-)) Oh, oh... butt dimple discussion should go to Firthology....except if butt is in new film? Sorry:)

Um, shouldn't "butt dimples" be discussed under "Odds and Ends"?

(Deb)Um, shouldn't "butt dimples" be discussed under "Odds and Ends"? ROTFLM O & E O!

Hi Maria . .thanks for the article! Ildi, Bee, Deb . . . Butt dimples! . .naughty, naughty girls . .but hmmm . .quite an image to take into the new year;) Time to down some bubbly and give this a good thinking . . . Hope everyone has a happy happy new year!

What a wonderful year this has been on this site! I'd like to thank everyone for their input, whether it be articles, pics, on experiences!! Happy New Year to you all!!

Thanks for the "state of the union" message Karen, glad the fundraising was so successful and thank *you* for all you do. And I'll second Janet's wonderful year comment and join the rest in wishing you all a Happy New Year! (Beedee) ROTFLM O & E O! I do truly love this place! Thanks all!

(Beedee) ROTFLM O & E O! And mine too! LOL, ladies! A huge thanks to our hostess with the mostess, Karen, for all she does (and will continue to do;-) Baby, you're the greatest!:-) And to all our Drool Darlings . . . Hippie New Year! I send you good wishes via the international symbmol for "peace." Bottoms up, from me 'n the kid.

(Mari)A huge thanks to our hostess with the mostess, Karen, for all she does (and will continue to do;-) Baby, you're the greatest!:-) That goes for me too! And thanks to every one of the DFB (the devoted fan base)for *chippin in*. One for all and all for one...and we know who that is!;-)) Mari your post made me spew my tea! Good thing I'm not into the bubbly yet!

Happy New Year, all! And thanks especially to Karen for leading us here at Drool in 2003. On those butt dimples --- see him pulling on his jockeys in Tumbledown after a last night with his girl friend before shipping out. That'll stir your blood.

Did anyone else watch the Today Show this morning? According to their expert. For 2004 sitcoms are out, nightime soaps are in. Julia and Meg are out Nicolle is in. Colin Farrel is out COLIN FIRTH is in. To quote "There is a large cult following for him and it is growing by leaps and bounds." Hardly news to us. Katey was a happy camper at that.

"There is a large cult following for him.." A cult? Like the Branch Davidians? Yikes! Thanks Lucie....

The Catholics liked GWAPE.... http://www.catholicnews.com/data/movies/03mv246.htm "Firth's Vermeer is moody and distant, yet he is made almost laughable by a ridiculous, stringy, long-haired wig placed precariously upon his head. The story's villains are all too conventional with their behind-the-scenes machinations and selfish motives." LOL.Honestly, I didn't write this;-D

(Ev)A cult? Read Devoted Fan Basein manner of Harold and Maude.;-)

(Beedee) Oh, oh... butt dimple discussion should go to Firthology....except if butt is in new film? (Deb) Um, shouldn't "butt dimples" be discussed under "Odds and Ends"? (Beedee) ROTFLM O & E O! Me too! (If we see that butt again, it *will* be news! Big news!) To all of you, who make this such a great place

(If we see that butt again, it *will* be news! Big news!) My first thought was "fat chance!" Maybe he figures if Jack Nicholson can do it, so could he (though I guess he wouldn't have known Jack was doing it at that time.) ;-) Maybe he will as part of the "New" Colin that seems to be emerging..... Increase in significantly open collars, Sexier poses in photo shoots, Touchy feeliness with young 'uns, Less denial or, even outright embrace of appeal to women... Can a butt shot be far behind? ;-D

(Today Show) "There is a large cult following for him.." (Evelyn) A cult? Like the Branch Davidians? (Beedee) Read Devoted Fan Base in manner of Harold and Maude.;-) I like to say we're his "Peeps," in manner of current Hip Hop trend (I think Tress called us that here in NY). Not that I'm the least bit trendy, mind you. ;-)

(Dorine) My first thought was "fat chance!" Maybe he figures if Jack Nicholson can do it, so could he (though I guess he wouldn't have known Jack was doing it at that time.) ;-) ODB's butt is sure to be far more pleasing. Almost said 'ouch' when I saw Jack's the other night. Didn't realize until that point that men suffered from cellulite as well. Anyway, we saw a lot of ODB in the earlier films. Almost thought I saw something else when he rolled over on the bed in The Advocate. But upon further frame-by-frame insepction it was just wishful thinking.

(Dorine)Not that I'm the least bit trendy, mind you. ;-) Oh, you looked plenty trendy to me in NYC, you lovely and helpful Metro Girl!

(Leslie) Almost thought I saw something else when he rolled over on the bed in The Advocate. But upon further frame-by-frame insepction it was just wishful thinking. The imagination is a powerful and wonderful thing. ;-D (Dorine)Not that I'm the least bit trendy, mind you. ;-) (Beedee) Oh, you looked plenty trendy to me in NYC, you lovely and helpful Metro Girl! Aw shucks, thanks. I certainly don't aspire to any sort of trendiness. Paris Hilton won't be looking over her shoulder anytime soon. ;-D

I'll take "peeps". Dispise "groupie" Like "Drooleurs"/"Firthettes" best .

Happy 2004!!! . .oh BTW, as I type this my husband is shouting to say hello to "the girls" (as he fondly calls all of you) and Happy New Year too . . (Evelyn)A cult? Like the Branch Davidians? Or how about the Branch Colinians? (*groan* . .that was bad, I know) "Peeps" is pretty good . .makes us sound really hip I agree with Evelyn . .I like "Drooleurs" (very sophisticated & French) and "Firthettes" (very 50's girl singing group - "Colin and the Firthettes") . .they both have a nice ring to it . . .we are also the "Lovely Ladies" (very Les Mis) also, the "Drool Darlings"

(me) "Lovely Ladies" (very Les Mis) Hmm . . course the "Lovely Ladies" of Les Mis were all prostitutes . .perhaps n.g. correlation . .

Review of GWAPE from "The Aspen Times" [GWAPE is being shown at the Aspen FF] December 31, 2003 A PAINTING RATHER THAN A MOVIE By Stewart Oksenhorn Aspen Times Staff Writer Forgive ?Girl With a Pearl Earring? for believing itself to be a still painting, rather than a movie. ?Girl With a Pearl Earring? is, after all, concerned largely with painting. The first film by director Peter Webber reveals the story behind one of the masterpieces by 17th-century Dutch master Johannes Vermeer. Vermeer?s ?Girl With a Pearl Earring? was inspired by the gorgeous, virtuous house maid, Griet. Through no fault of her own ? other than being beautiful and a daily presence in the Vermeer household ? Griet has angered Vermeer?s jealous, vengeful wife, Catharina. Catharina?s hostility is not without some cause. Griet ? played by Scarlett Johansson with almost surreal sensuality, considering she never once smiles and is mostly covered head to toe with peasant?s smocks ? has indeed attracted the eye of Vermeer (Colin Firth). Also much taken with the young maid is Van Ruijven (Tom Wilkinson), Vermeer?s manipulative, mischievous patron. When Van Ruijven commissions Vermeer to make a portrait of Griet, the already tense Vermeer household is thrown into combat mode. It is a decent story, and Webber?s telling of it sustains our interest. But Webber is overly concerned with making his ?Girl With a Pearl Earring? visually worthy of Vermeer?s. Every frame of the movie is shot in the manner of a still painting, with shadow and light, contrast and composition painfully executed. The camera hardly ever moves. Worse still, the actors? expressions virtually never change. Firth?s Vermeer is caught in a pinched face, the result of his wife?s nagging. Johannson?s Griet never wavers from her aggrieved countenance, the result of Catharina?s menacing. Vermeer?s mother-in-law (Judy Parfitt) keeps the permanent expression of the dried-up, domineering witch that she is. Webber has, indeed, created a work of visual art. There is no denying the beauty of ?Girl With a Pearl Earring.? It is a small victory that the story holds up to all this focus on the visual. But one can?t help but think that the overemphasis on the look of the film strangles the movie more than a little. [?Girl With a Pearl Earring? shows today at 5:30 p.m. at Harris Hall, as part of Aspen Filmfest?s Academy Screenings series. The Academy Screenings run through Jan. 2, with daily screenings at Harris Hall. For a full schedule, go to www.aspenfilm.org.]

I guess my hints about using Firthology were too subtle? Girl With a Pearl Earring shows today...as part of Aspen Filmfest's Academy Screenings series. And it's playing on Maui too so that the various guild members can see potential nominees.

(Karen) I guess my hints about using Firthology were too subtle? Ok, I give...what....? I understood the first time. But the whole butt/fan base discussion that was related to Trauma? Or the one reference to The Advocate? Honestly curious, as I may be considering Firthology to narrowly, and this topic too broadly.

OMG....**catching breath**! Colin's peeps have been busy! Thank you everyone for the articles, links and photos (am truly sorry to have missed out on the Muushimoto... Mishymomo (whatevah...I did have my nose pressed against their glass in NYC a few times though...that was only when I wasn't stalking Ewan McGregor (really!) in Barneys) Martini Bash captioning fiesta! ROTFLMAO! You all are too funny!!!). Am all caught up now and just wanted to say my thanks to our lovely hostess and to all the Droolers...here's hoping that this coming year holds as many laughs and surprises as this past year!!! Thank you all and Happy New Year!!!!! To quote (kinda) one of my favorite films: "We want the finest martinis available to humanity. We want them here, and we want them now." Sorry Karen if this was a mishmashmoto of O&E and CF.....New Years Resolution No. 1.: Use proper topic (I'll get on that right after this one! ;-D).

(Tress).....New Years Resolution No. 1.: Use proper topic (I'll get on that right after this one! ;-D). ROTF! Tress, you are one of my fave funny peeps! Tomorrow I'll get off the sauce and on the right topic, I shall conquer this, I shall!;-))

Guess this critic doesn't share our opinions on LA http://www.signonsandiego.com/news/features/20040101-9999_1w1worst.html Films so bad they won't go down: Get the plunger ....The pain of "Love Actually" came from watching a good cast (Hugh Grant, Emma Thompson, Colin Firth, Laura Linney) trashed to tinsel on Richard Curtis' yule tree of meet-cutes, vapid romancing, kid love, jabs at Bush/Blair and music-driven plot loops, though Bill Nighy is a funny old rocker.

Ad in today's NY Times (Karen, please use as you see fit):

Thanks Murph! I think it's fun to see the blurb by Elvis Mitchell who was counted as having *panned* the film on the Rottentomatos site.

Great picture, Murph. A little from todays google-hunt: http://www.usaweekend.com/04_issues/040104/040104colin_firth.html

sorry to be double-posting, but they write the medicalpart about Trauma again. Who started that? (not that it matters at all :-)) For now, what does work for Firth is, well, work. "Earring" is one of his three films rolling out this year, including the Bridget Jones sequel and a medical thriller, "Trauma." Here's betting Firth looks dashing even in a hospital gown.

Again? But that is exactly the same article. However, that doesn't guarantee that the "medical" reference won't be erroneously picked up elsewhere. Thanks, Murph, for the ad. Kind of bizarre that they'd show Griet with her hair, when that's one of the film's big moments, the uncovering. :-( I *do* hate to rub things in, but I never thought I'd ever see this: http://movies.yahoo.com/showtimes/showtimes.html?z=60614&r=sim&m=&t=Sony%20Esquire&a=&dt=0&s=tm&p=0

Hello! Haven't posted here for quite a while, but have been enjoying all the articles, photos, comments etc. Thanks everyone, especially the Boss! I had wanted to post this (after a little encouragement from Karen, thanks!) some time ago, but somehow things got in the way. Hope this is not too outdated and still belong in 187. Anyhow, this was from an article found in a local mag. Where I am (Singapore btw), news or articles on ODB are rare, and seldom does he get mentioned beyond one or two lines. I was alerted to this article by a kind friend who even kindly pulled out the pages for me (mag was sold out, not sure if the ODB factor helped). The article was a feature on LA, or more precisely the men from LA. Have typed up the parts on HG and ODB: Her World � Dec Issue Feature Put some of the most charming actors together in one film, then get them all into one room � and what do you get? One really hot day in London. Ivy Ong finds out if the stars of Christmas feel-good movie Love Actually sizzle off-screen as well. Hugh Grant Reel Life: Dah dah dah abt his PM role in LA Real Life: Everthing abt Hugh is larger than life. He�s taller, his eyes are bluer, his smile is wider and his fringe is floppier than you�ve ever seen in the movies. He doesn�t have to say a word to charm two giggly Japanese tourists who accost him for photos. But the first thing you notice the moment he opens his mouth is that he doesn�t have that self-conscious air you�ve come to expect from watching him in Four Weddings and Notting Hill. HG is a star and he has the confidence of one. He knows exactly what journalists want of him � details of his personal life � and he deliberately doesn�t give it. Ask him what he�s doing for Christmas, to try to see if he�ll be spending it with ex-gf Liz Hurley and son, and he neatly side-steps the question, saying : � I love Christmas. I love sleigh bells and little children with rosy cheeks.� Ask him what he thinks of falling in lover with the lower classes (the PM falls in love with a Cockney speaking tea lady) and he just gives you a wink and says : � Sure I like that dynamic � You don�t know if he� s slyly referring to that infamous Divine Brown incident or whether he�s just pulling your leg. A journalist later sighs: � HG doesn�t give you anything. He just turns everything into a joke.� Sizzle Meter: 3 hearts of out 5 Colin Firth Reel Life: In a departure from his suave Mr Darcy persona in Bridget Jones� Diary, he plays a loser who fumbles and stammers his way into the heart of a Portuguese beauty. He�s Jamie, a writer who exiles himself to the South of France after he catches his wife in bed with his brother. There, he falls in love with his maid, Aurelia, who speaks no English. Watch for the part when he tries to tell Aurelia he loves her � in broken Portuguese, complete with subtitles. Real Life: He comes round the table to shake everyone�s hand. First impressions are disappointing � he�s shorter than expected and has the regulation pasty English complexion. His hair is rumpled and his dark suit and brown-and-black striped T-shirt makes him look like any ordinary man in the street. But as soon as he starts talking, you realize why the journalists who have met him before (both men and women) gush: �He�s so charming. Be prepared to be swept off your feet!� A little dimple peeks out every time he emphasizes a point and � always the gentleman � he waits till we have finished writing down his quotes before he goes on to answer another question. Then there�s his self-deprecating British humour. Ask him how he works on being the thinking woman�s sex symbol and he deadpans : �I get up and spend an hour on it every morning. � He says it so matter-of-factly you almost think he�s serious before you catch that twinkle in his eye. Then comes a sidelong glance, sharing the joke with you, and you�re won over already. And you know you�re not dealing with some himbo here when he gently contradicts a journalist who says Richard Curtis films are always about well-scrubbed, middle-income London. He says: � I don�t think there�s an attempt to ethnically clean Nottinghill. Not all of London is a Quentin Tarantino film, you know.� Cue the shy, sidelong glance. Awww� Smart and witty to boot. No wonder everyone comes out of a meeting with him with stars in their eyes. Sizzle meter : 5 hearts out of 5 Well, ODB beat HG hands down, acc to the reporter's sizzle meter at least(and me of course). His write-up didn't start well, but I guess she came to her senses later :-). Doubtful abt the part on their height. HG seems taller in person while ODB shorter than expected?? Perhaps, our dear friends who have seen them both could tell? Btw Liam Neeson, Alan Rickman and Andrew Lincoln were all featured as well, none ranked as high on the sizzle meter. LN - 4, AR - 4 (with some help from Emma Thompson, acc to the reporter), and AL - 3 (though she said he is v good looking).

(Karen)I *do* hate to rub things in, but I never thought I'd ever see this: Can't help but feel that we may begin to see CF double billings more often in the future. With all the wonderful press and exposure this year (Katie Couric has helped a lot in this regard) the recognition factor for ODB is rising daily. All this begs the question, can there ever be enough of ODB to go 'round?

Hello Magazine has Colin as one of the finalists for Most Attractive Man of the Year. You can vote here: http://www.hellomagazine.com/vote/grand_finale2003/hombreatractivo.html?pantalla=hombreatractivo

Mary - Thanks for the ad . .nice to see they used a different pics than just the camera obscura scene one. Although I do agree with Karen . .surprised they showed Griet with her hair. Andie - thanks for the blurbs from that article . . Colin shorter in life? . .I don't think so . .was much taller and lankier I think . .and very very handsome up close. . .As to Hugh . .his eyes are very very blue in real life (remembering from the Two Weeks Notice shoot) . .didn't think him taller than I had previously expected . . (leslie)All this begs the question, can there ever be enough of ODB to go 'round? *sigh* . . Never . .will never be satisfied till there's more . . we want more! Most Attractive Man of the Year poll - I put my vote in . .Seems like Colin has to beat out Orlando Bloom and Jon Bon Jovi;)

(USA Weekend) I tried to take guitar lessons when I was young, but the kind available to an 8- or 9-year-old where I came from were where you learned to play Kumbaya. Not exactly what I was looking for. Wasn't it something like Kumbaya that he played, sitting around with the cast, crew and extras from ATA? ;-) Thanks for posting the article, Andie! *clap clap* First impressions are disappointing � he�s shorter than expected You do really have to wonder how tall did this person think he'd be? Sheesh! He's taller than Hugh or Richard Curtis or pretty much all the others at that press conference (OK, maybe not Liam Neeson)

(Karen)I *do* hate to rub things in, but I never thought I'd ever see this: Can't help but feel that we may begin to see CF double billings more often in the future. With all the wonderful press and exposure this year (Katie Couric has helped a lot in this regard) the recognition factor for ODB is rising daily. All this begs the question, can there ever be enough of ODB to go 'round?

Please forgive previous double posting. Still working things out on my computer. Will vote at Hello magazine post haste. Thanks for the tip, Mary

And you know you�re not dealing with some himbo LOL! Thanks Andie! That was great...the reporter didn't mention his affectation glasses...as this sounds as if it is the same press conference. Maybe that is why he seemed shorter...they detracted from his height (which is substantial and I can't imagine why she thought he would be even taller...but then again, I always envision ODB as "bigger than life" too...;-) (Kimberly) As to Hugh . .his eyes are very very blue in real life... That is what I really noticed. His eyes seem much bluer IRL...have an extreme close up of him and it still doesn't do those minces justice. They sure are purdy...

(Karen)I *do* hate to rub things in... Hah! Well, while I'm waiting to see GWAPE...god knows when, Risa and I did see LA again the day after Christmas and it was well attended.;-))

Fabulous article all about Colin's long ago days in deepest, darkest, remotest (LOL!) B.C. from a freebie mag in Canadian theaters sent to me by Silvie. http://www.firth.com/articles/04famous_jan.html

(Famous)It may become a franchise like Bond. Hmmm . . that would be interesting . .a Bridget Jones franchise . . .only though, if they didn't do it to death . . . Lord, wouldn't want anyone but Colin playing Mark though . .the same goes for RZ and HG playing their perspective roles . . . So then, what . . the 3rd film would be: Bridget finally gets married, the 4th . .Bridget having a baby? . .The 5th . .Mark hits his mid-life crisis and Bridget has to cope . . .

Here's an article I found on Colin at MSN yesterday. I didn't see the "posting box" yesterday when I logged in, but today I do so I've pasted the link to the article below. I can't wait to see GWAPE when it is shown in theatres here this month....:) Momi:) http://entertainment.msn.com/news/article.aspx?news=144290

he�s shorter than expected according to imdb.com: ODB 6' 1" (1.85 m) , Hugh 5' 11" (1.80 m) So the question is, what kind of shoes was Hugh wearing? I also put my vote on him :-)

(Her World) Then there�s his self-deprecating British humour. Ask him how he works on being the thinking woman�s sex symbol and he deadpans : �I get up and spend an hour on it every morning. ROTFL!! I knew he'd finally come around and admit he works "it". ;-) (Tress) His eyes seem much bluer IRL Stunning.

Thank you Karen and Silvie for the article! I was near Maple Ridge a couple of summers ago with the hubby. It is v. v. beautiful there but a bit remote...DH loved it and would move there in a second...I don't know if I could live that far out...I'm more of a Metro Gal wannabe and not a nature girl...

Andie, thanks for such an interesting article. It seems to highlight what I like best about Colin - not simply his looks but his aura. character and personality. It's cool how he won over the reporter. As for his height, maybe he came in right after 6-4 Liam Neeson. I can't imagine any other reason related to fact, especially considering he's 2 inches taller than Hugh. Also a big thanks to the Boss and all the other ladies of Drool You have all made my Colin hobby so much fun, and I look forward to even greater things in 2004.

While I don't usually do plain old galleries, this one was an exception... http://www.firth.com/gal/gal_03jk.html

Seeing that "plain old" gallery, reminded me to jump in here and add my thanks to Karen and all the DDs for the CF entertainment shared here. Don't have much to contribute or say, but I'm lurking, enjoying it all so much. Happy 2004!

I don't think things get any better than this... I could be wrong though...will continue to hang out here and make a nuisance of myself to see if anything better does come up! Thanks Karen!!! Those are loverly...I get all warm and squishy just looking at all those!

Remember that strange article in the Chicago Sun Times a couple weeks ago about celebrities and "tongue-kissing Colin Firth?" (http://www.suntimes.com/output/wiser/sho-sunday-paige14.html)? I emailed the writer and asked about it, and she only just replied. From the writer: Yes, I was referring to Colin Farrell... but maybe a victim of some wishful thinking regarding Colin Firth? My Freudian slip is showing. Thanks for writing. Paige My original email question: I'm a little baffled by your latest column talking about celebrity makeovers and "tongue-kissing Colin Firth." As far as I know, Colin Firth does all his tongue-kissing in private. To my constant disappointment, Colin in his movies seems ever the English gentleman, reluctant to even open his mouth in his kissing scenes. The only kisses I've seen him give in public have been of the chaste smack-on-the-cheek variety, or the more European double cheek peck bestowed on Katie Couric recently. Are you mixing him up with the more wanton other Colin - Mr. Farrell, or is there something he's done in Chicago that has not been publicized in the rest of the world?

(Karen) While I don't usually do plain old galleries, this one was an exception... I've always associated that color of purple with chubby little old ladies in stretch pants. Never again! Thanks.

My favorite of the chair ones. The quiet, contemplative mood. (Tress) I don't think things get any better than this... One of my favorites of the tub set, with the knee sticking up and the bottle of wine by the tub. *sigh* Thanks, Karen. Funny note you wrote, Katty. Thanks for writing her. (Katty) or is there something he's done in Chicago that has not been publicized in the rest of the world? Though I couldn't imagine she'd admit it...about anyone really. Nice try, though. ;-) There's an Ivy Restaurant in Chicago, too? Or, I shouldn't assume the whole blurb happened in one place.....;-)

(Karen)While I don't usually do plain old galleries, this one was an exception... I bow to your impeccable judgement and kindness in this matter! So many of these are *jump on his bones* gorgeous. Wanna jump on his lap, wanna jump in that tub......... Ahh my. Love the Color Purple on him:-)

(Dorine) One of my favorites of the tub set... It is oh-so-hard for me to pic a favorite tub time pic (just the thought of him all nekky and wet...though I know he isn't...in a tub...like you said Dorine, he's learned to work "it") All the photos are so good (bathtime, piano and contemplative dreamer in torn up leather chair (and he's barefoot in those...sorry Evelyn!))!!! Like the 'new' purple shirt. I am assuming that it is new due to heavy crease in the sleeve...either that or ODB/Livia are v. v. intense ironers... LOL....Thanks Katty! Your original note and her response are both v. v. funny! Paige seems to be a closet Firth fan! Come out out Paige! The waters lovely! ;-)

Nice pics...he's goin Hollywood!!"Playgirl" next! My favorite of the chair ones. But let's chip in and get him a new chair. Wonder where the location was.

(Mary) I've always associated that color of purple with chubby little old ladies in stretch pants. Never again! LOL! Though that's somewhere between amethyst or violet. Looks v.g. on him and an excellent choice given his first question by Craig Kilborn. ;-) (Paige) Yes, I was referring to Colin Farrell... Another wonderful example of journalistic excellence. Good going, Katty. May not be true, but Colin got some press. (Dorine) There's an Ivy Restaurant in Chicago, too? Not that I know about. (Evelyn) Wonder where the location was. Deptford, but will recheck my emails to see if he was more specific.

That gallery could start me doing the Firth Fandango again! Thanks.

Doesn't it look like he's going to spit out his wine in manner of fountain? :-D I like the crows feet in this one, though easier to see on the huge one at Casa Feliz. (Tress) and he's barefoot in those. Gah!! How did I miss that?! Was blinded and distracted by the sight of a knee. ;-P (Karen) Deptford, Where is that in relation to London....a suburb? Enclave? I also think that's a v. good color on him (Me) My favorite of the chair ones. (Evelyn) But let's chip in and get him a new chair. Is there enough left from the Spring Pledge Drive? ;-) Was in my neighborhood movie theater for a sec today, and inquired if GWAPE was doing well. She gave an enthusiastic "yes!" and said many people have said it was very good, but she hadn't seen it yet.

(Dorine) Gah!! How did I miss that?! Was blinded and distracted by the sight of a knee. ;-P Very easy to get distracted...I didn't notice myself for a while...took some intense study! ;-) I mean, the sight of knees! Crikey! And in one of the pics (please see below) he looks a bit 'splayed'(two knees!!)....kinda sexy (if you're into that sort of thing) ;-D Wish I could get in with him...I need to cool off...jeez....

(Tress)And in one of the pics (please see below) he looks a bit 'splayed'(two knees!!) Yes, I did notice before, but apparently was distracted by the next thing. An eye candy merry-go-round! It's makin' me dizzy! ;-D kinda sexy (if you're into that sort of thing) ;-D And who wouldn't be? At least where he's concerned. ;-)

(Karen) While I don't usually do plain old galleries, this one was an exception... You just make all the exceptions you want...yowza -- need to take a nice, cool walk in the brisk air! I believe there was an earlier reference to "working it"? Love them all, but this one makes me think he needs Rupert to tell him "less is more."

(Evelyn) he's goin Hollywood!! "Playgirl" next! Now, don't tease me with a thought like that! Where's your winkie? ;-)

What a welcome back treat! Thank you Karen for the fantastic Kingman pics. Much as I love the bathtub pics I think the purple sweater does it for me more. I am almost speechless and will have to study these a lot more before I can comment coherently;-) Happy New Year to all the lovely DD's!

Oh my, Karen thanks for that gallery! . . Ahhh just the type of pics I like: Sweet . . . Shy and Unassuming . . . And another "Mushimoko" pic . .believe he�s toasting us! Like the Amythest/Purple/Violet sweater . .it�s always been one of my favorite colors . . and here�s another nice reason for it! ( better than those pics of him in that red tomato color sweater I�ve seen) Katty - Bravo for catching that writer on her Freudian Slip;) . .kind of neat that she wrote back . .perhaps she'll be a newbie here soon . .sounds like she's a fan!

The back cover of today's Times (Saturday) Magazine is a full page ad for GWAPE - the SJ/CF photo but more of it than is usually seen. Very striking image. And tomorrow's Sunday Times will include a free DVD of the trailer for GWAPE.

From today's Telegraph: FIRTH TAKES ON DIAMOND MINING GIANT Oddly, for such an accomplished luvvie, Colin Firth is about to declare war on some of the biggest names in showbusiness. He has just been appointed patron of Survival International, an organisation that campaigns against De Beers' mining practices in Southern Africa. That promises to make him fall out with the likes of Elle Macpherson, Minnie Driver and Jodie Kidd, who have all stepped out in De Beers jewellery recently. In a written attack on the alleged practices, which has been passed to Spy, Firth says: "The Kalahari Bushmen have lived on this land for millennia. Their water supply has been destroyed, and they've been shifted off to relocation camps where the lives they have known are basically over. "These people are not the remnants of a past era who need to be brought up to date; those who are able to continue to live on the land which is rightfully theirs are facing the 21st century with a confidence that many of us in the so-called developed world can only envy." Friend in UK tells me the story appears on p. 26 and has a small pic, which I couldn't find online.

(Tress)All the photos are so good (bathtime, piano and contemplative dreamer in torn up leather chair (and he's barefoot in those...sorry Evelyn!))! No apologies to me, Tress. Wrong Droolie. I like feet. Fact is...my fave is the one on the beach in LA featuring feet (Vogue, I think), and the one coming down the stairs in a tux...barefooted. Some Italina mag. better than those pics of him in that red tomato color sweater I?ve seen) *sigh* (Evelyn) he's goin Hollywood!! "Playgirl" next! (Dorine)Now, don't tease me with a thought like that! Where's your winkie? ;-) LOL. No kidding...and this one... Bottle is blantant phallic symbol. What a centerfold!!!*hee, hee*

Sorry to repost . . .but a lurked has emailed me re: the post Mary Murphy did a little while ago and asked I'd share the info. . . . She said you are able to vote every 15 minutes (so I guess we can tip the scales in Colin's favor if you bookmark the link and drop him a vote every now and then!) I put Murph's link/post below ************************************** Hello Magazine has Colin as one of the finalists for Most Attractive Man of the Year. You can vote here: http://www.hellomagazine.com/vote/grand_finale2003/hombreatractivo.html?pantalla=hombreatractivo

(Evelyn) my fave is the one on the beach in LA featuring feet (Vogue, I think) Ooooo, me too! The black and white one? Bottle is blantant phallic symbol. What a centerfold!! *hee,hee* Ok, now you're just being cruel. ;-D

Au contraire....I like 'em. Photogs do that all the time.

I find the wine photos interesting because you usually only see Colin with white wine. Red must have been a better choice from a photographic sense. ;-) Thanks for the news, Bethan and Evelyn. Do you think Livia wears Diamonique?

(Kimberly) ...you are able to vote every 15 minutes Ah, "Chicago" style voting ;-) Vote early and vote often! Will end up being not the "most attractive" but the one with the most obsessed "fan base". We're pretty obsessed, but not sure I'd put us up against teenage "Bloom"ers.

(Karen)While I don't usually do plain old galleries, this one was an exception... ....and how glad are we that you made that exception! Can't think of a better way to start off 2004 then these.

Admin note: Because the conference boards have finite message capabilities, please do not use them to discuss, cheerlead, or or otherwise promote online polls, voting contests, etc. A single message to notify people is fine, but not to continually monitor their status. Thanks, Your management

(BarbS) Will end up being not the "most attractive" but the one with the most obsessed "fan base". My thoughts exactly. That is why I never vote on things like that. When you can vote only once and no cheating is allowed then it's better. It's more fair that way. But I wish good luck to those who vote. By the way, I'd like to see O. Bloom immerse himself in a bathtub full of bubbles, hold a glass of red wine in his hand and look as blood stirringly gorgeous as the other "most attractive" candidate. No contest IMHO. :-) (Not trying to be mean to Bloomers, or the man himself, but watching him in 'Pirates' makes me feel that he is handsome all right, but I can only picture him with a glass of milk and a rubber duckie. ;-))

(BarbS) but the one with the most obsessed "fan base". (Ildi) My thoughts exactly. Or the most obsessed fan base with the most time on its hands. :-( If anybody's curious, go back about three years on this board to some online voting for the Hollywood Film Awards when BJD was in the running. :-(

Karen - Re: Admin note Sorry Boss, as per the email I sent, thought I was helping out a lurker . .will refrain from doing polls stuff in the future;) (Evelyn)Fact is...my fave is the one on the beach in LA featuring feet (Vogue, I think), and the one coming down the stairs in a tux...barefooted. Some Italina mag. Oooh sounds lovely. .don't think I've seen those .. . must make an online search;)

No need for apologies here; not necessary; not desired. I just wanted to mention this as the rest of the Internet Firthworld appears to be in a voting fervor. Betcha're thinking MCP is back; well, she never left. ;-) Anyone check out USA Today/Weekend for the printed article? I found the Fri-Sun paper, looked through the section labeled "Weekend" and didn't see it. Saw another article that was talking about Rodrigo Santoro and Essie Davis, saw an article in another section about Vermeer and the painting, but no article about Colin. Does this newspaper have a magazine? Grrrr! More wild goose chases.

(Karen)While I don't usually do plain old galleries, this one was an exception... Wow Boss!!! Great gallery! Though I'd hardly call those pic plain. Thanks again! I, too, love the knees. Mmmmm... ;-) (Evelyn)my fave is the one on the beach in LA featuring feet (Vogue, I think) (Dorine)Ooooo, me too! The black and white one? (Kimberly)Oooh sounds lovely Is this one (with thanks to Firthissimo) the one you are alluding to? Too many good pictures out there and not enough time to enjoy them all...

There it is! Nice to have it show up on occasion. Love those toes digging in the sand.

(Karen) Anyone check out USA Today/Weekend for the printed article? I found the Fri-Sun paper, looked through the section labeled "Weekend" and didn't see it. Saw another article that was talking about Rodrigo Santoro and Essie Davis, saw an article in another section about Vermeer and the painting, but no article about Colin. Does this newspaper have a magazine? Grrrr! More wild goose chases. USA Today Weekend is a "Parade"-like Sunday magazine supplement included in some newspapers, including the Sioux City Journal which will be delivered to my home sometime before dawn tomorrow. I will check and see if it's there.

(Dorine) There it is! I'll say. It's got it all...dimples, full teeth, toesies, slim pants, riotous curls and hands. Ought to start a tickle file just to make sure this one shows up every now and then, any reason, or no reason at all!

Shoshana)Is this one (with thanks to Firthissimo) the one you are alluding to "The very one". Thanks S. Send on to Tress who said : I didn't like feet. Grrrrr;-) Now let's find the one coming down the stairs barefooted... Let's put them on #181. Must remember NY Resolution;-D

No, I'm no longer scolding. I'm deleting. Does 181 (Firthology) have cooties or or something? I know I'm writing this in English. This is the NEWS topic.

Here's a link to a state by state list of Sunday papers that carry the USA Today weekend supplement. Karen, looks likes you can get it with the Sun Times. Maria, thanks for the original find! http://www.usaweekend.com/partners/partner_links/index.html There would have been no Beatles without American rock 'n' roll, and there would have been no Hendrix without the [Rolling] Stones," he says. And there would have been no Johnny Depp as Jack Sparrow without Keith Richards!;-) Love the tubbie pics, Karen; oh, to be a rubber duckie. But where was he on New Year's Eve when we all needed a date and had to settle for Mr. Mishimoko? (And it *is* Mishimoko with an "i." ;-) intellectual property rights, ya know;-)

Firth drew inspiration for role from work of 17th-century artist By Moira Macdonald Seattle Times movie critic Inspiration can come from the oddest of places. In the case of actor Colin Firth, the key to playing 17th-century artist Johannes Vermeer came from the soft, dusty light in the corner of a long-gone room. The end result, "Girl With a Pearl Earring," co-starring Firth and Scarlett Johansson, opens this Friday at the Seven Gables and the Uptown. As very little is known of Vermeer's actual life, Firth had to find meaning in the paintings. "When you've got a bit of a blank canvas, you just have to impose your own notions on it," said the actor in a telephone interview. "I couldn't make up my mind whether (Vermeer) was a tortured soul or a rather serene fellow." But that corner of the studio, where so many of Vermeer's great works were created, haunted Firth. "I thought, that corner of that room that he keeps painting, maybe there's a restlessness to that, despite the seeming serenity of the paintings themselves. I thought, is he trying to solve something? Is he looking for something there? "That was something that I could bear in mind when I'm in front of the cameras � he is someone who is constantly looking for that serenity that he portrays, and he seems to keep looking for it in the same spot. He's got the whole rest of the town to paint � there's one example of a cityscape, one exterior of houses, a few others. The rest of the time, he paints the same corner of the same room, over and over." In the film, Firth's Vermeer is a quiet man, seemingly overshadowed by his petulant wife and regal mother-in-law, frustrated by the demands of his patron Master van Ruijven (Tom Wilkinson), who seems to want to control the artist like a puppetmaster pulling strings. But in the crisp, blue-gray light of the almost-bare studio, he breathes more freely � like he's in control of this small but perfect domain. Firth, no stranger to period roles (he's perhaps best known for his dashing performance as Mr. Darcy in the BBC miniseries "Pride and Prejudice"), viewed as many Vermeer originals as possible in preparation for the role, though he says it takes "a bit of a world tour" to see them all. Four of them reside handily in London � "the best one the Queen's got, under a bit of strip lighting next to a picture of a horse." (It's clear what he thinks of Her Majesty's curatorial standards.) And he worked to keep the story simple, letting images and actions speak louder than words. "What I brought to it was a feeling of, the less said the better. A lot of the paring down of dialogue was my responsibility. With the full endorsement, I must say, of the writer (Olivia Hetreed, who adapted Tracey Chevalier's novel). She was always looking out for a possibility of economizing." Firth, also recently seen in theaters in the romantic comedy "Love Actually," is currently at work filming another big-screen adaptation. "Bridget Jones: The Edge of Reason," a sequel to the popular 2001 film "Bridget Jones's Diary," will be in theaters in late 2004, with Firth, Hugh Grant and Ren�e Zellweger reprising their roles. Though Firth said he was initially reluctant to make a sequel, he now says he has "high hopes" for the film. "The only sensible attitude to it was to be cautious. People want the same film and they don't want the same film. You have to really hit the right note with this thing. As long as you can take it forward in some way, it's justified." The classically-trained actor, whose dark eyes and stalwart bearing have inspired legions of female fans, is amused by his inadvertent heartthrob status. (Told of a colleague who packed her "Pride and Prejudice" tape for a trip to the labor room, his response was a heartfelt � and horrified � "Oh my God!") In Helen Fielding's book "The Edge of Reason," on which the "Bridget Jones" movie sequel is based, the fictional Bridget conducts an interview with the non-fictional Colin Firth. Unfortunately she keeps getting muddled because she's obsessed with the "Pride and Prejudice" scene, beloved by many, in which Mr. Darcy jumps into a lake and his shirt gets wet and clingy. "I did that interview with Helen Fielding," Firth remembered. "She didn't make it up, we actually did it. It's fun to be written into a piece of fiction. I guess that sort of thing is more common because popular culture draws on itself increasingly for its sources." Mindful of the power of surprise, Firth politely declined to discuss how that particular scene would be handled in the film. Nor would he comment on whether the notorious reindeer sweater, worn by the hapless Mark Darcy in "Bridget Jones's Diary" would reappear. Mark Darcy was, undoubtedly, less of a challenge than Vermeer � though in retrospect, Firth thinks he found the latter character only when he stopped working so hard. "In some ways, I reached my frustration in not being able to nail anything about (Vermeer)," he says. "I just thought, maybe this is it � you can't define anything. So I stopped trying, and let that somehow characterize what you do." http://seattletimes.nwsource.com/html/artsentertainment/2001829040_firth04.html

I'll try this, but I make no guarantees... Here's the link to the USA Weekend article. http://www.usaweekend.com/04_issues/040104/040104colin_firth.html The only thing not there is the pictures. (Black leather jacket, black tee, blue jeans against a tree) and this publicity photo for GWAPE... http://www.firth.com/images/gwape/pub03_med.jpg

Thanks for the USA article, Kathy. I liked this. He is always good for a quotable quote: Children make you feel mortal," Firth says. "Before you have kids, there's an invisible thread that's attached to your youth and your birth in some way. Once you've got them, that thread is now attached to the other end of your life somehow. It's their turn to be beginners. You have to move over." And although he's embraced his role as a parent, he says matter-of-factly, "I'm absolutely certain that it's not for everyone."

The London Times 1/4/04 thanks to Gill: January 04, 2004 Don't call me Darcy Britain's top male totty, in or out of his wet breeches, Colin Firth denies he is the eligible bit of posh he always ends up playing on screen. But that's not going to put off his army of female fans, says Jasper Gerard If Brad Pitt is the finest bit of trouser in America, and G�rard Depardieu the sexiest saucisson in France, Colin Firth is the nearest Britain comes to a cinematic stud. He is that peculiarly British phenomenon, PMT: Posh Male Totty. Firth invariably renders the wooing as being excruciatingly difficult. Rather than simply asking the love interest if she fancies a snog there is much brooding silence, wistful walks and crumpled Basildon Bond. You can almost understand how his Italian in-laws watched him in one flick and turned, puzzled, to his wife, �He�s sexy?� they asked. But, eventually, he invariably beds the girl. Until now. In the Golden Globe-nominated Girl with a Pearl Earring he plays Vermeer, the Dutch master, who falls for his lovely maid. He endlessly touches up her portrait, but his passion is confined to painting. It�s a role that fits the man. It�s not that in real life he is a romantic failure � even to my untrained eye he is handsome and happily married � but he is diffident. If Firth, 43, encountered the object of his infatuation after diving into a lake � as he did so as Darcy in the television version of Pride and Prejudice � he would probably scurry into the bushes. This modest quietness is ignored by adoring female fans. When he recently toured America, a posse followed him coast to coast in a frenzy of screams and lingerie lobbing. In Bridget Jones�s Diary he is an object of desire � a modern Darcy � but his swooning fans should clasp their smelling salts because he�s nothing like his upper-middle-class screen characters, or so he claims. �I�m a phoney,� he says in a garishly decorated caravan on the set of the second Bridget Jones film. As proof of his proletarian past he reprises the agricultural accent � and language � of his Hampshire secondary modern. �It was �Firthy, come and get a smack in the mouth� and �Who you f****** looking at, you c***!� He even claims to have sung in a band that was �hippie with punk overtones�. Hard to believe in his Gieves & Hawkes suit, which he insists is a stage prop. If he is a phoney it is as much because his career has not been true to his early rebelliousness as to any class sellout. In 1979, at the dawning of Thatcher�s Britain, he found himself at drama school. �The inverted snobbery was very aspirant, the alternative culture was riding high and I wanted to be a part of that. But my street cred certainly wasn�t going to be competing with the kids in that class: I wasn�t a smack addict and didn�t develop a criminal record.� Instead, casting directors realised he would look pretty in hunting pink and told him to ride with what could be described as the Brideshead Revisited pack. �To my astonishment I was identified immediately as silver spooned, plummy,� he says. And filled with ambition, he wasn�t going to let political posturing hold up his career. And so from Firth�s first role in Another Country he took on the Rex Harrison mantle of Britain�s favourite PMT. �It�s been so easy,� he smiles sheepishly. �I�ve got none of the credentials of treading the boards at the Hartlepool Empire.� Still, it says something depressing about Britain that he had to pretend that he had. Until recently, British film was so pre-Victorian you were classed as either toff or tyke. �Britain really does do the class labelling quite a bit. I�ve had such a full career, one doesn�t complain, but,� he says, rubbing a slightly greying temple, �I do notice dead-end roads.� Far from regretting some of his cinematic slush, he �couldn�t give a s***� about the sneers of trendies who say his films are schmaltzy. Partly this is because he can reel off lots of non-romantic flicks he has starred in (alas all the ones we didn�t notice, including a drama screened at the same time as Pride and Prejudice in which he played a �drunk Nottinghamshire miner and wife abuser�). He says he has �had it up to here� with �1980s edginess� and all those Ken Loach films about the underclass, and feels British tastes might be changing. He was �surprised� Love Actually, in which he stars, received benign reviews. �People said, �It�s fun, I like it, it made me laugh, it made me cry, it swept me along�,� he says, �and in its own way was actually enormously risky. It really is a case of � Duh, if you don�t like it you can see Kill Bill instead�.� Although he is grateful for the regular employment, he wishes offers would come in to play East End gangsters. �I have gone through periods of sitting around not working and waiting for the perfect part,� he says, �which I can do very easily as I�m naturally lazy.� If his life experience is anything to go by, he is suited to playing Dutch daubers: not only does he have an Italian wife by whom he has two children, he spent much of his childhood in Nigeria and America � his parents are academics � and later lived in Canada for five years. His son with his former live-in lover, the American actress Meg Tilly, lives with her Stateside and �is basically American�, while Firth says he feels �very nearly as at home in America as in Britain�. While classmates sported agricultural accents, he was called �the Yank� from the time when he lived in the US, �despite over-egging the Hampshire as much as I could�. So despite his current A-list status, he has always felt a bit of an outsider. �I have always been a chameleon and had this quite childish, rather solitary, love of fantasy. You need to be quite infantile to be an actor.� The personal cost of such a disposition is guilt about the treatment of his � now teenage � eldest son. Though he currently makes great efforts to see him regularly, he regrets not being around more during his formative years. �I think I am a much better father second time round,� he admits. He lives in Hampstead, northwest London, with his wife Livia Giuggiolo, a 33-year-old television producer, and their children Luca, 2, and six-month-old Mateo. He eschews showbusiness schmoozing parties, though admits it would be unnecessary now: most folk worth knowing in British film probably have their children �playing round at my house�. He laughs at suggestions that his life is remotely glam. �Filming is a workaday environment,� he says. �You mention female attention, but most of our life is conducted with very little awareness of it. I go to work, I come home and change nappies.� Hmm, new man as well; the aroma of Pampers will only make him more adorable to Bridgets everywhere. The one British actor who might be compared to Firth is Hugh Grant. Though the latter has stuck more to romantic comedy than the more eclectic Firth, they have shot three films together. Is theirs a friendly rivalry? �Well, I hope it�s friendly. In this) all we do is pull each other�s hair, and in the last one we just beat each other up. Off set we are very rude to each other.� Really? �Oh, it�s just little bitchy comments. I�ve just listened to the DVD commentary for Love Actually and Hugh points out unfavourable camera angles in a scene with me that an actress was obviously having to do all the work.� He might have a chance for revenge: he speculates there might well be a third Bridget Jones film. Unlike Grant, Firth has done the obligatory Shakespeare, but is also focused on film. Unusually for a British actor, he regards stage snobbery as misplaced. �The attraction of theatre is just how easy it is,� he insists. �You don�t utter a line in public before five weeks rehearsals. I�ve very rarely seen a brilliant film actor who can�t cut it on stage. In film you�ve only time for three takes. People imagine you do more takes, but there is a critical period in which you have to get it right or it�s indelible. �There are an awful lot of surprises. Yesterday I was dubbing this film Trauma, histrionic stuff about a man in an emotional crisis. Then I got a call to come out here and rescue Bridget Jones from a Thai prison. Film is all artifice: the actress you are �opposite� might not, in reality, even be there. The director will often say: �I�m sorry, we�re not going to do the scene where you kill your wife, you�re going to marry her instead,� and so in totally the wrong order you can actually get shot, have sex and get married before lunch.� Poor Firth. He�s the male Ursula Andress. Whatever parts he plays, 20 years from now you can guarantee he will only ever be remembered for one thing: emerging sexily sodden from the water. But maybe I shouldn�t feel too sorry for him.

Two quick blurbs from the NYT on 1/2/04: 'Girl With A Pearl Earring' Scarlett Johansson is a maid who serves in the household of the great Dutch painter Vermeer. When she becomes the model for one of his greatest works, jealousies and rivalries simmer around her. Pluses The visually ravishing film, based on Tracy Chevalier's novel, unfolds like a Vermeer canvas being slowly turned into the light. Ms. Johansson registers the tiniest calibrations of anxiety and erotic awareness as the model who has no idea she will be immortalized. Minuses The surrounding intrigue is jumbled and barely comprehensible. The movie is best appreciated as a cinematic painting. And this also... "GIRL WITH A PEARL EARRING" starring Colin Firth and Scarlett Johansson. ....At the very start of this film, Griet (Ms. Johansson) is shown peeling an onion - an image as metaphor that isn't often seen outside first semester film making classes. The determination visible in such an effort communicates Importance Writ Large. This film, adapted by Olivia Hetreed from Tracy Chevalier's novel, does have a great subject: it creates a story around a work of art shrouded in mystery and deals with a project that ruins a woman's reputation and ensures her place in history. In "Girl With A Pearl Earring" the story offered is that of Griet, a servant who became the muse of Johannes Vermeer (Mr. Firth) and the subject of the painting of the same title. Ms. Johansson is photographed so that her skin is opalescent as her earring, but the movie is opaque. It's an earnest, obvious melodrama with no soul, filled with the longing silences that come after a sigh (Mitchell). Ouch!

Ah you just got ahead of me with the Sunday Times article. He is now living in Hampstead!!!! Surely a mistake?

I don't think this one's been posted from "The Scotsman" "....But if film-makers struggle with showing the creation of poetry and prose on screen, you might think that recreating another visual medium such as painting would be easier. The latest attempt is Girl With a Pearl Earring, based on the bestselling novel by Tracy Chevalier and directed by Peter Webber. It fleshes out a fictionalised back-story that led to the creation of the eponymous painting by 17th-century Dutch Master Vermeer (Colin Firth). The girl in question is Griet (Scarlett Johansson), a 17-year-old maid in Vermeer�s household, who grows close to her master and is eventually the inspiration for what would become his most famous painting. "I did come up with a list of clich�s that you have to avoid - like sticking your thumb up as a means of judging perspective," says Webber. "It was just an internal clich� alarm. Some of the films I love - like Lust For Life [the 1956 Van Gogh biopic starring Kirk Douglas] - are a bit ridiculous now. It wouldn�t work with Vermeer. The good thing about him is that he�s not a clich�d artist because he is so quiet and so still." Nevertheless, while Firth�s Vermeer may not fall into the trap of a furious flurry of creative activity, he does spend much of his time staring at his canvas with a demented look in his eyes. Admitting when he first saw the trailer that he advised the editor to recut it with "less art, more sex!", Webber - while underlining the film is not a "bodice ripper" and is a "chaste erotic film" - says he did not want to "let the painting get in the way". "I also didn�t think the audience wanted to hear a three-minute discussion of optics and the camera obscura. It�s not my film�s job to do that. I used to joke that this could be a film set in the world of plumbing. Painting is just the background. A lot of art is down to which pencil should I use." Yet it is exactly the films that attempt to show the painstaking process of canvas creation that are the most successful. V�ctor Erice�s 1992 documentary Quince Tree of the Sun spends two-and-a-quarter hours watching artist Antonio L�pez Garc�a paint the titular tree in his Madrid back yard. Despite the film�s tranquil pace echoing the painter�s own leisurely approach, the result is a mesmerising, almost suspenseful work. Likewise, narrative films such as John Maybury�s Francis Bacon portrait Love is the Devil or Maurice Pialat�s Van Gogh, that set out to sew the spirit of the artist�s work into the very rhythms and fabric of the film are the most triumphant. In the case of Maybury�s work, at times the film�s warped, hypnotic visuals come to resemble a painting by Bacon. Even Ed Harris�s more conventional Pollock takes great pains to capture the free-form style of action-painter Jackson Pollock, primarily thanks to the physical performance of Harris in the lead. That said, there is one jaw-dropping moment in Girl With a Pearl Earring that manages to express the mysterious intuition that governs all artistic endeavours. It comes near the climax as Griet literally turns into the painting - a daring scene not in the original script that was improvised on the day. "We never believed we could get her to look like the painting," says Webber. "There was a touch of fear there. Thank God I did it. It�s a crucial moment. I�d hate to think what the film would be without it." http://www.news.scotsman.com/features.cfm?id=7452004

Good Times interview. Some comments are old re-cycled ones. Doesn't sound like there's a stage project in the future:-(( Thanks to Murph and Gill. Seattle Times, Thanks Maria "Firth, no stranger to period roles ..." Does his best performances in these roles, IMO.

Thanks Mari and Kathy for the info on the magazine. There were piles of Sun-Timeses sitting there and I could've picked it up yesterday. Will run out shortly before there's too much snow. :-( (Told of a colleague who packed her "Pride and Prejudice" tape for a trip to the labor room, his response was a heartfelt � and horrified � "Oh my God!") A colleague? A fellow actor? LOL! Mindful of the power of surprise, Firth politely declined to discuss how that particular scene would be handled in the film. Nor would he comment on whether the notorious reindeer sweater, worn by the hapless Mark Darcy in "Bridget Jones's Diary" would reappear. Oh yeah, trade secrets. ;-) You can almost understand how his Italian in-laws watched him in one flick and turned, puzzled, to his wife, �He�s sexy?� they asked. But, eventually, he invariably beds the girl. And which movie might this be? When he recently toured America, a posse followed him coast to coast in a frenzy of screams and lingerie lobbing. Devoted fan base is now a posse. Where did this lingerie lobbing take place? He says he has �had it up to here� with �1980s edginess� Getting angry now? On the offensive? ;-) �People said, �It�s fun, I like it, it made me laugh, it made me cry, it swept me along�,� he says It made me want to vomit once or twice. ;-) Poor Firth. He�s the male Ursula Andress. Whatever parts he plays, 20 years from now you can guarantee he will only ever be remembered for one thing: emerging sexily sodden from the water. :-((((((((((((((( (Allison) He is now living in Hampstead!!!! Surely a mistake? And Livia is now a television producer. ;-)

Is the London Times article in the magazine or another section and is there a photo?

(Mari)(And it *is* Mishimoko with an "i." ;-) intellectual property rights, ya know;-) Whoops! . .meant to quote you, not plagarize!. .my spelling is n.g. . ."Mishimoko" it is! (Karen)Where did this lingerie lobbing take place? Perhaps pink sweater girl from the LA premiere has been stalking him, tossing her jollyhose about! Girls, thanks for all the articles . . .

Karen: It is in the Sunday Times Review section. I don't see a picture on the page Gill sent me, but perhaps Allison has a hard copy?

Thanks to everyone for galleries, interviews, tidbits!! �Oh, it�s just little bitchy comments. I�ve just listened to the DVD commentary for Love Actually and Hugh points out unfavourable camera angles in a scene with me that an actress was obviously having to do all the work.� DVD commentary! I'm going to assume he participates. One of my dreams come true. And a good omen for TEOR. Never mind the actual film, I'm thinking ahead to DVDs, LOL.

Thanks, Mary. We get the Review section of the paper, but not the regular magazine. I can always check tomorrow. USA Weekend used a pic that had been on the Daily Record's magazine cover when Conspiracy was shown. I don't have a clean one of that and it's too ugly outside to scan the one from today, so I used the Record's pic. Will substitute actual when weather improves. ;-) http://www.firth.com/articles/04usaweekend_104.html

"He is that peculiarly British phenomenon, PMT: Posh Male Totty." ODB, PMT , LOL;-) "rumpled Basildon Bond." Too funny. "alas all the ones we didn?t notice, including a drama screened at the same time as Pride and Prejudice in which he played a ?drunk Nottinghamshire miner and wife abuser?). " MOTM.One of his best. "He says he has ?had it up to here? with ?1980s edginess? and all those Ken Loach films about the underclass, and feels British tastes might be changing" Hooray! Let's throw in the films with people vomiting in the toilets.

"rumpled Basildon Bond." Too funny.

(article)"alas all the ones we didn?t notice, including a drama screened at the same time as Pride and Prejudice in which he played a ?drunk Nottinghamshire miner and wife abuser?). " (Evelyn)MOTM.One of his best. I agree about MOTM being one of his best, but don't you think they mean TWOMH? Thank you all for the comments, pictures, articles and what have yo :-) and - Karen, great you had the picture in your archive. Really yummy !!

Yes, it would be Mrs Holroyd, though I don't recall them showing Charlie as a wife abuser, psychologically yes, but physically no. I'd bet old Jasper didn't see Holroyd either.

"Told of a colleague who packed her "Pride and Prejudice" tape for a trip to the labor room, his response was a heartfelt � and horrified � "Oh my God!") Karen: A colleague? A fellow actor? LOL! This must refer to the colleague of the teller of the incident not his, but would love to know if that not the case. "You can almost understand how his Italian in-laws watched him in one flick and turned, puzzled, to his wife, �He�s sexy?� they asked. But, eventually, he invariably beds the girl." (Karen)And which movie might this be? I hate to belabor the point but my calculations suggest indeed, that was generally the case. If memory serves, everything post AZ excepting TeP (he may have bedded his wife, but being a cuckold IMO cancels that out),SIL and RV (his character of unlikely heterosexuality, probably should not be included in the statistics). You gotta admit in CoF, Simon was a slime-ball but he did BtG - enough to get her preggers):)

No, you're right. Colin has often mentioned COF as the film his in-laws saw and he indeed got to "bed the girl" in that one...plus you then had Nostromo, where he "mined the girl." ;-)

(Annette) great you had the picture in your archive. Actual USA Weekend one is there now: http://www.firth.com/articles/04usaweekend_104.html Wish I had a clean one of that in my files. And have added a color version (from my files) of the one with today's Sunday Times article. http://www.firth.com/articles/04times104.html Naturally, I could make it black and white to be more authentic. All I need to know, ladies, is what the pic is and I'll dig it out. No pressure for scanning, etc.

Thanks Karen and others for the the new articles. I was delighted to find the Time Traveler article in my morning paper. I didn't remember seeing this photo before.

(Annette)but don't you think they mean TWOMH? *smacking head* Of course! With Zoe Wanamaker and Stephen Dillane.Painful to watch and difficult for me to understand at times, but Wow~ what a winner. (I think his feet make a showing in the coffin at the end, don't they;-) Weekend BO: GWAPE Looks like it's #26 from #35 last week.Took in... $200,000 in 26 theatres {still!!]- $7,692/theatre [Woo Hoo!]] cum $854,000. LA in #35 ,cum $57 ,458 M. Only in 406 theatres $1869/theatre

Correction LA #21.Same as last week.

The Edge of Reason," .... Though Firth said he was initially reluctant to make a sequel, he now says he has "high hopes" for the film. "The only sensible attitude to it was to be cautious. ... You have to really hit the right note with this thing. As long as you can take it forward in some way, it's justified." And, of course, pay me really well, including a share of the back end. ;-) When he recently toured America, a posse followed him coast to coast in a frenzy of screams and lingerie lobbing. NY venue to venue, would be a more accurate statement. Unless 6th and 5th Aves would be considered coasts. ;-) Though the lingerie lobbing is still a mystery. :-/ Webber - while underlining the film is not a "bodice ripper" Uh-oh, he said "bodice ripper"! I think he's stealing the intellectual property posted on a website from notes of a Q&A that many people were at, and heard at the same time. And didn't give credit!! Oh the gall of him!! Quick, he must be banned from Colin websites! What a bad, bad man. ;-D Although he is grateful for the regular employment, he wishes offers would come in to play East End gangsters. �I have gone through periods of sitting around not working and waiting for the perfect part,� Well, he answered the exact question I was thinking of just yesterday to ask him, should I be in a position again to do so. (Brenda) DVD commentary! I'm going to assume he participates. Now don't be so hasty there. You know what happens when one assumes. ;-) He said he was listening, not working on it. And why would Hugh comment on Colin's part anyway? Thanks for all the articles and pictures.

(Seatle Times) A lot of the paring down of dialogue was my responsibility. Now I know who to . . .thank.;-) (But I want to know why Seattle will get this before Philly.;-( Told of a colleague who packed her "Pride and Prejudice" tape for a trip to the labor room, his response was a heartfelt � and horrified � "Oh my God!") LOL! Hey, it's better than a deck of cards.;-) Thanks for the article, Maria. (London Times)When he recently toured America, a posse followed him coast to coast in a frenzy of screams and lingerie lobbing. Kimberly, what did you put in that Today Show toy bag??;-) Unless this occurred when he was in Wisconsin.;-) Actually, I think this is ancient history when some fan gave an ill-advised quote to the LA Times about following him from LA to NY. Karen, you really need to start pointing these reporters to the more recent articles on firth.com.;-) And do we want to be peeps or a posse? I can't decide.;-) Firth says he feels �very nearly as at home in America as in Britain�. One thing I will say for Colin: he is always fair and respectful of other cultures. Unlike some foreign celebs who come here, make a great living, act all nicey nicey, then go back home and--zing!--take cheap shots at America in the press. And it sounds like they've moved? I gather Hampstead is more upscale? Actually, I can believe that the loquatious Huge is doing the DVD commmentary with Curtis. Thanks, Murph and Gill. Good article unti the last bit about 20 years from now.;-( (Kimberley)Mishimoko" it is! Nah, I was being anal, honey, ignore me.

(Mari) And do we want to be peeps or a posse? I can't decide.;-) LOL! A la EW mag.....Peeps are "in", posse is "out". Posse was so Arsenio. ;-) (oh really, how would I know? ;-)) Actually, I can believe that the loquatious Huge is doing the DVD commmentary with Curtis. He did say in one of those premiere interviews that he was involved with the making of LA every step of the way, didn't he. I think he's the anal one. ;-)

When he recently toured America, a posse followed him coast to coast in a frenzy of screams and lingerie lobbing. Whew! Did knicker check.....have all my jollyhose from NYC still....so....okay....who did it? Who tossed their pants??? ;-) �I have gone through periods of sitting around not working and waiting for the perfect part,� he says, �which I can do very easily as I�m naturally lazy.� Touring coast to coast, avoiding knickers, changing nappies, working on three films in one year....okay....lazy it is then......(sitting in a hammock doing nothin' is my idea of lazy....not making labor intensive spaghetti dishes and going to martini parties....) He lives in Hampstead, northwest London, with his wife Livia Giuggiolo, a 33-year-old television producer, and their children Luca, 2, and six-month-old Mateo. I had heard a rumor he had moved....but not to Hampstead.....hmmmmm....... (Evelyn) (I think his feet make a showing in the coffin at the end, don't they;-) TWOMH is one of the ones I have never seen....and there are toes??? GAH! Must make an effort to view this one! (Dorine) Well, he answered the exact question I was thinking of just yesterday to ask him, should I be in a position again to do so. Me thinks you should come up with another question then.....soon....!!! ;-)

(London Times)When he recently toured America, a posse followed him coast to coast in a frenzy of screams and lingerie lobbing. (Mari)Kimberly, what did you put in that Today Show toy bag??;-) Whatever do you mean, Mari????;) (**discretly shutting her jollyhose drawer***) Now . .I know waiting out in 25 degree weather for ODB was a prime occasion for genuinely tiny knickers. . .however, mine stayed on . .and were not lobbed into the toy bag, nor at him . . . But if you are referring to the scary, stomach-holding-in-pants (very popular with grannies the world over) that I folded nicely and placed in that note I slipped him. .well . .that's a ANOTHER thing altogether;) (Tress)I had heard a rumor he had moved....but not to Hampstead.....hmmmmm....... Did he actually move? . .Dear me, I guess I should stop looking for a flat in Islington and start elsewhere . . .;)

(Tress) I had heard a rumor he had moved....but not to Hampstead.... Yeah, they needed to be closer to her TV producer job. ;-)

(Karen) Yeah, they needed to be closer to her TV producer job. ;-) LOL...she's producing alright...but I don't think it's for the telly! ;-)

(Tress) LOL...she's producing alright...but I don't think it's for the telly! ;-) Oh, with one quick glimpse, I thought you wanted to say "it's for the belly!" ;-)

Ladies, I give you the modern-day Laurence Olivier Irish Independent by Ciara Dwyer 'COLIN Firth is waiting for you." All my life I have been waiting to hear a line like that. The publicity girl thinks I am going to talk to him about his latest film, Girl with a Pearl Earring - and I am. But what she does not know is that I am obsessed with this man, completely. And, as I make my way to meet him, I know that a lot of women would kill to be in my shoes. It all started when Firth played Mr Darcy in Pride and Prejudice, the epitome of female desire - tall, dark and handsome. Then he played Mark Darcy in Bridget Jones's Diary and we all swooned some more. Hours before I was due to interview Firth, I was sitting in a corridor of the Dorchester Hotel - and who should walk by but His Nibs. I had been busy gabbling away to another journalist when this vision appears. All six foot one of him glides by, and I am gobsmacked. He wears a chocolate brown suede jacket, the same colour as his eyes. His long legs are covered in denim. And his shoulders are beautifully broad. He's a modern-day Laurence Olivier. I contemplate faking a faint, but I am already sitting down. So I settle for watching him walk by and leering at his fabulous frame. He is so tall, the ceiling looks low. But at last it is my turn. Colin Firth and I are alone in a hotel room. OK, so I have a Dictaphone on the table and this is supposed to be work, but if you have swooned over him as much as I have, it is a little tricky to control yourself. I sit on the edge of the armchair, asking him questions, and almost topple over in excitement. We will talk about Pearl Earring in a minute, but first we talk about his role in one of his many other films, Richard Curtis's Love Actually. In this he plays a writer who falls in love with a Portuguese girl and who goes to the ends of the earth to see her. Unabashed romance. Another one for the fans. You must have women of all ages leering and lusting after you, and writing you letters, I say. "There are definitely letters, yeah, but there are no knickers in the post," he says. "It's so terribly well-behaved, unfortunately. A lot of it is still vague, extremely polite and second-hand reporting. I don't tend to get the actual person themselves." If ever there was a cue to speak up . . . so I tell him that the one that did it for me was Bridget Jones's Diary in the navy pin-striped suit, with the barrister flies, standing over a pot, cooking for her. "Really?" he says, with a frisky look in his eye. I tell him that I even thought about bringing the costume that day and asking him to dress up for me. He smiles some more but, aah, I must stop flirting with Mr Firth. He is married to a beautiful Italian woman, for whom he learned the language. Imagine. Enough of my infatuation. On with our official reason for meeting. Girl with a Pearl Earring is based on Tracy Chevalier's book of the same title. It's a fictional account of the girl in that famous Vermeer painting, and how the picture came about. Firth plays Johannes Vermeer. The film is perfection. Every frame looks like a painting, the music is divine and the whole thing is very sensual. This is a case of less is more. There are lingering looks between Vermeer and Griet, the maid who was the muse for the painting. The moment when their fingers brush against each other is positively explosive. It is a darker role for Firth, and yet the women will be swooning once more. "I didn't know anything about Vermeer," he says, "but I'd noticed the painting - which doesn't come every day for me. I'm not an art expert but I do tend to pop into a gallery if I can, and this happened in New York. It was in the Met. I was just blithely wandering from room to room and there was this very small painting at the other end of the room and it absolutely hit me. Like most people who aren't art experts, you just know what you like. And I thought, 'Oh God, what is it about that one?' "It had this strong power and so it developed into a nerdy obsession. That was five or six years ago, but being the fickle creature that all actors are, you have this passion for something and then the capacity to completely forget." COLIN Firth was born in Hampshire, England in 1960. He has a brother and sister. His parents are academics; his father is a history lecturer at King Alfred's College, Winchester, and his mother is a comparative religions lecturer with the Open University. Were his parents draggy academics? "I suppose I thought so at the time, but now I think it was probably a gift, really. It was an environment which encouraged thinking, 'Fatherhood is a strangely passionate experience. I thought it would be a wise mellow thing, but it's not. It's a crazy devotion. I fall in love each time' reading and conversation. My parents were interested in different places and my father got a teaching post in Nigeria, so my first four years were there, and then he got a teaching post in the USA so I spent a year in high school in St Louis. "We moved about a bit. It set me slightly apart as I wasn't in an elite public-school system. At the time I considered it to be a mixed blessing, but now . . . " Firth has had a solid theatre training but he hasn't done that much stage work. Perhaps six plays in total, he thinks. Nor is he yearning to go back to the theatre, although in some ways he looks forward to the idea. "I'd love to do something very new and exciting in a smallish theatre," he says. He lives in London with his Italian wife, Livia Giuggioli, and their two sons. (He also has a 13-year-old son with the American actress Meg Tilly.) When I ask him about his home life, and how he met his wife, he clams up a little. "Without wanting to break too many rules of talking about wife and family and everything, we met in Colombia. She was the assistant producer on the television series Nostromo. I was having a slightly miserable time and we'd four months to go, and she showed up." Is she a typical Italian? "She's Italian, oh yeah. I have to draw a line under it now, but you can probably imagine. She's very fiery, very smart, she's no pushover." Does he enjoy fatherhood? "It's hard work but it is fantastic, particularly being a bit older now. I feel halfway to being a granddad really, which in a way is a nice thing because granddads are always kinder and more twinklier than dads. "It's exhausting. The moment you walk out of the house and leave that noise behind you is just fantastic. But, paradoxically, you find yourself missing them desperately within half an hour. It's weird. "Fatherhood is a strangely passionate experience. I didn't think it would be so much like passion - I thought it would be a wise mellow thing, but it's not. It's a crazy devotion. I fall in love each time. I hadn't realised how much I'd been living for myself. Parenthood is the one salvation to stop you from being a complete and utter egotist."As an actor on a film set, you're treated like an infant, really. You're told what time you're going to wake up. Somebody puts your face and hair on for you. You're told where you go and what you're going to say. Literally the only thing that you do for yourself is go to the bathroom. So you're like a 10-month-old child, but then you go home and the roles are radically reversed. You can't say, 'If you don't shut up I'll call my agent.' There's no recourse, the child is hungry and it's up to you." He talks about his career. He is no good at pursuing parts but he has pushed to change direction: "I do think character work is the best." And he can't understand why women have fallen in love with some of the grouchy characters he has played. "It's their problem, really, because I didn't play a person who wanted to be liked. It certainly surprised me." But he is not going to stop doing romantic roles: "One doesn't do these things on purpose, but I don't want to kill the goose that lays the golden egg." Our time is almost up, but I have a little request. Go on, say something in Italian for me, I plead. "I can't, I'll feel completely silly doing it," he says. "Oh God." And then he obliges . . . I have no notion of what he was saying, but, oh God, Colin Firth speaking Italian. Sponge me down, quick. 'Girl with a Pearl Earring' opens on January 16 http://www.unison.ie/irish_independent/stories.php3?ca=126&si=1102111&issue_id=10243 (registration necessary)

"There are definitely letters, yeah, but there are no knickers in the post," Saves postage to just lob them. ;-) I don't tend to get the actual person themselves." No, those were cardboard cutouts at the NY premiere. ;-) While it has been painfully obvious, I'm surprised he's been saying it on more than one occasion. Nor is he yearning to go back to the theatre, although in some ways he looks forward to the idea. "I'd love to do something very new and exciting in a smallish theatre," he says. Well, there's the answer to the theater question. There's nothing new over there? Come over here. Though he might find it easier to find some things if he gets out of his easy chair. ;-) You can't say, 'If you don't shut up I'll call my agent.' Sure he could. He could say, "Get me a job in Romania for a few months." ;-) Thanks, Josie.

Thanks for the article, Josie. A fun read. Think the author needs to be invited to join the DD's. Then again - perhaps she already has?? But at last it is my turn. Colin Firth and I are alone in a hotel room I think I might have been tempted to produce something more than a Dictaphone...

Oops, I meant..... He talks about his career. He is no good at pursuing parts While it has been painfully obvious with some recent choices, I'm surprised he's been saying it on more than one occasion.

(Josie's article)And then he obliges . . . I have no notion of what he was saying, but, oh God, Colin Firth speaking Italian. Sponge me down, quick. I know how she feels..;-)) Thanks Josie, that was a fun morning eye-opener.

Gah! So many great articles and pics and DD to thank! I love my DH dearly but he clung to me like a cheap toupe yesterday. I tried everything to get him out of the house but to no avail and when a girl's gotta drool.... "There are definitely letters, yeah, but there are no knickers in the post," (Dorine) Saves postage to just lob them. ;-) ROTF!!! 'Fatherhood is a strangely passionate experience. I thought it would be a wise mellow thing, but it's not. It's a crazy devotion. I fall in love each time' As do we hearing you say that... Nor is he yearning to go back to the theatre, although in some ways he looks forward to the idea. "I'd love to do something very new and exciting in a smallish theatre," he says. I really and truly believe but hardly ever feel that non commital answers are best..;-) "I can't, I'll feel completely silly doing it," he says. "Oh God." And then he obliges . . . I have no notion of what he was saying, but, oh God, Colin Firth speaking Italian. Sponge me down, quick. Jammy git! The reformed egotist is a good egg.... Thanks Josie!

(Tress), I had heard a rumor he had moved....but not to Hampstead.....hmmmmm....... Wot? I go away for a week and he's moved? Now Tress you know you must share this rumour... we're waiting... :-) I always thought Livia would prefer to live in Chelsea, but Hamstead is just as good, they must be thinking of the schools for Luca. Thank you ladies for the articles and Karen for such a wonderful site.

Many thanks for the fun article Josie!!! (Josie's article)You must have women of all ages leering and lusting after you, and writing you letters, I say. "There are definitely letters, yeah, but there are no knickers in the post," he says. "It's so terribly well-behaved, unfortunately. So if he doesn't like well-behaved, what does he want out of his fan base? Frankly, I never understood the idea of send/throwing underwear, but I suppose I could oblige. ;-)

(Tress)I had heard a rumor he had moved....but not to Hampstead.....hmmmmm....... He'll miss the button shop;-) ""As an actor on a film set, you're treated like an infant, really. You're told what time you're going to wake up. Somebody puts your face and hair on for you. You're told where you go and what you're going to say. Literally the only thing that you do for yourself is go to the bathroom..." But theatre is soooo much easier....;-D (Times)"The attraction of theatre is just how easy it is," he insists. "You don't utter a line in public before five weeks rehearsals" Tell that who the guys who slog away at doing 7 performances /week at the National or Donmar for 500 quid a week. Sometimes I wonder what planet this guy lives in.

From Variety: Repressed passion Peter Webber's 'Pearl Earring' brings Vermeer to life with restraint By DAVID WEDDLE In a year when many filmmakers risked the deathblow of an NC-17 rating and battled the MPAA to bring more graphic and realistic depictions of sexuality to the bigscreen, the most erotically charged movie turned out to be one in which the lead characters never make love, take off their clothes, or even kiss. Director Peter Webber understands that sublimated passions can be the most powerful, both in life and in a movie. "Whoever said the most important sex organ is the brain was right," Webber observes. "It's anticipation and the fact that two people can't get together that builds up a tremendous charge of energy, like static electricity. You're just waiting for it to discharge. That's an interesting register to work in." The two people are the 17th century painter Johannes Vermeer (Colin Firth) and his 17-year-old model, Griet (Scarlett Johansson). When Vermeer decides to paint Griet's portrait, he manipulates both her emotions and his own, exploiting the sexual tension between them to coax from Griet a mixture of sadness, longing and frustration, which he captures on canvas. Their relationship climaxes (both dramatically and symbolically) when Vermeer presents Griet with one of his wife's pearl earrings -- which he has taken without her knowledge -- and then pierces Griet's ear so that she can wear it. "When I read that scene in Olivia Hetreed's screenplay, that was the moment I decided I wanted to do the movie," says Webber. "We make a lot of period movies in Britain that are fairly dull -- 'Masterpiece Theater' type films. They're rather pretty and everything, but you're not emotionally engaged. Then I got to that ear-piercing scene and I suddenly realized there was a darkness to this story, an edge of sexual obsession and power plays." A 50-day shooting schedule and $10 million budget for a period piece may be threadbare by Hollywood standards, but for Webber -- who cut his teeth directing documentaries and movies for British television -- it seemed quite luxurious. This would be his first feature, and Webber was determined not to squander the opportunity. "You're remembered by your first film," says Webber. "People pigeonhole you, and you may never get to make a second film."

Just got word that local theatre has GWAPE beginning 1/30/04. As DH said, "must be the real wide" opening ;-)

Thanks for the article, Josie, but am I the only person who thinks the title ridiculous? LO was quite good looking (1939ish) but his reputation was as an actor first. Murph, you're the expert here. Again, an article more about the writer than the subject. "I'd love to do something very new and exciting in a smallish theatre," he says. Could've done "Take Me Out" at the Donmar. oooh, to have those front row seats again for that. Now that would be a real "sponge me down, quick" moment. ;-) If ever there was a cue to speak up . . . so I tell him that the one that did it for me was Bridget Jones's Diary in the navy pin-striped suit, with the barrister flies, standing over a pot, cooking for her. "Really?" he says, with a frisky look in his eye. A ha!!! Ciara Dwyer is pseudonym for Lizza, Keeper of the Whisk ;-)

I was sitting in a corridor of the Dorchester Hotel - and who should walk by but His Nibs Am picturing this gal sitting there clutching a copy of Horse and Hound.;-) It's exhausting. The moment you walk out of the house and leave that noise behind you is just fantastic. Boy, do I remember *that* feeling. Kudos for your honesty on that one, Colin. I don't tend to get the actual person themselves." (Dorine)No, those were cardboard cutouts at the NY premiere. ;-) Pfft! The fan base is now a phan-tom base.;-) He talks about his career. He is no good at pursuing parts Astonish me. (Evelyn)He'll miss the button shop;-) ROTF! Thanks for the article, Josie!

I have no notion of what he was saying, but, oh God, Colin Firth speaking Italian. Sponge me down, quick. GAH! Me too! Is there a bathtub I can get into? ;-) Thanks Josie! "She's Italian, oh yeah. I have to draw a line under it now, but you can probably imagine. She's very fiery, very smart, she's no pushover." Sounds like she keeps him on his toes! Good! Means if he shows up with random knickers from his fan base she won't have any of that! Be careful out there ladies! ;-D "There are definitely letters, yeah, but there are no knickers in the post," (Dorine) Saves postage to just lob them. ;-) LOL...Was going to say we are a cheap lot...trying to save our pennies for when he does a play... ;-( (Peter Webber) You're just waiting for it to discharge. Wot? Is there some double meaning here? ;-) And if there is...I'll wait...LOL...waiting.... (Mari's article...again)...Their relationship climaxes Must find that tub... Thanks Mari!!

"Ladies, I give you the modern-day Laurence Olivier" I got the feeling she was talking about looks here more than talent. LO was pretty scrumptious in his youth, as Heathcliff showed us. But talent-wise, I don't think CF can touch him - yet! Enjoyed the article, Josie. Written by an Irish woman I presume?

(Murph) I got the feeling she was talking about looks here more than talent. Exactly, but did LO suffer comparisons to Gielgud because of his looks, i.e., was Gielgud taken more seriously as an actor than Larry because he was a heartthrob?

Josie - Love the article . .puts a smile on my face this Monday morning! (Irish Independant)"There are definitely letters, yeah, but there are no knickers in the post," he says. "It's so terribly well-behaved, unfortunately. A lot of it is still vague, extremely polite and second-hand reporting. I don't tend to get the actual person themselves." Hey! . .what was I . .chopped liver??? I delivered my note in person . .OK . . so I didn't wrap it in any knickers . . slight miscalculation on my part . . .perhaps I should have used a thong to slingshot the note over to him?;) But at last it is my turn. Colin Firth and I are alone in a hotel room. Lucky, lucky girl . . .I'm insanely jealous. Mari - Another wonderful article . . (Peter Webber) You're just waiting for it to discharge. (Tress)Wot? Is there some double meaning here? ;-) And if there is...I'll wait...LOL...waiting.... Tress . .you caught that too;) . .ahh great minds think alike!

(Murph)LO was pretty scrumptious in his youth, Wow, thanks for that Murph. My early favorite mood monster;-))

Thanks so much everyone for the news and articles! Was this posted? Still from your favorite, Karen: Hello Magazine and its polls :)( (can't quite make up my mind, happy or sad) : Coolest Baby Name COLIN FIRTH AND LIVIA GIUGGIOLI'S SON MATEO Though he faced stiff competition from fellow 2003 infants Daisy Boo, Caspar, Carys and Stellan, Mateo - the offspring of Colin Firth and his Italian wife Livia - took home the crown in the coolest baby name category. The little guy, born in August, is the couple's second child, while Colin also has a 12-year-old son, Will, with actress Meg Tilly. "Being a father is more like passionate love than I'd imagined," he said recently. "You have the same sense of being on the brink of being out of control, and of utter euphoria. It's what makes life most worth living - no question" http://www.hellomagazine.com/celebrities/specials/endofyearpoll2003/pagina_7_1.html

(Kimberly) Hey! . .what was I . .chopped liver??? I delivered my note in person Don't take it personally. This interview--at the Dorchester--took place somewhere around Oct 10, way before he laid eyes on you or received your note. Am positive (*snort*) he'd never have made a comment like that after seeing all those cardboard standups inside the LA premiere tent or seeing you and getting your note. ;-)))))))

Thanks, Josie. (Mari), Pfft! The fan base is now a phan-tom base.;-) Clap, clap! COLIN FIRTH AND LIVIA GIUGGIOLI'S SON MATEO Why do they keep mispelling his name? It's Matteo. (Karen), Exactly, but did LO suffer comparisons to Gielgud because of his looks, i.e., was Gielgud taken more seriously as an actor than Larry because he was a heartthrob? Since you're OT, I will add that I always thought LO ot be more handsome than Gielgud. Tress, I'm still waiting for that rumour. :-)

Final weekend numbers for GWAPE: $210,348 (up 11.4%) on 26 screens, for an average of $8,090 (v.g.) and a total so far of $865,240. From the new issue (January 12) of People mag: Swab Story Scarlett Johansson says that her Girl With A Pearl Earring co-star Colin Firth gleefully poked fun at her costume, especially since her head was wrapped tightly in a white scarf for the drama. "Colin kept saying I looked like a peeled egg," says Johansson, 19, who retaliated by drawing caricatures of the wig-wearing Firth with big hair. "He also said I looked like a Q-Tip. He'd stick little Q-Tips with happy faces on them up on our makeup mirror." Pic of SJ. Also, an article on Renee Zellwegger, accompanied by cute pic of her and Colin (called one of "Britain's leading men") on TEOR set--a variation of one we've seen.

(Moon) Tress, I'm still waiting for that rumour. :-) Check your e-mail. I don't wanna to be the one spreading the rumors...I just heard somethin' different, that's all...no proof. I'm sure it is only a matter of time before Hello or Now catch him 'in the wild'...

(Moon) Tress, I'm still waiting for that rumour. :-) Having just spent the weekend in central London with my DH and 2 younger boys, I had been thinking that it wasn't the healthiest environment in which to raise children. Maybe he's opted for country living and commuting to the city? BTW, loads of posters of GWAPE at the Tube stations. (Only one week to go!)

Well where oh where do I begin. First off, Karen that random gallery--whew! I waited days to see it. Thank you. Dorine, Tress and Evelyn ditto on the comments about the tub, the knees, the purple, and that phallic wine bottle. Oh how I've missed this place. It's good to be back. Josie great article. I think Ciara needs to come on board. She even got him to speak Italian. I agree that is a sponge me down moment. Thanks to all for everything. It will take me days to catch up. Just wanted to tell all of you that some of the best parts of my 9 days in London was seeing all the red double decker buses with the LA posters plasterd from one end to the the other, and the GWAPE posters. Crikey! I happend to be in the tube station at Green Park on Saturday. There is one steep escalator in there and lo and behold a GWAPE poster that was almost the length of the wall from ceiling to floor. As you ride up the escalator it just looms out at you. I tripped getting off because I was staring back at it on my way up. Also took another look on the way down then had to go up again. Also, at another stop the posters were in a row spaced about 5 feet apart and they even went around a bend. Each one was different with different members of the cast with different captions...Don't get caught in his web...another read Everyone gets caught in his world and so on. Almost like you had to keep moving on to read what came next. In several coffee shops they were giving out post cards with the poster on the front and an entry form on back for a trip to Denmark...no ODB just a trip to Denmark. I saw LA while I was there and GWAPE posters were outside for the coming attraction. Later that night, as I was leaving a girl was taping a notice on the poster that Tracy Chevalier would be doing a Q&A there in January. I'm not sure of the exact date, but it's at the Curzon Theater on Curzon Street Mayfair.I asked her if any cast members were attending, found myself winking like you know who I mean. I think she thought I was just another nutty American, but she did say, winking back, that she wasn't sure at the moment. (Evelyn)"He is that peculiarly British phenomenon, PMT: Posh Male Totty." ODB, PMT , LOL;-) but an AFGPMT;-) (Evelyn)Now let's find the one coming down the stairs barefooted.... This I gotta see...I'll go over to Cootie world, eh firthology and see if it has surfaced;-)

Welcome back, Linda. Since they probably fingerprinted you at Customs, that should provide adequate protection as well for the cooties at Firthology. ;-D Have fun over there. Antonella sent me some info about a GWAPE contest over at the The Times site: http://www.timesonline.co.uk/filmfirst where you win a trip to Amsterdam if you can answer the question: Who plays Johannes Vermeer in GWAPE? Put on your thinking caps and enter. Sorry, you don't win the said actor. ;-)

(Moon) Since you're OT... Not really, as I was discussing the article and the journalist's premise. But it has reminded me of another, who was always known as the next LO: Kenny boy. Didn't anyone think it odd that Kenny would be featured on the special DVD release of Another Country when he isn't in it? Sure, he played the Tommy Judd but he isn't in the film. So Colin isn't even providing special commentary for that. OK, Ms Lemonade, make lemonade about that. ;-)

David Weddle (Variety) Screenplay: Olivia Hetreed Category: Adapted screenplay Source Material: "Girl With a Pearl Earring," novel by Tracy Chevalier Storyline: A 17th century Dutch painter, Johannes Vermeer (Colin Firth (news)), forms a covert relationship with a 17-year-old servant girl named Griet (Scarlett Johansson (news)). He chooses Griet as the subject of his next portrait, and exploits the sexual tension between them to coax a mixture of sadness, longing, and frustration from Griet, which he captures on canvas. The relationship climaxes when he presents Griet with one of his wife's pearl earrings, and pierces Griet's ear so she can wear it. About the script: We often think of great screenwriting as tour-de-force dialogue, but Hetreed's script focuses on the silences between people, the emotions that remain unspoken because of fears or inarticulateness. Hetreed draws attention to the small actions that reveal people's turbulent inner lives. The dynamics of the Vermeer household are keenly observed. Vermeer's mother-in-law, who at first appears harsh, is revealed to be fighting desperately for the family's financial survival. In an era when American cinema celebrates all forms of excess, "Girl With a Pearl Earring" demonstrates the value of old-fashioned virtues such as restraint and understatement. Biggest challenge: "The novel is told from Griet's point of view, so you are privy to all of her thoughts and feelings," says Hetreed. "I didn't want to use a voiceover in the movie because Griet's an inarticulate, unanalytical character. So I had to find visual ways of dramatizing her emotions and thoughts. For instance, in the novel there's a fantastically erotic moment where Vermeer has her look into his camera obscura. He gives her his cloak and says, "Put this over your head." She puts it over her head and she can smell his smell and feel the warmth because he's just been wearing it. It was a fantastic moment, but you couldn't make that work on screen. Instead I put the two of them under the cloak, and you can feel the sexual tension between them." Breakthrough idea: "The book has a 15-year time jump in it," says Hetreed. "I decided that that just wouldn't play in a movie. The sexual tension is so intense that it's very important that the story takes place in a tight time frame; it needs that intensity of the moment to make it work." Favorite scene: "There's a scene with Griet and Vermeer where he says, 'Look at the clouds, what color are they?'" Hetreed explains. "She starts to understand how he looks at the world." Lines we love: Van Ruijven, Vermeer's wealthy patron, who enjoys taunting the artist, re what's going on with Griet: "Master and maid, that's an old tune and we all know it.'" Recognition to date: Golden Hitchcock, Audience Award 2003 Dinard Festival of British Cinema; cinematography, San Sebastian Film Festival. Writer's bio: Hetreed worked as an editor on movies for British television and went on to write screenplays for several British TV movies, including adaptations of "The Canterville Ghost," "What Katy Did" and E. Nesbitt's "The Treasure Seekers." After completing "Girl With a Pearl Earring," she wrote the first installment of the BBC's contemporary series based on "The Canterbury Tales."

(VARIETY :Screen writer)"He gives her his cloak and says, "Put this over your head." She puts it over her head and she can smell his smell and feel the warmth because he's just been wearing it. It was a fantastic moment, but you couldn't make that work on screen." Hey, Olivia, it worked for me. " Breakthrough idea: "The book has a 15-year time jump in it," says Hetreed. "I decided that that just wouldn't play in a movie. The sexual tension is so intense that it's very important that the story takes place in a tight time frame; it needs that intensity of the moment to make it work." " But what exactly was your breakthrough idea...;-). To leave the audience hanging???

or with erroneous conclusions. Yeah, excellent idea! ;-)

(Karen)or with erroneous conclusions. And an inadequate presentation of how Vermeer is attracted to her visual sense in the first place. Essentially we're left with "Camera obscura? Cool!" ;-) There are many things I like about the film but the screenplay isn't the one I'd single out. Thanks, Maria. Scarlett will be on the Today Show tomorrow. This is from The Scotsman: Johansson is as commanding and persuasive as the demure maid in 17th-century Delft - a role with almost no dialogue - as she is playing a drifting young hipster in 21st-century Japan. Indeed, she has had Golden Globe nominations as Best Actress for both performances: in the comedy or musical category for Translation and in the drama category for Earring. Both achievements are impressive. The former because Johansson�s co-star in Translation, Bill Murray, is one of the biggest scene-stealers in the business. The latter because, two and a half years ago, Earring was all set to shoot when Kate Hudson, originally cast as the enigmatic woman with the pearl, pulled out, causing the finance to collapse. The producers rallied, finding new backers and a completely new creative team (Peter Webber directs, and Colin Firth took over the part of Vermeer, originally to be played by Ralph Fiennes). "They thought I would really need to be buttered up - that I would be so upset I was not the first choice," recalls Johansson, cheerfully. "But I had the greatest leading man ever. It was so smooth and so much fun." Now, contemplating the quiet intensity of her performance, it is impossible to imagine anyone else in the role. Full article at: http://www.news.scotsman.com/features.cfm?id=13972004

The way this started out I thought it would all be written for laughs (and have not seen MLS OR GWAPE so hard to comment) but I liked the whole oyster angle and the little side pics and it seems the reviewer truly thought about the film before writing this... http://www.filmsnobs.com/www/shimes/girlearring.htm

(filmsnobs.com) The novel was written first person from Griet's perspective, which strikes me as a gross miscalculation--Griet's lot had no voice, thus the glory of the fiction is the revealing of her to the world. Maria, this one is great, thanks! The above quote nails for me a problem I had with the book. Now I can doubly-hardly wait for the movie. Thanks!

Unfortunately the cover pic shown is not him... COVER STORY: WHY COLIN IS A DUTCH OF CLASS Jan 3 2004 Heart throb Coin Firth hits the spot in Brit-Coms but he's also showing his versatility in a darker role as the painer Johannes Vermeer Paul English He's responsible for the warm glow in millions of hearts leaving cinemas across the globe over the years. But don't call Colin Firth a romantic. While hundreds of film-goers are filled with candyfloss emotions after flicks like Hope Springs, Love Actually and Bridget Jones�s Diary, the 43-year-old actor doesn't buy into the notion of the romantic love he peddles on screen. I'm not necessarily an optimist in terms of romantic love, he says. I'm not the type of romantic who enjoys the weepy movie and then sighs sweetly about it. I'm more interested in the obstacles and the impossible than I am in resolution and happiness. Whether his peer Hugh Grant shares the same belief is up for argument. But for all his recent associations with bumbling roles, Colin is doing his best to avoid the same career choices that have left Mr Grant typecast and lacking the sort of impact he once had. All this, despite his bumbling role in recent hit Love Actually. He says: I wouldn't be as patient and self-deprecating. I'm sporadi ally romantic, which means I don't have a permanent romantic view of life. I'm more interested in emotion and its complications. Colin's latest role, in Girl With A Pearl Earring, based on the best- selling novel, is a dark period drama in which Firth plays Dutch painter Johannes Vermeer. Candyfloss emotions? Unlikely. He says: I like to mix and match which is why I jumped at the chance to play Vermeer. I was sitting at home one day and a script arrived asking me if I wanted to do it. I said yes. I was ready to do a bit of drama, since I had done quite a string of romantic comedies and light stuff. For one thing, Pearl Earring meant he could drop the smarmy-one liners. I had been looking for years to do something like this, he says. In fact, it was odd, because in the first week of Pearl Earring I just wondered if I was doing something where I didn't have to be tongue-in-cheek? Even in roles like Fever Pitch, the film adaptation of Nick Hornby's classic novel where he played a teacher obsessed with Arsenal he still had his tongue wedged to one side. It's no surprise, of course, that Firth is often sent the lighter stuff after he shot to stardom as the racy Mr Darcy in the TV adaptation of Jane Austen's bodice- ripper Pride and Prejudice in 1995. He says: Romance and comedy have obviously found a way to go hand in hand in popular culture and I think, if you get successful in one thing, it makes you employable enough. Maybe so, but there is still the nagging suspicion that Colin took the part in teen comedy What A Girl Wants to raise his American profile. He disagrees. It wasn't that conscious, he says. I think a lot of what we do is very random and, on the outside, it is often assumed everybody has some sort of strategy. I often read an analysis of an actor's career and they talk about choices, in that they made bad choices for a while then good ones, as if they were in a world of perfect choice. In fact, it is very odd, just looking back over the last few things that I have done, I can't see any pattern. So e worked out badly and some worked out well, but there is no exact science. Then again, so long as Brit-coms like Bridget Jones's Diary, and this years follow-up The Edge of Reason, continue to hit the mark, then he no more needs a career strategy than Henrik Larsson needs shooting practice. Indeed, if he was waiting for the Bridget Jones follow-up to keep his profile buoyant, then the huge success of Love Actually has been an added bonus. It was a role Colin had no hesitation in taking, having worked with Richard Curtis on the smash hit Bridget Jones. He says: He has this fantastically intelligent and self-deprecating wit that you associate with the films he writes. He is doing something that, however mainstream it is, is different from what other people do and it is only mainstream because of the fact that he single-handedly made it so. It is quite hard to write about middle-class people, which is usually the stuff of sitcoms, but he manages to get some drama out of it. Colin thinks this is especially evi ent in Love Actually, a film that isn't just about those feel-good emotions. Great drama comprises comedy and tragedy, he says. Richard has been able to enmesh both and bring a genuine humanity to his work. Much of Colin's sequences were shot on location in the south of France and there were no major dramas working on what seemed a complex undertaking. He says: It was a simple pleasure from beginning to end. I think it was easy to say that because in some ways I could just jump right in and feel little pressure, as I'm not carrying the film. �My whole storyline could have been a total catastrophe and it wouldn't be the end of the world. I decided to see what would happen if I just allowed myself to be carried by someone who hasn't proved himself to be a master of this form. Also, when my stuff was confined to the south of France, the schedule started with my scenes, so it felt like it was my little movie for a while. It was easy to have a good time and get things right in three weeks. His role as Darcy was one which not only won him critical acclaim and the attention of casting directors the world over, but it also won him a legion of female fans. So much so that he was voted one of the world's sexiest men. Everyone likes to be flattered, he says. But it is weird because there is no one way you feel about that. You do wonder, I suppose, especially as your career has to continue, what it is going to mean yet I don't think it has meant that much except what I have talked about it in most interviews. And, besides, he's only interested in one woman, Italian documentary maker Livia Giuggiolo, who he met while he was filming in Columbia. They have a son Luca and last August she gave birth to their second son, Matteo. He also has a son, Will, to actress Meg Tilly, who lives in LA, a place Colin visits regularly to catch up with his boy. Hey, I have a great life, he says. I've got a nice home, great kids and a wife I love. So I feel blessed. But I consider myself a jobbing actor. I have to pay the bills. So I choose roles that interest me and allow me to get on with it. Perhaps for that reason he allowed himself to play the predominantly silent, internal and not particularly sexy Vermeer in the fictionalised story behind one of the 17th-century artist's most famous works � suggesting the girl in the painting was a maid (Scarlett Johansson) and his wife and family were scandalised that he would use her as a muse. Not much is known about Vermeer, so Colin had to invent him by looking at his paintings, which happen to be scattered all over the globe. He says: The tacit nature of the character has been drawn somewhat on the tacit nature of the paintings. You have this sense of quiet in the work within what must have necessarily been a chaotic household. There's no question about it, with 11 children running around � it was an active world. He grew up in a pub. The beer consumption was enormous. This was a world that wasn�t as calm and tranquil as the paintings might lead you to believe. Colin relishes the risk of starring n a slow-moving, painting-like drama that is as distinctive from the likes of Love Actually as you can get. But that's the fun of being an actor, he says. There was a friend of mine who asked me years ago if my primary instinct was to make people laugh or cry. I'd never seen it in those terms, nor do I, but it was an interesting question to think about. I suppose it was in my early twenties and so, without hesitation, I said, cry. It's more satisfying to try to move people, hit darker emotions rather than to uplift them and, of course, comedy is a lot harder. But he's making a right good go of it nonetheless. Next on the emotional menu? Laughter, in The Edge of Reason, the follow-up to Bridget Jones. Everyone feels the same about sequels, he says. It's worth doing if it's brilliant, otherwise you go into sequel purgatory. The first film is still so fresh in everyone's minds, which is what makes it so difficult to put together, because you need the same three people to be available at the same time. That's a challenge. But challenges are what a diverse actor thrives on. Let's see if Colin brings us laughter or tears. my fave COLIN FIRTH LOVES ITALY'S TRADITIONS, RENEE ZELLWEGER AND THE PAINTINGS OF VERMEER, ABOVE Art galleries I like going to art galleries now and pretending to be this bloke Johannes Vermeer who I play in Girl With A Pearl Earring. But the physical side of painting is beyond me. Renee Zellweger Hugh Grant and Renee Zellweger made Bridget Jones's Diary into something far bigger than any of us imagined. When it came to filming the sequel last year, it was a joy to see Renee and to see how much Hugh Grant has deteriorated in three years. Writing It's all rather convenient to have other strings to your bow. I would love to write stories but it's a fantasy, not an ambition. Italy I love its sense of tradition. When I met my wife, Livia, I had to present myself to her father. I had never met a 26-year-old woman who still lived with her parents. The wisdom of jazz legend Miles Davis I've always followed the advice of Miles: Don't play what you know. Play what you don't know. That could be the watchword of my career. http://www.dailyrecord.co.uk/saturdaymag/content_objectid=13776703_method=full_siteid=89488_headline=-COVER-STORY--WHY-COLIN-IS-A-DUTCH-OF-CLASS-name_page.html

(MariaT)Unfortunately the cover pic shown is not him... It is in my copy of the supplement! -My lovely Mum kept the newspaper for me since I was away for the weekend. (I have a very supportive family!)

(CF) I had been looking for years to do something like this, *Years* to find a drama besides Conspiracy? :-/ Where ya been looking, in haystacks? (CF re Richard Curtis) He has this fantastically intelligent and self-deprecating wit that you associate with the films he writes. He is doing something that, however mainstream it is, is different from what other people do LA was a fluffy Altman movie. their second son, Matteo. There ya go, Moon. 2 T's. ;-) Thanks, Maria for all the tidbits today.

"But I consider myself a jobbing actor. I have to pay the bills." *Yawn, Yawn, Yawn*..If I have to read this one more time, I'm gonna puke. Thanks Maria.......not your fault. Why doesn't he vary his answers! This getting to be like:... "The gang in the St. Louis playground"...of four years ago. The guy goes on a kick.

(Karen)or with erroneous conclusions. Yeah! When she goes to the house to receive the earrings after he's dead, she brings her 15 year old daughter with long dark hair. ;-) Thanks, Maria!

(Evelyn)Why doesn't he vary his answers! Looks to me like ALL those quotes in that Daily Record cover story are taken from other (or earlier) interviews -- I know most of them are because I've been reading and reading these things for my research and most of the lines are the EXACT same wordings. I've seen this with other articles. As we know, journalists don't have to divulge sources, provide citations, can make unsupported generalizations or statements, etc. It appears that newspaper articles sometimes (often?) lift quotes from magazine interviews.

I had been looking for years to do something like this, he says. I was sitting at home one day and a script arrived asking me if I wanted to do it. I said yes. Actively searching, huh? That Lazy-Boy was a bad purchase decision. ;-) In fact, it is very odd, just looking back over the last few things that I have done, I can't see any pattern. I do. They're mostly "randomly" bad, which happens when you sit in that Lazy-Boy waiting for good scripts to knock on the door.

I jumped at the chance to play Vermeer. I was sitting at home one day and a script arrived asking me if I wanted to do it. Way to aggressively hunt down those good dramatic parts!;-) ;-) (Dorine)*Years* to find a drama besides Conspiracy? :-/ Where ya been looking, in haystacks? No, in the mail box.;-) Well, he'll have a good opportunity at Sundance to rub elbows with the people who are writing, producing and directing a lot of the good dramatic stuff. Thanks for the article, Maria; Janet,is it a new pic?

Great minds, Karen! I gotta get to bed.

(Madelyn) Looks to me like ALL those quotes in that Daily Record cover story are taken from other (or earlier) interviews Very likely, as Colin doesn't give interviews to tabloids. Whatever is usually printed in these is "cobbled" from other sources. The "fave" quote about Italy came right from our translated by committee article. ;-) BBC has given GWAPE 4 out of 5 stars: Girl With A Pearl Earring is a superior British costume drama that expertly mixes art history with romantic fiction. Peter Webber's directorial debut subtly portrays the relationship between Dutch artist Johannes Vermeer (Colin Firth) and his enigmatic subject (Scarlett Johansson). Adapted from the bestselling novel by Tracy Chevalier and inspired by the painting of the same name, this film doesn't just appeal to budding Vermeers but anyone who likes serious, intelligent drama and gentle erotic tension. In mid-17th century Delft, Holland, 17-year-old Griet (Lost In Translation's Johansson) is forced into servanthood when her father suffers an accident and is unable to work. She's taken on in Vermeer's household and gives everyone the hump - particularly the artist's permanently pregnant wife (Essie Davis) and eldest daughter (Alakina Mann) - when she starts forging an understanding with her mysterious master. "POUTING LESSONS FROM POSH HERSELF" Colin (Love Actually) Firth battles bravely to stop his Iron Maiden-style wig from expressing more than he does, while Scarlett Johansson has been taking pouting lessons from Posh herself. That said, both leads are excellent, doing a grand job of expressing feelings and emotions without the use of much dialogue, and the picture is the better for it. The film is occasionally clumsy on the erotic overtones (a sledgehammer would have been as subtle as the twitching hands scene), but ultimately the story's power stems from its restraint. It's a shame that Tom Wilkinson - as Vermeer's sleazy patron Van Ruijven - is underused, peering occasionally around corners to leer at maids like a salivating wolf. But the film is beautifully shot, each scene resembling a mini-portrait in itself. Not a masterpiece, then, but well worth a viewing. ~~~~~~~~~ There is also an interview with Colin: Q: One of the interesting things about Girl With A Pearl Earring is how there's very little dialogue... A: It's good not to speak. I think it gives you the opportunity to own it, in a way. When you've got other people's words, you have to go full circle, making their words yours. Doing it in this way, it's much more of a direct line from the source material to whatever it is you're doing in front of the camera. Words can be an enormous asset. They can really catapult you into something wonderful if they're brilliant. If they're not, then they are a gigantic obstacle. If they're not there, then suddenly it's you! You're on! You have to sing and dance, and that's it. Q: The centrepiece of the film is the evolving relationship between Griet, the servant girl, and your character, Johannes Vermeer, who wants to paint her. How did you make that relationship real on screen? A: It all got quite easy once it was between myself and Scarlett [Johansson]. It was a strange job for me because I wasn't present for a lot of it. I mean, I was and I wasn't. I had to be there physically most days so I could walk down a flight of stairs or something. It meant I wasn't really able to establish anything for a long time, but once we got into the meat of it, in that artist's studio, between the two of us... I found that once we hit a certain tone, those elements just actually sort of dictated it. That's when collaboration actually starts to display its benefits - we start to inspire each other. I found that once we were at the proper work, it didn't require great leaps of the imagination. And it was also easy because Scarlett really is so believable. Q: Why did you take a chance on working with Peter Webber, a first time director? A: It didn't seem like such a terrible risk. He's not wet behind the ears. He's very experienced behind a camera. He's made drama. I think we make a rather artificial divide between the small screen and the big screen because the work is very much the same. It depends what sensibilities you bring to it. He knows the world of cinema. He's one of these people whose knowledge is encyclopaedic, but he's also watched and studied things. I felt he was more equipped than a lot of more experienced directors I've worked with. I didn't have the feeling of a man on his first feature film job at all. Q: How does it feel to be in a movie that a lot of people wouldn't associate you with? A: I think it's great. I'm quite happy for those things to co-exist. This film wouldn't be possible without Bridget Jones for me. I enjoy doing Bridget Jones. I don't think films are less substantial because they're more popular or because they're lighter. I certainly know that if you're any more bankable because of the success of one film, then one of the privileges it buys you is to make you credible for a film like this. They then consider me as part of what helps to get the film made. It's a combination of elements that I'm prepared to make use of as long as I can. http://www.bbc.co.uk/films/gateways/star/firthcolin/index.shtml

Happy New Year to Everyone. I saw a small article in Telegraph (3rd Jan) refering to Colin- "now appointed patron of Survival".Is this news or history? Can't find any reference to this on the Survial site.Apparantly he has written to De Beers campaining against mining practices in South Africa. Wonder if there will be any fall out as regarding possible filming in S.A.?

In fact, it is very odd, just looking back over the last few things that I have done, I can't see any pattern. (Karen) I do. They're mostly "randomly" bad, which happens when you sit in that Lazy-Boy waiting for good scripts to knock on the door. I think it's time for another report from our on-the-scene imbeded Drooler, who was posing as a maid in the Islington house. Wasn't her mission to search out and destroy any bad scripts that made it past the perimeter and try to plant suitable scripts where ODB might conveniently pick them up? (i.e. next to Lazy-Boy) Has anyone heard from her lately? Think she's still hiding in closets, or has she been done in by a red fingernail?

I am a veteran lurker, not being nearly as witty as most of you charming firthettes. I just had to share my excitement about getting tickets yesterday to the first screening of Trauma at the Sundance Film Festival. I have lived in the Salt Lake City area for almost 19 years and never attended the festival, but I couldn't resist being one of the first to see a CF film.

Gone for a day and such lovely lovely tidbits to read! Thanks, as always to Maria and Karen for the articles . . . (Hetreed)Instead I put the two of them under the cloak, and you can feel the sexual tension between them." Ahhh indeed you do . .;) (Colin)The wisdom of jazz legend Miles Davis I've always followed the advice of Miles: Don't play what you know. Play what you don't know. Love this quote . .actually have it in my journal that I carry around with me (yes, very much in manner of BJ:) (filmsnob)but none of them will developed into the actress Scarlett Johansson is by pimping themselves to Mona Lisa Smile. Far fewer people will see Girl With a Pearl Earring, for sure, but those who do will be rewarded with a moving portrait of art, not just some people pretending to be moved by art. Youch! . .is Mona Lisa Smile that bad . .haven't seen it yet . . (BBC)this film doesn't just appeal to budding Vermeers but anyone who likes serious, intelligent drama and gentle erotic tension. Hmmm who could that be . .me! . .me!! Esp the latter . .

Janine - Am very jelous of you and any other fellow Drooleours who get to go to Sundance! A friend here at who is an employee of the Sundance Channel has just informed me that she is attending the whole festival . .I asked if she could hide me in her luggage . .but to no avail . .she is going to try to see Trauma for me to give me some early details!

(Janine) I am a veteran lurker, not being nearly as witty as most of you charming firthettes. I just had to share my excitement about getting tickets yesterday to the first screening of Trauma Fantastic! I hope you'll report back on the movie and the experience and if YKW shows up. Remember, bring your camera. It's more important than being witty. ;-)

(Karen) Remember, bring your camera. It's more important than being witty. ;-) LOL....one good pic and you don't have to be witty for weeks on end! Janine...we'll be seeing you there! Am wondering if YKW will show with all the cancelled flights out of UK and Europe. Surely they are flying commercial on the Trauma budget.

Good for you, Janine! Can't wait to hear your thoughts on Trauma. In case Colin shows up, bring your cardboard cutout double; the phan-tom base must be represented.;-) (Tress)wondering if YKW will show with all the cancelled flights out of UK and Europe Mostly just that one flight from London--DC run has been subject to delays and cancellations. I doubt very strongly if flights to Salt Lake City of all places would be affected.

Don't think this has been posted yet . . . From the National Catholic Reporter (Issue Date: January 9, 2004) Romance and Desire 'Girl with a Pearl Earring' shines; 'Something's Gotta Give' is coy look at love By JOSEPH CUNNEEN Girl with a Pearl Earring will delight those who prefer their dramatic moments muted as well as those who love great paintings that have remained mysterious. Based on the carefully researched novel by Tracy Chevalier about the great 17th-century artist Johannes Vermeer and his model for the painting that provides its title, the movie is an advanced class in the use of light and color. Documentarian Peter Webber�s first feature film, �Girl with a Pearl Earring� is impressive in its presentation of Delft -- its canals, clothes, class divisions and social assumptions. He works well with a fine cast, and photographer Eduardo Serra captures their different faces with a subtlety that complements the paintings that dominate the film. Young Griet (Scarlett Johansson), who comes to work as a maid in the Vermeer household, is the radiant but soberly becapped daughter of a local tile maker who has become blind. The movie opens with her meticulously chopping and arranging vegetables for the last meal she will have in her own home. Soon she will bring such attention to detail and sense of order to Vermeer�s studio: Asked by her mistress to clean its windows, she worries that this may change the studio�s lighting. What is most remarkable is how, despite the strict class barriers of the time and the limited number of her spoken lines, Johansson is able through expression alone to convey Griet�s vulnera ility, curiosity and intensity. While laundering, cooking and running errands, Griet has to put up with the snobbery of Vermeer�s wife, Catharina (Essie Davis), the deliberate cruelty of one daughter, a despotic mother-in-law (Judy Parfitt) and the artist�s womanizing patron, Van Ruijven (Tom Wilkinson). But Griet�s quiet beauty and instinctive response to color soon bring her to the attention of Vermeer himself (Colin Firth), who asks her to help mix his paints. The sequence in which he explains to her the mechanics of the camera obscura successfully conveys the repression that heightens their growing mutual attraction, though the subtlety of the relationship is undermined by the intrusive music of Alexandre Desplat. Firth is impressive in suggesting the artist�s brooding, taciturn personality, but audience sympathy is inevitably with the besieged Griet. She modestly accepts the attentions of the handsome young butcher�s apprentice, Pieter (Cillian Murphy), and is initially reluctant to remove her cap when the painter insists he needs to see her face. The cascade of auburn hair tumbling down provides a major moment in the film, but Griet immediately covers her hair, grasping the blue and yellow cloths that are preserved in the famous painting. The idea of an affair between artist and model has become such a clich� that responses to the movie may depend on whether the audience insists on a reductionist understanding of human relationships. �Girl with a Pearl Earring� is satisfied with implying that Vermeer and Griet have learned from and come to care for each other despite their deep differences in class and religion. The film deliberately ends in ambiguity; those who would like to know more or dig deeper should turn to the book. For example, there is no attempt to convey the subtlety of the book�s conversation between Vermeer and Griet on the difference between Catholic and Protestant attitudes to painting. Nevertheless, by conveying the importance of art in preparing our responses to everyday life, �Girl with a Pearl Earring� suggests an underlying religious significance. For the rest of the article - http://ncronline.org/NCR_Online/archives2/2004a/010904/010904h.php

Scalett was on the Today Show this morning and Katie was drooling away! After discussing/showing the clips: Katie: "I love Colin Firth. I think he's wonderful. What was it like working with him? I don't know him well, but I've interviewed him a number of times and he seems like an absolute gem." Scarlett: (Nodding head vigorously, then stopping and breaking into wry, mischief-y smile) "Colin . . . he's alright, I suppose." Both ladies fall into fits of laughter. I can just imagine what they talked about just prior to the interview!:-) BTW, if you haven't already done so, read the GWAPE "diary" posted by Murph on Odds & Ends Topic 178.

Adorable! You can watch it at the MSN Today Show site. http://msnbc.msn.com/Default.aspx?id=3032633&p1=01%7C%7C%7C%7C003 It's the second video. If anybody's taped it, let me know.

Re: Scarlett's appearance on 'Today' this morning. Agree she was adorable - very poised and well spoken. I've seen a real transformation in her these past few months. All the exposure from GWAPE and LIT has really helped mature her public persona. Think we'll be seeing a lot more of her in the future.

Don't think this one's been posted yet... http://seattleweekly.com/features/0401/040107_film_thisweek.php GIRL WITH A PEARL EARRING Opens Fri., Jan. 9, at Seven Gables and Uptown Has Scarlett Johansson ever been in a movie with a plot? Ghost World, The Man Who Wasn't There, Lost in Translation . . . and now this? Maybe she's the new muse of the meandering and the atmospheric. Audiences, directors, and especially directors of photography love to stare at her soft, dewy features. Her best pose is repose, so you can understand why, in this still, handsome adaptation of the 1999 best seller by Tracy Chevalier, Johannes Vermeer (Colin Firth) chooses this household maid for a portrait commissioned by his chief patron, Van Ruijven (a hammy Tom Wilkinson), which today hangs in the Hague. Griet isn't just a good pupil when Vermeer explains how light works; she seems to attract the stuff. Martin Amis wrote that one of his heroines appeared to be illuminated by her own personal cinematographer. Griet goes her one better: She's got her own Dutch master, and a hunky, smoldering one to boot. Yet the snickering subtext to the classic artists-and-models romance only remains a subtext here, however charged. ("Master and maid�there's a tune we all know," Van Ruijven insinuates, but alas not a tune we get to hear.) The greater tension comes from the jealousy that ripe, young Griet creates among the women in Vermeer's household�his simpering wife (Essie Davis), shrewd mother-in-law, and spiteful 12-year-old daughter. Girl is also oddly pedagogic as Vermeer teaches Griet about pigments, lets her mix his paint (not steamy or sensual in the slightest), and basically educates us about his craft while mentoring her. The film is so hushed and respectful that we hear the touch of bristles on canvas. Fine, but if we wanted art-history textbooks, we'd go to the library. It's all very PBS-y, yet even Upstairs, Downstairs had scandals and sex. There's talk of how virile Vermeer has knocked up a succession of prior models�talk, and not even much talk at that. Even though I like the way that the director summons up the daily domestic life of 1665 Delft, Girl rather dully subscribes to that old trope about the artist's displacement of you-know-what into his art. They have to be kept chastely separate, unlike, say, the life of Picasso, who managed to paint and screw without his energy ever flagging. But I guess that's a different movie. Here, there's just a superfluous courtship subplot with 28 Days Later's Cillian Murphy to make a woman out of Griet; there's a lovely scene of them walking by a wintry yellow canal in the snow, but it's only there because it's lovely, not because it makes sense. Meanwhile, Firth's saturnine Mr. Darcy charisma goes nowhere; he's not much better used (he's ill-used, really) than in Love Actually, only without all that splashing in the lake. I guess he's biding his time while Ren�e Zellweger fattens up for the Bridget Jones sequel. As for lovely, lank, do-less Johansson, only 19, she's graduating to high school in the SAT-theft movie The Perfect Score (Jan. 30). Let the other teen strivers worry about their double 800s; in my yearbook, she goes down as most likely to achieve by not achieving. (PG-13) BRIAN MILLER Ouch! --------------------------------------------------------------------------------

BTW, no need to put all quoted material in italics. Take pity on your fellow Drooleurs' eyes. ;-) Attn: E! News had a little bit on GWAPE today, talking to both Scarlett and Colin during the press junket. It will be repeated tomorrow at Noon Eastern time.

Loved Scarlet's interview with Katie. Was it me, or was there a spring of some sort in her chair? v. bouncy, but cute. Ah yes, the twinkle in Ms. Couric's eye when she mentions YKW;-) Thanks Karen for that link and the heads up on E!

Another writer smitten with Colin in an article about Tracy Chevalier's book tour: I asked if this now-successful author ever wished she could reach back in time to console the struggling, unpublished writer she once was with the knowledge that someday Colin Firth would deliver lines she had written on the big screen. Chevalier let out a long, unrestrained laugh that must be a source of delight to her friends. http://seattlepi.nwsource.com/books/155659_tracy08.html

For Karen - Sorry about the italics (I'd actually thought they might be easier on eyes.) Comments duly noted for future postings...

Re: Today Show interview with SJ--does msnbc.com archive the video clips anywhere? It look like I missed my window to see this clip (no longer on the "front" page). Not entirely thrilled with their new web design!

Some new captures from Trauma up at Colin Firth Image Gallery. - Pretty horrific, but it's the spiders I'm more worried about! BTW, this girl does have an amazing collection of pics.

Yes, those came from the makeup artist's site. Thought they were too gory to put up. :-(

I caught the closing credits of E! news live and saw that they showed a clip of BJD...anyone see the show? I guess it's noon time tomorrow for me, again. thanks, Janet

Colin Firth's easy job with Scarlett Last updated 08 January 2004 Scarlett Johannsen seems to be an actress to look out for this year. She has already starred in a couple of movies including 'Eight Legged Freaks' and 'The Horse Whisperer', but this year looks like it's going to be her year. Firstly, she stars in 'Lost in Translation' with Bill Murray which opens this week. Bill plays a fading American actor in Japan who befriends her as she's the only person he can understand. She is also starring alongside Colin Firth in 'Girl With The Pearl Earring', a slightly more serious film about Dutch artist Johannes Vermeer - she plays his model. Colin said he had quite an easy time through the first few weeks of filming, but it still wasn't easy: "My job for those first five or six weeks, was to come in on a Tuesday, and maybe a Wednesday and a Friday, do another look out of a window, walk down a corridor, sit at the end of a table and then go home again. And in the evening, we'd all go out to dinner and everyone would say 'Scarlett was so marvellous today - this is going to be such a marvellous film, well as long as you're good�'" http://www.bbc.co.uk/radio1/news/entertainment/040108_colinfirth.shtml

Telegraph Review:GWAPE Portrait of perfection (Filed: 09/01/2004) Girl With a Pearl Earring recreates the world of 17th-century artist Vermeer with astonishing attention to detail. Sarah Crompton talks to an expert in Dutch art about the way it brings the paintings to life Cinema loves a tortured artist. Whether it's Charlton Heston cramped on his back painting the Sistine Chapel ceiling in The Agony and the Ecstasy, or Ed Harris splattering his canvases, fag in mouth, in Pollock, film delights in the recreation of genius at work. Girl with a Pearl Earring: Scarlett Johansson But I can't remember a film that goes to more trouble to make each scene look like a work of art than Girl With a Pearl Earring, which is released here next Friday. Starring Colin Firth as Vermeer and Scarlett Johansson as the servant girl Griet - very different but just as wonderful as she is in Lost in Translation and a very convincing look-alike for the girl in the famous painting - it evocatively and precisely recreates the painter's household in 17th-century Delft. In doing so, it vividly recalls the paintings of the period. Axel Ruger, curator of Dutch Painting at the National Gallery, was impressed. "The film takes the atmosphere and some of the pictorial language of the time and translates it into a cinematic language - a moving image of the still paintings, if you like. It's a great achievement. "Very often you see the protagonists involved in some kind of manual household task - peeling vegetables, washing, sweeping the floor - and it is almost as if a painting has come to life." He says that this is particularly true of the interiors, which are deliberately framed by Eduardo Serra's sumptuous cinematography to look like the rooms in a Vermeer. "Very often you see a box-shaped room, with a window on the left, subtle lighting and interior arrangements and furniture just like those you see his work." Such careful authenticity is all the more surprising because Tracy Chevalier's best-selling book, the source for the film, is based not on the facts of Vermeer's life (about which we know very little) but on a credible but fictitious premise. What if, she asks, Vermeer had been inspired by the beauty of a maid who came into his household, with whom he fell in love, with complicated consequences? It makes a great story, but the fact is, no one knows who posed for Vermeer. It may be that one of his daughters was the model. But Ruger says we simply do not know, just as the identities of the models for his other paintings remain lost in the mists of time. "Chevalier's novel extrapolates Vermeer's character from his paintings," he says. "Because he paints quiet scenes, she argues that he must be a contemplative man who is withdrawn from his family. But we know he had 10 children, so that would be quite involving. We know he was active in the Guild in Delft, and that he travelled round Holland. He was a prominent public figure. For all we know, he could have been out at the pub every night." This hardly chimes with the moody, silent character portrayed by Firth, full of suppressed emotion and wistful longing. But the film is faithful to another fact about the painter's life: we do know that Vermeer and his mother-in-law dealt in art, and we glimpse paintings on the wall of their home - such as The Goldfinch by Carel Fabritius - which it is feasible that they might have sold. It is also engrossing on the way Vermeer painted, building up depth of colour on his canvases. One episode shows him receiving a camera obscura, and snuggling with Griet under a cloak better to see its image. This is potentially controversial, since argument has raged long and hard in the art world over whether the artist did actually use optics to gain his pellucid effects. But Axel Ruger is satisfied that the notion is not overplayed. "I am adamantly against the idea that he directly used a camera obscura for his effects. But, on the other hand, Delft at that time was a centre for optics, and he was a very cultured man; so he would surely have been aware of the optical possiblities." Some of the loveliest scenes in Girl With a Pearl Earring are those where Vermeer teaches Griet how to prepare his paints, introducing her to the secret art of grinding and mixing heavy black, bright lapis lazuli, rich vermilion. The induction becomes a tender moment of understanding, but the techniques used, if not the emotion depicted, have their roots in a real and arduous process. Ruger explains: "It's all quite authentic. It was very laborious and involved, and every artist had his own recipes and idiosyncracies. Usually, the artist had an apprentice who paid to be in his studio and learn from him - whether Vermeer would have used his own servant for that is another point. But perhaps he was so besotted with her" That's only in the story, I point out. Ruger laughs. That's the thing about Girl With a Pearl Earring. It looks so beautiful and its story is so charming, that you are in danger of confusing the fictional Vermeer with the real thing. 'Girl With a Pearl Earring', released next Friday, is January's Telegraph Movie Monthly. For details of special screenings see advertisement on page 23.

GWAPE expands to a number of cities here tomorrow, so a new batch of reviews are coming in. This one is vg. Girl With A Pearl Earring By PHILIP WUNTCH / The Dallas Morning News To use one of David Letterman's favorite words, Girl With a Pearl Earring must have been "daunting" for all its major talents. As his feature debut, director Peter Webber chose a story of a faraway place in a long-ago time. As her first solo feature film, screenwriter Olivia Hetreed adapted a critically praised best seller, Tracy Chevalier's fictionalized account of Dutch Master Johannes Vermeer's creation of his most famous painting, Girl With a Pearl Earring, allegedly inspired by a household servant. Cinematographer Eduardo Serra (Unbreakable, The Wings of the Dove) faced the challenge of bringing his own style to the story of a painter famous for experimenting with light and shading. And, finally, Colin Firth and Scarlett Johansson must inhabit the roles of artist Vermeer and the young servant Griet. The painter is a shadowy figure, while Griet, as much by her own choice as by the dictates of her station, says very little for much of the film. All succeed superbly. And for Ms. Johansson, also exquisite in Lost in Translation, the film is an unqualified victory. Griet is nobody's fool and nobody's martyr, and her sudden flashes of passion and anger are as eloquent as her lengthy silences and penetrating stares. In 1665 Holland, Griet's impoverished parents virtually sell her to the prominent Vermeer family in the city of Delft. The household is ruled by the painter's arrogant, despotic mother-in-law, Maria (Judy Parfitt), who sometimes acts as if she has eyes for her brooding son-in-law. Her daughter, Catharina (Essie Davis), has reason to feel neglected and neurotic, which she does to the point of crazed hysterics. Vermeer, it must be said, does not always show the greatest wisdom in maintaining domestic tranquillity. He notices the quiet Griet's affinity for art and asks her to pose for his new painting. Although their relationship never progresses beyond platonic, he makes only modest efforts to conceal his fondness for her. When Catharina discovers that Griet has posed for her husband � wearing one of her earrings, yet! � a tempest quickly erupts. The film's wholeness of vision is the work of many contributors. Its superb production design aids both director Webber and cinematographer Serra in creating the mood of a bustling city of canals. Mr. Webber's entire cast is expertly chosen. Ms. Johansson's instinctive, glowing performance should get Oscar-nominee acknowledgment. Mr. Firth's Vermeer has the spellbinding mixture of both an artist's self-absorption and an artist's compassion. Ms. Davis brings creditability and even pangs of sympathy to the role of hysterical wife. Ms. Parfitt's mother-in-law is the closest the film possesses to a one-note villain, but she plays it with sublime self-assurance. Tom Wilkinson, so powerful in In the Bedroom, shows off his distinguished leer as Vermeer's bawdy patron, while Cillian Murphy displays unforced pleasantness as a butcher's son who offers Griet a respite from the Vermeer household. Like the painting itself and the young woman who inspired it, Girl With a Pearl Earring is a quiet jewel.

A Lustrous 'Pearl Earring' By Desson Thomson Washington Post Staff Writer IN THE delicate, assured "Girl With a Pearl Earring," a 17-year-old servant who has joined a Dutch household spells big trouble. Her name is Griet (Scarlett Johansson) and, even though she hardly speaks and is all but lost in her cap and frock, there's something irresistibly provocative about her. The women -- and this gloomy, busy Catholic house is full of them -- sense this immediately. In 1665 in the small town of Delft, such female allure is a harbinger of unspeakable temptation for the man of the house. That would be Johannes Vermeer (Colin Firth), the industrious artist who works directly for his patron, van Ruijven (Tom Wilkinson). Vermeer spends most of his time squirreled away in the upstairs studio, painting models positioned in the same corner. It is a quietly busy life. But the paintings never seem to come fast enough for this rapidly expanding family. Vermeer's wife, Catharina (Essie Davis), seems to be constantly pregnant. Anxiety runs rampant. And Catharina's tight-lipped mother, Maria (Judy Parfitt), watches the finances nervously. The inevitable happens. Vermeer is taken with this girl who shows such fascination with his studio and his paintings. Griet, who comes from a Protestant home, is a woman of some sophistication; she's only a servant because her father has been rendered unemployable due to sudden blindness. When Vermeer shows Griet the wonders of the camera obscura, his face close to hers under the flap as they gaze through the lens, a dangerous bond is formed. Very soon, he has Griet buying his supplies and mixing the paints. And their mutual passion over aesthetics and each other is clearly more captivating than the relationship between Vermeer and his wife. When he asks Griet to pose for a painting, she realizes she has to make some painful decisions. Should she risk her livelihood for a painting? The women rule this house, not the artist. They will undoubtedly get rid of her. She'll lose her precious connection with the artist either way. Meanwhile, van Ruijven, who has a reputation for soliciting and bedding models from Vermeer's studio, also has noticed her. He makes a bargain with Maria that sets a heartbreaking scenario into motion. And there is yet one more pressure on Griet: Pieter (Cillian Murphy), the son of the local butcher, is clearly infatuated with her. He'd be the perfect candidate for a husband, if not for Griet's powerful attraction to Vermeer's world. The movie, directed by Peter Webber and written by Olivia Hetreed, is adapted from Tracy Chevalier's best-selling novel, which was inspired in turn by the 17th-century Vermeer painting that now hangs permanently in the Mauritshuis in the Hague. The identity of the woman in the painting is not known. Thanks to this compelling face, three fine works have been made: painting, book and movie. Perhaps no one could have fulfilled the ineffable appeal of Griet better than Johansson. It isn't merely her cherry mouth, pale skin and uncanny resemblance to the girl in Vermeer's painting that make her so memorable here; it's also her mystical presence, born of deft acting. She barely speaks, but her gestures and mien are everything. She becomes the Girl, rendered in a brilliant variety of lights and darks, funereal blacks and glowing golds by cinematographer Eduardo Serra. The movie's only false brush stroke is Murphy, who seems too impossibly boy-toyish and fastidious to be some local Dutch lad. But apart from that, everything works beautifully. And if the scope of the film feels small, "Girl With a Pearl Earring" fills that scope to bursting with subtle glory. It takes things as far as they can -- and should -- go.

Vermeer's painting director's 'Pearl,' too By Scott Galupo THE WASHINGTON TIMES "Girl With a Pearl Earring" is as riveting as a tour of a good city museum. Depending on your inclination, you can take that either way you'd like. An adaptation of Tracy Chevalier's historical novel, which concocted a back story to Johannes Vermeer's painting of the same name, "Pearl," in every one of its vividly colored frames, is an homage to the old master. There are three acts in here somewhere, I think, but they're not relayed through traditional means. Dialogue, for instance; there's almost none of it here. With action frozen in carefully staged production designs, "Pearl" is more like an exhibition, hung in a gallery of celluloid. Stare at it for 95 minutes; search for deeper commentary about class and privilege; appreciate its proportion and composition. If you've ever said of a movie that it was like watching paint dry, you will say it again of "Pearl" � and you may mean it as a compliment. Set in 1665 Delft, Holland, "Pearl" imagines that the muse for the famous portrait was a 17-year-old common girl, Griet (Scarlett Johansson), introduced to the Vermeer household as a maidservant with an intuitive understanding of art that belies her illiteracy. Miss Johansson, following her quietly intelligent role in "Lost in Translation," takes quiet intelligence to even quieter heights here. Her face a ghostly pallor, she speaks pages of dialogue through facial tics and movement of mouth. Her Griet is timid, hesitant, curious, transfixed by the beauty of Vermeer's work. Under a chaste white cap and buried in clothing, she nonetheless crackles with sexual energy. Vermeer, played by the always likable Colin Firth, notices all these things, but the movie never quite says so. It doesn't have to. Peter Webber, a first-time feature director, telegraphs "Pearl's" story arc through an economical interaction of imagery and sound: eye rolls toward footsteps overhead; the rumblings of arguments in other rooms; the moans of pregnancy. What all this does is establish the dysfunctional politics of the Vermeer household without spilling too much ink or wasting screen time. Vermeer himself is a slow, deliberative worker, living well but painting essentially on hand-to-mouth commissions from a tyrannical patron, van Ruijven (Tom Wilkinson). He's badgered by a materialistic, miserable wife, Catharina (Essie Davis), who's indifferent to higher things and who uses her gift of fertility as leverage over her husband. Cornelia (Alakina Mann) is a scampish daughter who becomes jealous of Griet's newfound standing with her father. Watching over it all is a Machiavellian mother-in-law (Judy Parfitt) willing to endanger her daughter's happiness to maintain cash flow. Things reach a crisis point when van Ruijven, angling for control, commissions Vermeer to paint Griet alone, knowing full well the tension between them. Mercenary Maria (Miss Parfitt) slips Griet a few coins, a payment for her silence. Her daughter, the delicate thing, must never find out. What's the point of all these exercises, ultra-precious as they are? High art is wasted on the rich, is one thing that comes to mind. For van Ruijven, Vermeer's paintings are tokens of privilege. For Vermeer, they are his passion. For his family they're nothing more than the way he earns a living. Mr. Webber, like director Stephen Daldry was in "The Hours," is rather ham-handedly obsessed with food as allegory. Anyone who sells it or prepares it is by definition of low birth. An ill-fitting and hurried story in "Pearl" follows Griet's romance with a butcher's apprentice (Cillian Murphy). Like Griet, he's smarter and more refined than his job. Talent, you may have noticed by now, is democratically distributed in "Girl With a Pearl Earring" � to the point that it almost forgets the decidedly uncommon genius of the man it so artfully celebrates.

Drama exceeds limits of truth and succeeds By ERIC HARRISON Copyright 2004 Houston Chronicle Dutch painter Johannes Vermeer is the perfect artist around which to create a fictional drama because so little is known about him, and his painting Girl With a Pearl Earring, which was long missing, has been the subject of more than a century of speculation. A young woman, wearing a blue turban, looks over her shoulder at the viewer, her full lips slightly parted. From her left ear dangles a pearl earring. Some scholars believe the model might have been Vermeer's oldest daughter, others think it might be the daughter of his principal patron, Pieter van Ruijven. In her 1999 novel, author Tracy Chevalier imagined she was Griet, a 16-year-old maid who goes to work in the Vermeer household in Delft, Holland, in 1665 after a tragedy in her family; she quickly catches the interest of both painter and patron. In the new movie adapted from that book, painting seems the most erotic act imaginable. At the very least, it is an elaborate form of foreplay; it may be a straight-out surrogate for sex. When Vermeer's wife learns he has painted the maid -- wearing her earring, no less -- she goes berserk as if betrayed. Van Ruijven (Tom Wilkerson), whose lust for young women rivals that of Jack Nicholson's in Something's Gotta Give, thinks buying a painting of a pretty girl is the same as buying the girl. And after posing for Vermeer (Colin Firth), Griet (Scarlett Johansson) rushes off to find her boyfriend, a young butcher played by Cillian Murphy. She apparently needs to release all that energy she built up under Vermeer's smoldering gaze. Befitting a film set in the world of art, Girl With a Pearl Earring is spectacularly beautiful, filled with painterly compositions, and cinematographer Eduardo Serra makes impressive use of light. Nearly every shot is suitable for framing. Physically, Johansson, with her translucent skin and bee-stung lips, is perfect for Griet. She also has the kind of face that's open to interpretation. Griet is naive, unsure of herself in the well-to-do household, where a maid had best know her place. She seems to be always holding her breath, and she reacts to everything with a gasp. It's hard to tell if she's struck mute with fear or excitement. On the heels of Lost in Translation, Johansson is on a roll. (She'll also be in the upcoming The Perfect Score.) If she's on the brink of major stardom, though, it's doubtful Girl With a Pearl Earring will push her over the edge. It isn't a star-making kind of movie. As in Lost in Translation and The Man Who Wasn't There, Johansson is paired with an older man -- or in this case, two -- and the possibility of forbidden sex provides an edge. Griet's father was a tile painter, and Vermeer is drawn to her because she has an eye for color and composition. Despite differences of class and background, he senses in her a kindred spirit. The Vermeers are having money problems. He is a slow, meticulous painter, and he and his wife have a lot of mouths to feed. It is through the efforts of his shrewd mother-in-law that they're barely able to maintain a lavish lifestyle. Vermeer's dependence on van Ruijven gives the wealthy patron power over him. So when van Ruijven demands Griet, we can't be sure how things will play out. Quiet drama drives this speculative account, then near the end it suddenly becomes over-amped. This also is about the time uncertainty about the extent of the speculation becomes a bother. Some details, such as Vermeer's fascination with the camera obscura, possibly are true. Scholars believe he used an early version of the camera to project images that he then traced onto the canvas. It helps to know going in that this, his money problems and the name of his patron are some of the few elements of the story based on fact. But there was no Griet. The film doesn't use fiction to shed light on the historical figures and on the artwork; the story is almost all fiction. Historical figures and the famous painting are here to add juice to a tasteful melodrama conjured from thin air. This seems an important distinction to me.

'Girl With a Pearl Earring': An Unintended Still Life By Ann Hornaday Washington Post Staff Writer From its opening shot of a pair of hands methodically slicing gemlike pieces of vegetables, "Girl With a Pearl Earring" never strays from its chief mission: to create beautiful, painterly images with every single frame. This it does, with a lustrous production design and attention to detail that allow viewers to sink voluptuously in its imagined world. But the movie's strengths also prove to be its weaknesses, as visual rapture continually trumps narrative drive. Carefully composed, worshipfully ritualized and scrupulously self-conscious, "Girl With a Pearl Earring" unfolds as a series of meticulous tableaux vivants, but like those parlor pastimes, it lacks physical verve and a compelling emotional charge. Adapted from Tracy Chevalier's best-selling novel, "Girl With a Pearl Earring" stars Scarlett Johansson, late of "Lost in Translation," as a servant named Griet in 17th-century Delft, Holland, who goes to work for the painter Johannes Vermeer (Colin Firth). Plunged into a troubled household run by Vermeer's bovine, peevish, eternally pregnant wife (Judy Parfitt), Griet over several months wins the painter's trust, eventually becoming his atelier assistant, muse and model for the eponymous painting, Vermeer's most famous and famously mysterious portrait. The entire story is Chevalier's conjecture, of course, a fanciful and ultimately polemical piece of feminist revisionism about women's historically endless capacity to suffer for men's art. (The implication is that Griet has the eye and sensitivity to be a great painter herself, were it not for the politics of class and gender.) Much of the film transpires silently, with Griet and Vermeer exchanging meaningfully pained glances, their fingers barely touching as they mix paints together. Shot and lit to approximate Vermeer's glowing canvases (one scene even looks as if it was filmed on a convex mirror), "Girl With a Pearl Earring" is the ultimate portrait of erotic love as an intellectual exercise, the meeting of two minds rather than bodies. As such, it's essentially a cerebral experience, and one that wants to have its politics both ways: Griet is the victim of male manipulation, on the part of both Vermeer and his odious patron (Tom Wilkinson), but she also only comes alive under the male artist's gaze. Johansson bears an eerie resemblance to the girl in the painting, and her expressive eyes and puckered lips make her gorgeous to behold, even with her hair skinned back under the signature 17th-century Dutch cap. Director Peter Webber makes a confident if torpid debut here, although his background as an editor is barely in evidence in the course of the film's long, languid scenes. But more troubling than any narrative limitations of "Girl With a Pearl Earring" is something more inchoate having to do with the way cinema -- more than fiction or any other medium -- can appropriate and colonize the visual imagination. Nowhere is this more evident than when Vermeer commands Griet to lick her lips before posing for the titular portrait -- a commission, as Chevalier's story has it, of the leeringly threatening patron. The moment is creepy, not because of its sexual undercurrent but because this is the story we want to tell ourselves about an otherwise tantalizingly elusive work of art. By this time, the film's fetishistic treatment of Griet and her world has become almost unseemly, and when she finally strikes the famous pose, it plays like a highbrow, literary version of the blockbuster money shot. "Girl With a Pearl Earring" culminates, appropriately enough, on the lingering image of Vermeer's actual painting, a conclusion that serves only to remind viewers of how superfluous the preceding playacting and speculation have been. With luck, even the most lambent visual seductions of the screen will never supplant the enigmatic power of the real thing.

Thanks for all those reviews Mari!Here is another... Luminous photography of 'Girl' is as much a star as Firth and Johansson By Moira Macdonald Seattle Times movie critic A quiet film so beautifully lit that it seems to shimmer, Peter Webber's "Girl with a Pearl Earring" is both lovely to look at and intriguing to hold in the mind. Hidden within a seemingly sedate 17th-century plot is an elegant study of two kinds of servitude, that between master and servant, and that between artist and patron. Ultimately the two bonds don't look so very different, though one is in a rather more gilded cage. Griet (Scarlett Johansson), a shy teenage girl in 1665 Delft, Holland, is hired as a maid in the household of artist Johannes Vermeer (Colin Firth). It's an elegant but cramped and chaotic home, with numerous children, a petulant, pregnant wife (Essie Davis), a domineering mother-in-law (Judy Parfitt) and whispering servants. Griet sleeps on a pallet in a dark basement, where she can hear rats chirping, and spends her days quietly doing the tasks that the more senior servants can't be bothered with. The one place that intrigues her is the studio where Vermeer paints � a nearly bare room with tall windows letting in the gray-blue, slightly mudded-over light. Griet, who says little but whose watchful face speaks volumes, seems to understand innately that things must not be touched here, and that the tall, vaguely dissatisfied-looking artist finds peace in this room. Gradually they become not quite friends, but perhaps colleagues, mixing paints wordlessly side-by-side. Her pale beauty inspires the famous title painting, for which she wears a borrowed (and forbidden) earring, turns her head and parts her lips as if just about to speak a word of love. It's at heart a simple story, based on Tracy Chevalier's novel (itself an imagining of the events that might have led to the painting "Girl with a Pearl Earring"). And the relationship between Vermeer and Griet brings to mind that between Johansson and Bill Murray in "Lost in Translation" � a soft-faced young woman who listens, an unhappy older man who watches, a friendship both innocent and knowing, flirting with borders but not quite crossing them. Firth � who's rock-star handsome here, with flowing dark hair and needle-sharp eyes � makes a startling on-screen contrast to Johansson, a wraith shrouded in a nunlike cap and veil. You can see that this man is frustrated by everyone around him: by his wife (who sobs "Why can't you paint me?"), by his gimlet-eyed mother-in-law, by the demands of his patron Van Ruijven, who leers at Griet and suggests Vermeer paint her. It's an offer that the artist can't refuse; he's as indentured as she is. While the soulful chemistry created by the film's two stars is art in itself, mention must be made of the film's third star, director of photography Eduardo Serra ("The Wings of the Dove"). Seemingly using only candles and blue-gray skies for light, Serra creates a world so lustrous it looks rubbed with oil. Vivid smudges of color, like the startling cobalt of Vermeer's palette or the blurry pink of Johansson's lips, appear like brushstrokes among the faded umbers and grays. "Girl with a Pearl Earring," both the painting and the film, is a visual feast. http://seattletimes.nwsource.com/html/movies/2001832712_girl09.html

Firth � who's rock-star handsome here, Thanks, Maria--my thoughts exactly! This one is not as kind. 'Girl' finds the passion behind the pose By Ty Burr, Boston Globe Staff, 1/9/2004 As Griet, the 17th-century Dutch housemaid employed by the painter Johannes Vermeer, Scarlett Johansson wears her hair pinned up and hidden under a crisp, white bonnet in all but one scene. The effect is mysterious and twofold. It accentuates the fleshy broadness of the actress's face, turning it into a canvas that will be colored with emotion as the film unfolds. And it gives the scene in which Griet finally takes that bonnet off -- and her hair tumbles down in luxuriant red tresses -- the force of a virgin's swoon. That's about as explicit as things get in "Girl With a Pearl Earring," but you still may blush when it comes. Peter Webber's film is less an adaptation of the best-selling Tracy Chevalier novel than a painting of it. The surface of "Girl" is rich with the busy details of life in 1665 Delft, where Vermeer (Colin Firth) struggles to maintain patronage for his art while overseeing a household of wife, mother-in-law, and ever more children (11 survived), and where the 16-year-old Griet toils in anonymous servitude. The real drama of the film lies in the relationship between maid and master, and it moves with the pace of brushstrokes cautiously applied. Dancing on the edge of dullness, "Girl" is continually saved by the look of things: the hush of an atelier in midafternoon, dust-motes swirling in a sunbeam, pigment blooming under mortar and pestle. Impatience is forestalled, time and again, by rapture. Griet herself has an artistic temperament -- she's forced to work after her artisan father is blinded -- and while her duties consign her at first to the kitchen and stairs, she is drawn to the unmoving miracle of "Lady With a Pearl Necklace" leaning on a second-floor easel. Instructed to dust the studio, she balks at cleaning the windows. "It may change the light," she protests, and the artist's ears prick up. As do the attentions of Vermeer's main patron, a wealthy and profligate fool named Van Ruijven (Tom Wilkinson), who assumes that all women are there for the plucking. Even as he lusts after Griet, Van Ruijven sees her becoming Vermeer's apprentice and muse, and he demands that she be painted, for his own pleasure and to foment a little domestic turmoil. Mrs. Vermeer (Essie Davis), shrewish and ever-pregnant, has her suspicions, and her mother (regal Judy Parfitt) is certain "there has been too much sneaking around." The irony is that the bond between Vermeer and Griet is both more innocent and more profound than any of them know. The painter shows her his camera obscura, that early optical device in which the world hangs upside down, and he teaches her how to prepare his colors: gum arabic, ruby scales, malachite, vermilion. There's the seduction right there, in the words and in the rainbow they convey, and the air between the two trembles with a passion that could bring down bourgeois Holland itself. It's an aesthetic passion, and that's the film's strength and weakness. "Girl" is so static at times that it threatens to turn into a coffee-table book: Eduardo Serra's precise, sensuous photography mimics the angles and light of the Dutch Golden Age, while Alexandre Desplat's score burbles with elegant baroque minimalism. It's a marvelous exercise in control, but how much control can a movie take before its engines seize up? Griet ultimately poses for the famous title painting, and the scene includes a gesture so freighted with erotic portent that you may smother a giggle or two (much more powerful is the sequence immediately following, in which the painter moves her into the pose burning in his mind). It doesn't help that the film's heroine is a passive object throughout -- a maid to her mistress, a potential wife to the butcher's handsome son (Cillian Murphy of "28 Days Later"), a painting to her master. And it certainly doesn't help that Firth makes an altogether too fussy Vermeer. I understand that there are palpitating legions of fans who will disagree, and I'm not taking issue with the man's talent; it's there and it's real, but it never feels right for this movie. You need a man who can brood with the best of them -- a young Jeremy Irons, say -- but the best Firth can muster is an irritable snit. Johansson, by contrast, keeps you constantly apprised of the feelings swimming far below Griet's placid face; it's a performance as rigorously internal as Charlotte in "Lost in Translation" was a helpless mess. Between those two roles, Johansson is in danger of turning into Our Damsel of the Unconsummated Relationship, but I can't think of any other actor who can be so yearning yet so withholding. There are moments in "Girl With a Pearl Earring" when Griet is still, and both the painter and we are suddenly transfixed by the art hidden there.

'Pearl' of wisdom Vermeer's muse invites as much conjecture on film as she does on canvas By Robert Philpot Fort Worth Star-Telegram Staff Writer It's a striking image: A young woman, her hair covered by blue and gold scarves, looks over her left shoulder, her lips parted. Her eyes seem to be saying something, but it's up to the viewer to guess what it is, whether it's curiosity, suspicion, surprise, lust or innocence. The painting by 17th-century Dutch artist Johannes Vermeer came to be known as Girl With a Pearl Earring. Little is known about Vermeer's model, and not much more about Vermeer himself, which allowed Tracy Chevalier to come up with a piece of speculative fiction about the painting. Her 1999 novel became a bestseller, no doubt in part because a replica of the painting graced the cover, inviting readers to take a look at what was inside. Scarlett Johansson's image graces the posters for the movie Girl With a Pearl Earring, with a partly obscured Colin Firth standing behind her as a protective, seductive Vermeer. The poster is a little deceptive, echoing the covers of salacious romance novels more than it does the quiet, slow and sometimes slight movie itself. This is a love story, but it isn't "erotic," at least not in the way that today's entertainment world throws around that word. Johansson plays Griet, a Protestant girl who helps her money-strapped family by taking a job as a servant in Vermeer's Catholic household. She contends with, among other things, Vermeer's jealous wife (Essie Davis); his lecherous patron (Tom Wilkinson); his imperious mother-in-law (Judy Parfitt); and his bratty daughter (Alakina Mann). Despite all these obstacles, Griet makes a connection with Vermeer, becoming the only person allowed to clean his studio, making suggestions about his paintings and learning about his art. In one of the movie's best scenes, Vermeer explains to her the different materials and combinations he uses to come up with the unique colors in his paintings. Johansson and Firth are both good, and they were obviously cast for the qualities they've shown in other films -- Johansson is practically trademarking the ethereal young woman who catches the attention of an older man, and Firth's brooding Vermeer recalls his brooding Mr. Darcy from TV's Pride and Prejudice. They aren't the real stars here, anyway. The real star is Vermeer's color palette, which has been reproduced remarkably well by Eduardo Serra, who provided the moody graphic-novel-style cinematography for Unbreakable and the dazzling colors for What Dreams May Come, a movie that should be watched with the sound off. In Girl With a Pearl Earring, Serra seems to be working with oils instead of cameras and light, and everything -- the exterior shots of the Dutch village of Delft, the interiors, the costumes, the faces -- uses the muted browns, the bright blues and reds, and the stark contrasts of Vermeer's art. If Serra doesn't get an Academy Award nomination, it will be an injustice. Serra works well in tandem with director Peter Webber, whose previous work has been a handful of TV movies. Webber does a good job capturing the period atmosphere, and he and screenwriter Olivia Hetreed resist the temptation to tart up Chevalier's book. The result is a movie that is a little elusive, much like Vermeer's painting; it requires patience that some viewers won't have. But Vermeer fans, and fans of Chevalier's book, should be pleased with the outcome.

THE BOOK OR THE MOVIE? By Marilyn Bailey Fort Worth Star-Telegram Staff Writer It's the eternal question: Should I read the book or see the movie? We're here to provide the not-so-eternal answers. The book/movie: Girl With a Pearl Earring The book is better because: The painting Girl With a Pearl Earring, a mysteriously beautiful portrait by 17th-century painter Johannes Vermeer, is Northern Europe's Mona Lisa. Nothing is known about the woman who sat for it, and her seductive expression has beguiled and haunted viewers for centuries. Author Tracy Chevalier invented a compelling back story for the painting, and her prose and characters bring to life 17th-century Holland: its canals, food markets and religious and domestic life. She has invented a pleasant new literary genre, having since written a novel based on the famed medieval tapestry series The Lady and the Unicorn. The movie is better because: Its cinematographer, Eduardo Serra, and set designers have re-created the look of a Vermeer canvas, notably with the painter's studio, the props and costumes he used in his pictures, and those famous left-side windows. Serra does such a remarkable job of capturing the colors and even the textures of Vermeer's art, the movie almost seems to have been shot by the painter himself. Scarlett Johansson, as the girl in the portrait, and Colin Firth as Vermeer inhabit their quiet roles well. So, the book or the movie? If you love Vermeer, you've already read the book. Everyone else should see the movie for the visual experience.

Plot-thin `Girl' still lovely to look at By ROBERT W. BUTLER Kansas City Star It only makes sense that a movie about the creation of a famous painting should itself be visually lush. But does it also follow that said film must be the cinematic equivalent of watching paint dry? Here's the deal with "Girl With a Pearl Earring": Go to it wide awake and fully caffeinated or risk drifting into a beauty-induced coma. The work of the title was executed in the late 1660s by Johannes Vermeer, a resident of Delft, Holland, who revolutionized painting by concentrating on commonplace domestic scenes and elevating them to high art. Based on Tracy Chevalier's novel, the film centers on Griet (ingenue du jour Scarlett Johansson), a young woman whose impoverished family sends her to work as a maid in the Vermeer household. The plot -- and there's not much of it -- limns her rise from abused scullery maid to artist's model who inspires the Master (Colin Firth) to his greatest work. Director Peter Webber approaches the material less from a narrative standpoint than from an atmospheric one. He's determined to capture on screen the same world Vermeer depicted, one of heavy curtains and sunlight through leaded glass windows; and Eduardo Serra's cinematography is like a stroll through a gallery. The city of Delft created by production designer Ben van Os is a captivating combination of eye-popping beauty (large bricked buildings lining picturesque canals) and grit (servants heaving buckets of filth into said waterways). No argument with the film's look. Dramatically, though, Olivia Hetreed's screenplay is only intermittently engrossing. In fact, it's mostly about things that don't quite come into focus. The Vermeer household is presided over by the artist's mother-in-law (Judy Parfitt), who handles the finances and serves as the artist's sales representative. She's not quite a wicked witch, but certainly not sympathetic. Vermeer's wife (Essie Davis) is a vain, shallow and hysterically jealous woman. She may have cause, because the artist is rumored to have had affairs with his models. She's certainly not someone with whom we want to spend much time. Neither is her bratty daughter, who makes life miserable for our heroine. Virtually nothing is known of the real Vermeer's personality, which may explain why Colin Firth's portrayal feels terribly tentative. His artist is indifferent to just about everything but the act of creation; he's capable of flying into a rage when provoked, but mostly he exudes a smoldering intensity. We never do get a fix on who this guy is. The same could have been true of Johansson's Griet, who, as a servant expected to do her work and keep quiet, barely speaks. The difference here is that Johansson can say more with her eyes than most actors can with pages of dialogue. It's been quite a ride for the 19-year-old; her recent films include such excellent titles as "Ghost World," "American Rhapsody" and "Lost in Translation." In each she's shown a remarkable understanding of character and an ability to project complicated inner states without a lot of exterior action. In "Girl" we can see precisely what she's thinking as Griet scopes out her new environment. This young woman is obviously too smart to be a menial; asked to clean the Master's studio, for instance, she asks if she should wash the windows, because that will change the light in the room. That intelligence makes her character compelling even when the story doesn't seem to be going anywhere. One other performance deserves special mention. Tom Wilkinson is terrific as the local art collector whose patronage is keeping the Vermeer family afloat. Not only is he rich and powerful, but he's a full-bore letch who'll rub up against any woman lacking the social standing to push him away. Yes, he's a predatory creep. He's also the only character on screen whose methods and motives are right out there where we can see them, and that makes his every appearance a treat.

Art-breaker: `Girl' hangs a powerful portrait of unrequited love Review by James Verniere Boston Herald Ravishing to the eye, ``Girl With a Pearl Earring'' is a coming-of-age tale full of sensuous, painterly detail. Among the most memorable images are the alarmingly tumescent lips of Griet (Scarlett Johansson), the beautiful 17-year-old girl of the title forced in 17th century Delft to leave her family home and live under the roof of the famous cash-strapped painter Johannes Vermeer (Colin Firth). There, Griet must contend with Vermeer's haughty, serially pregnant wife (Essie Davis), the numerous, mischievous, even malevolent Vermeer children and the wife's pipe-smoking, Machiavellian mother (a wonderful witchy turn by Judy Parfitt). How's an arthouse Cinderella, not to mention Jane Eyre of the Netherlands, to cope? To make matters worse, Griet must also deal with Vermeer's goatlike patron Van Ruijven (Tom Wilkinson, sporting a Dutch Master beard and mustache and in an apparent state of permanent arousal). Johansson, the current movie It Girl thanks to her critically acclaimed work in ``Lost in Translation'' (she also can be seen in the upcoming ``The Perfect Score''), may replace Angelina Jolie as the screen's most lip-a-licious star. But more important than her physical attributes is the brooding intensity she brings to her roles. Johansson does more with silence than any young actor I know. Much of her justly acclaimed performance in Sofia Coppola's ``Lost in Translation'' is a steamy staring contest with co-star Bill Murray. Based on the 1999 bestseller by Tracy Chevalier, ``Girl With a Pearl Earring'' - also the title of the Vermeer painting hanging in the Hague - places Johansson in another semi-verbal, human-as-art-object role. Almost every frame in the film - and every close-up of Johansson - is like a Vermeer portrait bathed in the artist's trademark liquid light and soft color. As a servant, Griet is not expected to speak unless spoken to, and she must complete Herculean daily chores. But, assigned to clean Vermeer's studio, an exacting job no one wants, she manages to steal precious moments away to examine the master's work in progress and evinces enough grace, insight and scorching sexuality to interest Vermeer. After first catching the eye of his lecherous patron, Griet becomes her master's muse, and you can see the electric current streaming between them. Vermeer shows the young peasant girl, whom he finds surprisingly intelligent, how to use his camera obscura, a pre-photographic device involving a lens, mirror and box that captures an image for the purpose of making exact sketches. Obviously, Vermeer's instructions in the use of the device, which involve pulling a cloth over Griet's head, are a droll, appropriately painterly metaphor for initiating her into the mysteries of sex (you half expect him to goose her as she bends over to gaze in the dark). Griet's unrequited yearning for her master complicates her courtship at the hands of an appealing apprentice butcher (Cillian Murphy), a fine catch for Griet but no comparison to a man of Vermeer's social standing ``Girl With a Pearl Earring'' is at its heart a Freudian adolescent fantasy about the transference of a young woman's sexual longing from an unattainable object - the older, married, paternal figure - to a more attainable one - the young, single male. Notably for the armchair Freudians in the audience, Griet's father is a blind former tile maker, a type of ruined Vermeer. The film works so well on this Freudian level that its weak social context and lack of a clear narrative line are not fatal. And when you take into consideration the enchanting, Vermeer-inspired visuals of cinematographer Eduardo Serra (``The Wings of the Dove,'' ``Unbreakable'') and production designer Ben Van Os (``Orlando''), you have an attractive package indeed, especially from a first-time director - Peter Webber. ``Girl With a Pearl Earring'' is both an introduction to sex and an introduction to art, which may explain why the novel it is based on has sold 2 million copies thus far.

Thanks for all the reviews, Mari. Here is a "for your consideration" ad at Oscar Watch. Hope it has not been posted already. http://www.oscarwatch.com/FYC/Lions_Gate/girl.html

(Karen)Thought they were too gory to put up. :-( . .I took a look at them . .they were pretty graphic . .I assume for a post car accident scene? . .Poor baby . .made me want to clean him up and nurse him back to health . . Thanks girls: Mari, Maria, Evelyn for all of these great articles and reviews! (Boston Globe)You need a man who can brood with the best of them -- a young Jeremy Irons, say -- but the best Firth can muster is an irritable snit. I have to laugh . .way too many writers keep going back to his smouldering, brooding looks/moods in past films . . . (Fort Worth Star Telegram)but it isn't "erotic," at least not in the way that today's entertainment world throws around that word. Thank god for that . .no ridiculous gratuitous graphic nudity/sex scenes thrown in to please the studios. .I think that's the best way . .insinuation . .let's you imagine what could have or might be . . . (Kansas City Star)His artist is indifferent to just about everything but the act of creation; he's capable of flying into a rage when provoked, but mostly he exudes a smoldering intensity. We never do get a fix on who this guy is. Hmmm . .funny, I thought the film was about the Girl With a Pearl Earring . .not about the guy who painted a Girl With a Pearl Earring . . .silly me . . (Kansas City Star)The difference here is that Johansson can say more with her eyes than most actors can with pages of dialogue. Funny, I say that about Colin quite alot . . .

This is the makeup/hair designer's site: http://www.pamelahaddock.com/site.htm

From: ArtDaily.com http://www.artdaily.com/links.asp?idl=28&id=311 How Vermeer�s paintings translate to film Friday, January 9, 2004 Jan Vermeer�s works aren�t paintings - they�re frozen films, cinematic dramas in paint and canvas. Jonathan Jones looks at how his enigmatic masterpieces translate to the big screen. On the face of it, there could scarcely be a less inviting subject for a film than Jan Vermeer. Films tend to be about things happening, and nothing much ever happened to the 17th-century Dutch painter of women in quiet rooms furnished with a distinctive mixture of parsimony and luxury, reading a letter by the cool morning light at the window or playing at a keyboard, or being courted by a shady cavalier. Meticulous research by historians combing the town records of Delft has established that Vermeer was born into a humble Protestant family there in 1632 and, perhaps after training in Utrecht, spent his life in this quiet Dutch canal city surrounded by flat fields. He married a woman slightly older than himself, a Catholic, and converted; they lived with his wealthy mother-in-law. Vermeer, who painted slowly, never made much money himself. When he died in 1675, in his 40s, he left Catharina to raise 11 children. It�s as sparse as any anonymous life documented by a handful of parish records. Not the kind of stuff, surely, to make a great film pitch. It�s not only the man but his art that is tantalisingly silent: just as no pithy quotes from Vermeer or anecdotes about the time he punched Pieter de Hooch in the face survive, nothing is known about the women in his paintings, or the stories they seem to hint at. And there�s the rub. In fact it makes film-makers of us all as we mentally complete the hints of narrative in his paintings, picturing scenarios, possibilities suggested by his inscrutable glimpses. Take any Vermeer painting. The Little Street, for example, with its uneventful Delft day, the sky neither bright nor stormy, as we contemplate the red brick facade of a large house with its dark windows, and the servants working - a woman sewing on the stoop, another cleaning in front of the house, another glimpsed in the yard down the side - and you can�t help inventing a back story, wondering who they are, if the woman sitting in the doorway is a servant, or the mistress... Or take Vermeer�s tantalising, erotically charged tronie, or head, of a young woman with one pearl earring visible as she returns the beholder�s gaze, a painting preserved in the Mauritshuis in the Hague. The forthcoming film, Girl With a Pearl Earring, speculates who this woman might have been - patiently recreating Vermeer�s home life, with the mother-in-law, the kids and a marriage more strained than any records suggest, and it introduces a plausible fictional character, a servant with whom Vermeer - Colin Firth - forms a barely spoken bond. It probably should be emphasised that the servant, played by Scarlett Johansson, is fictional - because the novel by Tracy Chevalier, on which the film is based, is so coolly believable that some readers have been fooled. But in its transfer to the screen the story becomes less about the girl, and more about the secret pact that Vermeer has with the camera. Vermeer painted more than two centuries before the invention of cinema, but he anticipated the way films make a world and fill it with light. "The only thing that really interested him was light," comments Eduardo Serra, the cinematographer on Girl With a Pearl Earring. "He�s really the painter of light. Rembrandt is light on faces; Vermeer is just light, period." Vermeer is often said to have anticipated photography - to put it conservatively. There is convincing evidence - in the lucid cold blueish spaces Vermeer paints, the artfully disarranged furniture (a velvet upholstered chair pulled back, a rumpled tablecloth) and the particular quality of his edges, shadows and foreshortenings - that he used a camera obscura. The same room appears again and again; it may have been, as Philip Steadman argues in his book Vermeer�s Camera, very much like a Victorian photographer�s studio with different arrangements of props set up for Vermeer�s camera. It was, anyway, in the age of photography that Vermeer first struck people as a genius. He was well known in his own lifetime and cherished by a few connoisseurs down the centuries, but the fame he has today is a totally modern phenomenon. The seeds were sown by the French critic Th�ophile Thor� who wrote a series of articles about Vermeer in the Gazette des Beaux Arts in 1866. Vermeer became a hero of French modern art, a cult figure who by the early 20th century was a suitable obsession for the aesthete in Proust�s Remembrance of Things Past who dies at a Vermeer exhibition while contemplating the painter�s View of Delft. The rediscovery of Vermeer followed the invention of photography. But he has exploded in popular culture since the birth of cinema. Vermeer is far more like a film-maker than a photographer. For all their stillness, his paintings breathe motion. They are dramas. He is a dramatist in light; which is why, like Caravaggio, he has profound affinities for cinema. In using light to create drama, Vermeer anticipates every cinematographer, and every powerful screen moment. His Girl With a Pearl Earring is a perfect shot, isolating its subject in darkness, so the light shining from the left makes her glow like the most mythic of Hollywood stars for her closeup. This light would never work in a photograph, because it is so theatrical. But it works in a film. This one painting, Serra argues, departs outrageously, flirtatiously, from the silence of Vermeer�s world to actively relate to us: "This painting is maybe the only one that has some emotion, some flesh and not just a concept of light." Vermeer�s painting, he thinks, is almost an abstract play of light, so when you look at the faces closely, they just disintegrate, fade away into blurred bright light. "It�s not romantic. It�s very strange." In fact, light creates drama in all Vermeer�s paintings. They are the most absorbing film stills in history. In a painting in Berlin called Woman with a Pearl Necklace, a woman in fur-lined yellow looks directly into the light from the window as she holds up her necklace; is she looking at her reflection in the backlit window, or showing herself to someone outside? It is, as Serra says, "strange" - and the strangeness is the drama. If Vermeer is a cinematographer, he is a revolutionary one who only ever uses natural light. Girl With a Pearl Earring was filmed with as much natural light as possible, says Serra, not simply in order to emulate Vermeer but because that has become the aim of many cinematographers, especially in historical films, since the 1970s. The film that showed how far you could go with natural light - a momentous breakthrough, says Serra - was Kubrick�s Barry Lyndon in 1975, with its English stately homes and German rococo palaces lit solely by sunlight and, by night, hundreds of candles. Vermeer, of course, was there first, centuries before Kubrick, telling his stories - or rather, hinting at stories that might be told - with the atmospheric ambient light filling those pale Dutch interiors, illuminating a white page too brightly for us to make out what it says, freeze-framing a girl�s indecipherable return of a look. * Girl With a Pearl Earring is released next Friday. Guardian Unlimited © Guardian Newspapers Limited 2003

Thanks Mari..you must have gotten up before dawn. Reviews are terrific; some glowing. Except for Boston Globe and it's not awful. Let's face it... these are the best reviews ODB's film has ever received. (Allison, won't have to see this one in an empty cinema;-) They're all rooting for Eduardo Serra for an Oscar nom..his lucky day. Interesting insights in several... "Notably for the armchair Freudians in the audience, Griet's father is a blind former tile maker, a type of ruined Vermeer.." Hmmmm. Note to Caribou and Lora: this will make good discussion stuff!! " Virtually nothing is known of the real Vermeer's personality, which may explain why Colin Firth's portrayal feels terribly tentative. His artist is indifferent to just about everything but the act of creation; he's capable of flying into a rage when provoked, but mostly he exudes a smoldering intensity. We never do get a fix on who this guy is." Good thinking..He caught on. Not one of them brought up the ambiguous ending. Wanna bet not one of them read the book!

Pamela Haddock website v. interesting. Blood and Gore seems to be some of her special skills...Thanks boss. Those Trauma pics....not exactly PMT.

Thanks Mari and Maria! Ann Hornaday wasn't too impressed....but Moira makes up for it! In Girl With a Pearl Earring, Serra seems to be working with oils instead of cameras and light, and everything -- the exterior shots of the Dutch village of Delft, the interiors, the costumes, the faces -- uses the muted browns, the bright blues and reds, and the stark contrasts of Vermeer's art. If Serra doesn't get an Academy Award nomination, it will be an injustice. Agreed! Regarding the Trauma pics...I'm with Kimberly...just want to make it all better (surely there is some boo-boo we can kiss??). Looks like Dr. Frankenstein did the stitching over the brow! (Evelyn) Those Trauma pics....not exactly PMT. Ohhh....I dunno....he's a bloody PMT...could this be what Hugh was referring to? ;-)

Some Pre-Sundance Q&A with Marc Evans Q. How have things changed for you since your film was accepted into the festival? Well I'm British and therefore am probably a little outside the loop when it comes to Sundance film frenzy. Also we are only just finishing work on the film. There's a lot of interest and support from the producers but nothing has changed much at time of writing. I guess it all depends on how the film goes down. Pleased to be at the party though. Q. When you were shooting the film, did you have Sundance in mind? Since Sundance took my first feature I have always felt warmly towards it and it certainly has a certain indie credibility, which I like. To be honest though I didn't really think about festivals while shooting. Q. How did you get your film started? How did you go from script to finished product? The script came to me from Lizzie Francke's new horror outfit "Ministry Of Fear" - a new initiative to make genre films, set up by Little Bird in London. I had just made "My Little Eye", a digital horror film so I guess the timing was fortuitous. The script, the first by young Scottish writer Richard Smith, was in pretty good shape. Then we worked on it together some more and the film came together pretty quickly after that. It seemed to be a good time for genre in the UK, though this is not really a horror. More psychological. Q. What�s the one glaring lesson you learned while making this film? The importance of casting. [Ed note: Does this have ominous tones??] Q. When you were in pre-production, did you find yourself watching other great movies in preparation? "Don't look now"/"Dark Water"/"Three Colours Blue" - three great films about grief. Q. Two parter - which actor would you cut off an arm to work with, and which relatively unknown actor on your own film do you want the world to start recognizing sooner rather than later? Well, really, Colin Firth (in Trauma) is up there. He is seriously good. As for unknowns, Trauma does not apply being a fairly small, distinguished cast. However Alison David who sings in the film (taking on the persona of murdered pop star Lauren Parris) deserves wider recognition. The rest here: http://www.efilmcritic.com/feature.php?feature=904

Firth � who's rock-star handsome here, My favourite along with a costume. ;-) Thanks, Mari and Maria! Unfortunately GWAPE won't get to me until next Friday. (Evelyn), Let's face it... these are the best reviews ODB's film has ever received. About time! Thanks for the site Karen, creepy.

Just picked this up... http://www.heraldnet.com/ae/story.cfm?sectionname=MOVIES&file=04010917995903.cfm A film in sober brushstrokes Scarlett Johansson plays a modern woman in the making in "Girl With a Pearl Earring." By Robert Horton Herald Movie Critic A great painting inspired Tracy Chevalier's novel "Girl With a Pearl Earring," an entirely fictional meditation on the origins of a Vermeer. The truth is, not much is known about the life of Johannes Vermeer (1632-1675), let alone the stories behind specific paintings. But Chevalier's fantasy is an intriguing feminist-tinged tale. "Girl With a Pearl Earring" Interesting: A sober speculation, based on Tracy Chevalier's novel, about a famous painting by Vermeer. In 1665, Vermeer (Colin Firth) meets a servant girl (Scarlett Johansson, well-cast) who has an artistic sense of her own. (3 stars) Rated: PG-13 rating is for subject matter. Now showing: Seven Gables, Uptown. We are in the Dutch city of Delft, in 1665. We follow a 17-year-old country girl, Griet (Scarlett Johansson), as she is hired as a maid in the Vermeer household. Said household seems to be run by the painter's wife Catharina (Essie Davis in a fine performance) and her scary mother (Judy Parfitt). The artist himself, hard up for commissions, is brooding about his upstairs studio. When Vermeer (Colin Firth, late of "Love Actually") and Griet do meet, there is a kinship established, an artistic way of looking at the world. He shows her how to mix dry powders into paints, and eventually decides she must become the subject of a painting. Scarlett Johansson is an ideal casting choice for Griet. With her eyebrows gone and her hair perpetually covered by a cowl, she must express most of her performance through her eyes. She seamlessly shifts from the funky slacker of "Lost in Translation" to a 17th-century Dutch girl. I can't think of anything wrong with Colin Firth's performance as Vermeer, except that he seems fundamentally miscast. On the other hand, Tom Wilkinson ("In the Bedroom") is right on the money as Vermeer's vulgar patron, and Cillian Murphy ("28 Days Later") is winning as a butcher boy interested in Griet. The movie touches on, but doesn't really explore, the connection between the painter's erotic attraction to Griet and his aesthetic outlook. If this is a romance, it's one that stays muffled within Vermeer's artistic soul (though there's a nice scene involving an ear piercing that presumably substitutes for sex). British director Peter Webber and cinematographer Eduardo Serra have created a painterly look for the movie; the light and the color could pass for something from a 17th-century canvas. It's impressive, although it also has the effect of freezing the characters in their past world. The haunting music by Alexandre Desplat adds a slightly modern tone, and perhaps underscores the sense of Griet as a modern woman in the making. "Girl With a Pearl Earring" doesn't get everything right, but its alien landscape and sober approach are refreshing. And its speculation is something that anybody might have wondered looking at a centuries-old painting: Who were these people?

Thanks for the Mark Evans article, Karen. That link provides more info onthe film. that part about hi not getting any support because a well-known person was also killed strikes me as strange. (Moon)Unfortunately GWAPE won't get to me until next Friday. I have to wait at least 2 more weeks. Too many good films out that are doing well, and not enough screens. Just got this from my local theater: Hello Mari, Thank you for your inquiry. "The Girl with a Pearl Earring" now has a tentative opening date of January 23rd. It is opening later in the month because presently, we don't have room to run it. As much as we would like to open it earlier, our current films are all still popular and we do not wish to end any of their engagements prematurely. I hope this is helpful. If you have any other questions, please do not hesitate in sending me an email. Best regards, Alison Silverman Assistant Director of Operations Ritz Theatre Group

I'm opening later in the month too. The indies section of my multi-plex is jammed with goodies. "From the producers of Bridget Jones, Love Actually, and About a Boy, TRAUMA is a psychological chiller about love, grief and madness." Little Bird can sure pick 'em...let's hope they're right this time. Q. What's the one glaring lesson you learned while making this film? (Marc Evans)The importance of casting. [Ed note: Does this have ominous tones??] Uh,oh. Does he have a few regrets here;-) Thanks boss.

sorry

Great reviews (mostly) ladies. Thank you for sharing. IMHO Marc Evans comments on casting doesn't have any negative tones about Colin, as he later points at him as being a great actor (I know, he's the "old" well-known, but still). Just a thought. Here's another, I wish I were in Scotland: http://www.news.scotsman.com/index.cfm?id=26062004 See it first, see it free The girl with the pearl earring (12A) We�ve teamed up with UGC Cinema at Fountain Park to offer EH Entertainment readers a chance to see a series of film FIRST & FREE. This is an exclusive offer allowing you into these special advance screenings and it�s really simple to take up - all you do is take a relevant copy of EH Entertainment along to UGC Cinema and claim a pair of tickets. The next screening is The Girl With The Pearl Earring (12A) on Wednesday January 14 at 8.55pm. This Oscar-tipped period drama focuses on the story around artist Johannes Vermeer and his young maid Griet. Based on a novel by Tracy Chevalier, the story depicts the life of a girl beneath the stairs and how she begins to capture the eye and heart of her employer. Vermeer, played by Colin Firth, is a Dutch painter famed for painting women carrying out ordinary household chores. Griet (Scarlett Johansson) seems young and naive as she is admired not only by Vermeer but also by his assistant Tom Wilkinson and local boy, Cillian Murphy. Is it as simple as a servant girl posing for her employer or is there something deeper between them both?

(Annette) IMHO Marc Evans comments on casting doesn't have any negative tones about Colin No and my comment didn't imply it had. Just that Evans may regret the casting of someone else in the movie, someone he didn't think worked out that well. I do look beyond the "Colin factor" when I think about movies.

Thanks for the Sundance link, Karen. T sounds intriguing so far. Mari, great articles and reviews-thank you. (Evelyn)I'm opening later in the month too. V. disappointed that our little art house theater in Princeton doesn't have GWAPE this week, either;-( I can't think of anything wrong with Colin Firth's performance as Vermeer, except that he seems fundamentally miscast How? Why? I hate when a statement gets thrown out like that with no reason. Not that he isn't entitled to his opinion, but give the reason. sheesh!

(Karen)I do look beyond the "Colin factor" when I think about movies. My mistake. To be able to keep up, I've concentrated on the comments about Colin in most of the interviews and articles and didn't get that "filter" turned off for this one. Sorry. (review)I can't think of anything wrong with Colin Firth's performance as Vermeer, except that he seems fundamentally miscast (Linda)How? Why? I hate when a statement gets thrown out like that with no reason. Not that he isn't entitled to his opinion, but give the reason. sheesh! I felt the same way, reading this.

The importance of casting. [Ed note: Does this have ominous tones??] If I were a Mena Suvari fan I would be worried. No mention for her. I think any one not a paranoid Colinite would infer that he was happy with him but as for the others....

Linda)How? Why? I hate when a statement gets thrown out like that with no reason. Not that he isn't entitled to his opinion, but give the reason. sheesh! Sorry to take up two posts. Was trying to keep them short. ;-) If the reviewer had only seen him on LA, BJD and WAGW then he would think this was a safwe comment as this was a comedy actor trying to do drama :-(

(Allison)If the reviewer had only seen him on LA, BJD and WAGW then he would think this was a safe comment as this was a comedy actor trying to do drama Perhaps, but I would have been interested in knowing how he came to that conclusion. He thought SJ was perfect as Griet and explained why.

Great article in Today's Telegraph. Saw the front page of the Telegraph on Newsnight late last night. The presenter was showing the front pages of today's papers and I saw a familiar face. Am now off to see where I have hidden the scanner...

The importance of casting. [Ed note: Does this have ominous tones??] (Allison) If I were a Mena Suvari fan I would be worried. That was my thought as well.

(Allison) If I were a Mena Suvari fan I would be worried. No mention for her. My first impression too. (Linda) How? Why? I hate when a statement gets thrown out like that with no reason. Not that he isn't entitled to his opinion, but give the reason. sheesh! (Allison) If the reviewer had only seen him on LA, BJD and WAGW then he would think this was a safwe comment as this was a comedy actor trying to do drama :-( Exactly...and let's not forget SLOW! ;-) How many of these younger, online reviewers would've seen his older works. Sheesh! You really have to go out of your way to even see them. Re: Telegraph article Am putting it together now. Antonella has scanned and sent the material to me and I'm working on it now. It will be up shortly.

Colin is on Cinenews again this week. Part of the junket interview; he talks about the set design and Ben Van Os's work. PW & SJ also interviewed. Lots of film clips. GWAPE will be reviewed on Ebert & Roeper's show today. Re: the casting comment. I didn't take it that way at all. He goes on to mention his "small and distinguished" cast. No way is he stupid enough to diss his actors. I took it to mean that the film made him appreciate how important casting the right actors were, i.e., vital to the film's success.

(Allison) If the reviewer had only seen him on LA, BJD and WAGW then he would think this was a safe comment as this was a comedy actor trying to do drama :-( (Karen) Exactly...and let's not forget SLOW! ;-) How many of these younger, online reviewers would've seen his older works. Sheesh! You really have to go out of your way to even see them. But should a person be judged on their past work like that? I mean, just because someone has always played a certain type of role, if they break out and do something different (and for ODB drama is not different, it is just not what he is now best known for to most people now...unfortunately...as I love him in dramas and I want MORE! MORE!!), and it's good, should you try and pigeonhole them back into their former 'genre'? Let each film stand on it's own. I dislike Adam Sandler's stuff, in general (dislike is a mild word actually), but went to see Punch Drunk Love and actually enjoyed myself! Was a bit different for him....and I was happy for him (though I sometimes get the feeling he likes being Happy Gilmore)! Anyway, I don't think a person's past should 'haunt' them in that way. I think each film, and each performance, should be it's own unique entity. So, for a reviewer to say "miscast", they better tell me why! If their answer is "cuz he's Mark Darcy!" then to the back of the room for them.... "next!!!" ;-)

Anyway, I don't think a person's past should 'haunt' them in that way. ....in an ideal world.

(Tress) Anyway, I don't think a person's past should 'haunt' them in that way. I think each film, and each performance, should be it's own unique entity. Without saying so explicitly, he has said it. The reviewer must not think Colin played Vermeer very well and is probably baffled that a rom-com actor would've been cast in the part. Otherwise, he would be extolling Colin's ability to do something outside his usual genre and do it brilliantly.

(Mari) Re: the casting comment. I didn't take it that way at all...No way is he stupid enough to diss his actors. Some of these guys are terribly naive about what they say and to whom. :-(

OK, article and lovely pics are here, thanks to Antonella: http://www.firth.com/articles/04telegraph_0110.html Lots of factual errors and it seems obvious that the writer is relying very heavily on published material and hasn't seen Tumbledown, given his description of it. ;-) Does he like the film? 'It is very hard to give in to completely liking anything you are in at first,' he replies. 'But I think there is a lot about it that is strong and takes my breath away. I think it is very brave in being serious as it is. It is unusual these days to find a script that doesn't want to employ a bit of irony, because most people who tell stories and make films are very frightened of seeming naive.' How @#$%ing hard would it have been to say, "It's a great film and Peter Webber and [yadda yadda] did a spectacular job. I'm so proud to even be associated with it..."? Vermeer is an older, more family-oriented role than we are used to seeing Firth play, and it demonstrates that he will be one of those actors who get better as they move through middle age: Bob Hoskins, Bill Nighy. *snort* That ought to make so many of his fans ecstatic. ;-)

(Karen), How @#$%ing hard would it have been to say, "It's a great film and Peter Webber and [yadda yadda] did a spectacular job. I'm so proud to even be associated with it..."? ROTF! And Of course I agree with you. Remember your pet project Hope Springs, Colin? Thank you, Karen! As always great job! Thanks also to Antonella and Allison.

Vermeer is an older, more family-oriented role than we are used to seeing Firth play, and it demonstrates that he will be one of those actors who get better as they move through middle age: Bob Hoskins, Bill Nighy LOL, that threw me a bit off my game, as well. Great article, though. Thanks Karen and Antonella.

He looks rather tired in those pictures. Wait a minute! There has not been an official GWAPE premiere in London, right?

I'd say the London FF gala was its London premiere. No need to do that again.

(Karen), I'd say the London FF gala was its London premiere. No need to do that again. Except that now all the press is coming and more people and stars would attend. It would get much more attention for the "little indie film".

I think he looks terrific in those pics........ "Our Most Romantic Actor"!! Ha! Not bad at 43! He beat out all the young Turks. Take that Orlando Bloom,Jude Law,Joe Fiennes!! "He drives a generic German hatchback; " He piles all those kids in a small car? Thankgod he dumped that ole Nissan...or was it a Mazda. Thanks to all who helped.

That pic above is from the Free Trade Coffee campaign. ;-)

Free Trade said :"Our Most Romantic Actor"?;-)

Thanks Karen, Antonella, and Allison! Amusing article (though it did make me scratch my head). (Telegraph)he has played the outsider in later life�avoiding Hollywood, chat shows, fashion events, premieres and orthodontistry�because he was ostracised as a nipper Well, I've always considered orthodontistry very bourgeois, but huh?!? Firth has commanded [...] a respectfully weak-kneed following unique among British actors outside the soaps Yet another bewildering description here. Is it better to be respectfully weak-kneed than a screaming posse of fans? Or does one do both at once? ;-)))

A very fun arrticle. Thanks Karen, Antonella and Allison... his first wife, the actress Meg Tilly,...; Jennifer Ehle, who he went out with after co-starring in Pride and Prejudice....; and his wife, Livia Giuggioli,.. whom he (met on the set of Nostromo) OK, Kimberly, should we put your DH on notice?? ...his magic ingredient: the dark, scary side that means he can play romantic figures who are unfriendly, scary and a bit damaged. He is so good at communicating what is hidden... Oh yes..a capacity most of us are very fond of.

(Shoshana)Is it better to be respectfully weak-kneed than a screaming posse of fans LOL, the former before you make it into the press tent, and the latter afterward. Versatility is the watch word, here.

Thanks for the article and pics, Karen and Antonella. (Karen), How @#$%ing hard would it have been to say, "It's a great film and Peter Webber and [yadda yadda] did a spectacular job. I'm so proud to even be associated with it..."? I thought the same thing, what is wrong with him, but the answer about his parents is even worse: I would say that my family are all still there. They've stayed together all these years and so that speaks to you of it being quite functional, to an extent. If I were his parents, I'd be pissed off. The best he can say is that they're there and they're functional to an extent?! Perhaps unintentionally, he's made it sound like a rift there, or maybe he's just incapable of giving an answer from the heart. He should stick to TV interviews, he's much more open. But maybe his reticence has something to do with being born in Nigeria and being on his second marriage.;-) ;-) The top two pics are pretty good, but that cover shot is unflattering.

From The Telegraph: BA under fire for cutting 9/11 speech from Love Actually By Gary Anderson Producer attacks airline for censoring in-flight screenings of the hit film 'to spare the feelings of passengers', reports Gary Anderson It is meant to be one of the most cheerful and uplifting films of the moment, but Love Actually, the box office hit seen by millions of Britons, has been judged to be too frightening for airline passengers. British Airways has decided that the film, which stars Hugh Grant, Emma Thompson and Colin Firth among others, will have to be censored before it is shown on its aircraft because of a reference to September 11. The decision has infuriated the film's producer, Duncan Kenworthy, who described the censorship as "ludicrous". It will prompt renewed concern that the airline is over-reacting to the threat of terrorism. British Airways, which plans to screen Love Actually, on flights from March, insisted, however, that the film would have to be cut before it was suitable to be shown to passengers. A spokesman for BA said that the offending passage was an opening speech by Hugh Grant, which includes the lines: "When the planes hit the Twin Towers, as far as I know, none of the phone calls from the people on board were messages of hate or revenge. They were all messages of love." The spokesman said: "We have made a very small edit to the beginning of the film and removed a reference in the script to the tragic events of September 11. "We feel that this is justified given the terrible events of that day and in no way detracts from the rest of the film." Mr Kenworthy, however, criticised BA's argument, adding that he was disappointed by the way in which airlines generally imposed more stringent cuts than those demanded by sanitised American television networks. "I find it ludicrous," said Mr Kenworthy. "If it's OK to watch on American television it should be available for viewing on airlines." He also expressed surprise that airlines were unconcerned by a scene later in the film that portrays a young boy deceiving security personnel at Heathrow and sprinting through several checkpoints. Mr Kenworthy said that despite his protests, film producers had no choice other than to bow to airline pressure because of the substantial sums of money involved in licensing agreements. He added: "I don't like censorship at any point, but I am contractually obliged to provide a version acceptable to the airlines." BA issues guidelines to an outside agency, which provides its on-board entertainment, asking it to select films with a "general appeal" to the broad range of ages and nationalities on its flights. Films containing foul language and graphic scenes of a violent or sexual nature are rejected or censored. Portrayals of air crashes or hijackings are also cut. Passengers on flights operated by Virgin Atlantic, BA's rival, will be able to see Love Actually uncut on flights from February, although a warning about the Hugh Grant speech will be printed in the in-flight magazine. Lysette Gauna, the head of media at Virgin, said: "As long as sufficient information is given on the nature of the movie and we offer channel-blocking to parents, we believe that we can let passengers watch the movie as the director intended." After September 11, BA passengers were denied access to BBC World Service news reports because of fears that the images of the attacks on the World Trade Center would be too traumatic or cause panic. The decision to cut Love Actually reveals the lengths to which the airline continues to go to shield passengers' sensibilities. The film, which has taken more than �30 million since its release in November, also stars Alan Rickman, Rowan Atkinson and Martine McCutcheon, and has earned two Golden Globe nominations. Critics were less impressed. A scathing review in The New York Times summed up the film as "a patchwork of contrived naughtiness and forced pathos, ending as it began, with hugging and kissing at the airport where returning passengers are perhaps expressing their relief at being delivered from an in-flight movie like this one".

(Mari) Perhaps unintentionally, he's made it sound like a rift there Thought it was just me. It was a bizarre answer. He should've just said he didn't want to go there and left it at that, if he didn't want to say too much. Thanks Karen and Antonella.

Producer attacks airline for censoring in-flight screenings of the hit film 'to spare the feelings of passengers', reports Gary Anderson It is meant to be one of the most cheerful and uplifting films of the moment, but Love Actually, the box office hit seen by millions of Britons, has been judged to be too frightening for airline passengers. I completely agree with that call, especially in light of the problems with BA flights over the holidays. Quite frankly, I wouldn't want to hear a reference to it sitting on any plane, going anywhere. The decision has infuriated the film's producer, Duncan Kenworthy, who described the censorship as "ludicrous". It will prompt renewed concern that the airline is over-reacting to the threat of terrorism. Get over it and display some sensitivity. It's not a pivotal plot point or anything. It wouldn't be missed. :-( Mr Kenworthy, however, criticised BA's argument, adding that he was disappointed by the way in which airlines generally imposed more stringent cuts than those demanded by sanitised American television networks. Hmmmm, watching TV on the ground where it's "safe" vs watching it in an environment identical to the event. Not a big deal. :-( "I find it ludicrous," said Mr Kenworthy. "If it's OK to watch on American television it should be available for viewing on airlines." What a freakin' git. vThe decision to cut Love Actually reveals the lengths to which the airline continues to go to shield passengers' sensibilities. I don't find that unreasonable, again, in light of recent events. *stepping down from soapbox* Sorry, got a bit carried away. :-(

(Karen) How @#$%ing hard would it have been to say, "It's a great film and Peter Webber and [yadda yadda] did a spectacular job. I'm so proud to even be associated with it..."? If that's not how he felt about the movie I'm glad he didn't say it. I see/read so many actors talking about their latest movie as if it were the best thing that ever happened to them, and sometimes you feel that their words are anything but heartfelt. They praise the movie out of duty, and although I understand it's the honourable thing to do, still, it's a lie. If Colin was less than happy with how the movie turned out it's a good way to get out of giving a straight answer. I don't hold it against him. (Mari) If I were his parents, I'd be pissed off. The best he can say is that they're there and they're functional to an extent?! That's not what I understood from that bit. I thought Colin meant that his parents' staying together all these years explains it being functional to an extent. Not that they are functional only to an extent. I feel he said the right thing but in a way that it's easy to misunderstand. I'm surprised (or shouldn't I be?) that the interviewer asked such a stupid thing about his parents. It's sort of like asking which of his sons is his favourite. I'd never answer any of those questions. It's too personal, and no one is his/her right mind would answer it, especially if the parents are still alive. Thanks for the photos and articles, ladies!

(Ildiko) If Colin was less than happy with how the movie turned out it's a good way to get out of giving a straight answer. I can't fathom how he would be less than happy with how it turned out and would feel he couldn't give a straight answer after giving them on lesser projects (ok, little things here and there could be bothersome...the wig perhaps? ;-)). IMO, he *should* agree that Peter Webber and [yadda yadda] did a spectacular job and should be proud to even be associated with it.... Not like he's had much to brag about recently. When was the last time he was in a potential bonefide Oscar contender? Then again, if he's not happy, he's not. :-( From the Jan 16 Entertainment Weekly Item of the Week... We'd wear them even if it didn't mean getting close to Colin Firth. Scarlett Johansson's baubles in Girl With a Pearl Earring aren't just for the 17th century. "More designers are using pearls," says Robert Arteit of Mikimoto, whose modern version was inspired by the film. "You'd think [young buyers] would go for something more trendy. But they love the classic design."

Thanks for the article Karen and Antonella. The section of the article that dealt with his parents I thought he handled it very well. He said something to the effect he didn't want to discuss things about them and have them read it in the paper. He rather have them present to talk about them or have at least given them some sort of notice. I think that shows respect for them and a healthy dose of caution in dealing with the press.

(Gail) He said something to the effect he didn't want to discuss things about them and have them read it in the paper. I think that shows respect for them and a healthy dose of caution in dealing with the press. It may have been more prudent had he stopped here..... It varied according to my age. But this is a conversation that would probably be better if my parents were present. It�s a tricky one to get into so I'd rather they didn�t read it in The Telegraph. It didn't seem too cautious to continue with this... They've stayed together all these years and so that speaks to you of it being quite functional, to an extent....... Ye-es, but it is probably a bit difficult. If this was well covered with my parents, I�d be happy to talk about it. It�s just that I don�t want to read stuff I haven�t said to them. Maybe it didn't come out the way he meant it, but it implies to me he's saying there are unresolved issues he hasn't addressed with them directly and doesn't want to drag it out in an interview before speaking with them first. That's just my take of what it comes across to me. Maybe I've misunderstood, or it didn't come out how he meant. I just found his comments odd here.

GWAPE reviewd by Ebert and Roper this week. Repeats today at 11:30 EST It�s a tricky one to get into so I'd rather they didn�t read it in The Telegraph. Stupid question, IMO. Kind of like parents asking a child, if we get divorced who would you live with. How do you answer that? But, I agree, he should have just left it there.

For Lindak ...Thanks for the Ebert and Roper tip - was able to set my timer and I look forward to what they have to say.

GWAPE reviewd by Ebert and Roper this week. Repeats today at 11:30 EST Unfortunately, I don't get the repeat, but I caught it last night and it's worth taping. Aside from rave reviews for GWAPE, the second half of the show is their "Memo To The Academy"--their recommendations on people the Academy should nominate who may be otherwise overlooked. Richard Roeper's pick for Best Supporting Actor was Colin . . . in Love Actually.

(Ildiko) If Colin was less than happy with how the movie turned out it's a good way to get out of giving a straight answer. LOL. What a guy...picks on the best thing he's done since the fifteen minutes on "Conspiracy"...never said a word about the other turkeys he's done. Re: parents remark: I've always said he talks too much. A simple diplomatic: "At different times in my life I've been closer to one than the other". But noooo... If he posted on Drool, I'd scroll through those long answers;-)

Richard Roeper's pick for Best Supporting Actor was Colin . . . in Love Actually. Really? Over Bill Nighy?

(Mari) but the answer about his parents is even worse So did I, but my backside is still sore from the kicking I got from the Firth Anti-Defamation League over the "supposed" slur. What is "functional, to an extent"? Talk about planting the seeds for further public discussion and speculation on a private matter. The question was "are you closer to your mother or father?" All he had to do was say he had good relationships with each at different ages. Period. My mother would say this guy has no "sechel." :-( (Ildi) If that's not how he felt about the movie I'm glad he didn't say it...They praise the movie out of duty, and although I understand it's the honourable thing to do, still, it's a lie. Maybe when he's 95 years old and writing his memoirs, but not now. He was being interviewed to promote the movie; he has a contractual obligation to do his best to sell it. What's more annoying is that he's finally associated with a film that is receiving widespread critical praise, people are going to get nominated for Academy Awards, the studio is pushing his name for same, and the clown can't even clearly express his unqualified support for the film. He needs a minder, not to an extent, but badly. :-( (Mari) Richard Roeper's pick for Best Supporting Actor was Colin . . . in Love Actually. Yes, wasn't *that* a nice surprise. Have another article that I'll put up in a bit, from the National Post, from Jennie.

(Mari) Richard Roeper's pick for Best Supporting Actor was Colin . . . in Love Actually. Yes, wasn't *that* a nice surprise. Amazing and wonderful surprise especially since Ebert said Colin's performance was the weakest of the lot when he reviewed LA...today he commended RR for three great picks. (Dorine)I completely agree with that call, especially in light of the problems with BA flights over the holidays. Quite frankly, I wouldn't want to hear a reference to it sitting on any plane, going anywhere. So do I, as one who just left Heathrow and had to watch the passengers from that delayed Washington flight being loaded onto a bus so they could board the plane sitting all alone in the center of the runway.;-( Also, BA at least has individual screens for in flight films and parents can lock out the channels with R rated movies. Sitting side by side you can't really see what is on the screen beside you...but you can by peaking through the seats of the next row;-) Just a reminder: E! news weekend with the GWAPE junket clips repeats, tomorrow at noon.

(Evelyn) If he posted on Drool, I'd scroll through those long answers;-) ROTF!! (Mari) Richard Roeper's pick for Best Supporting Actor was Colin . . . in Love Actually. (Moon) Really? Over Bill Nighy? Yeah, I'm surprised, too.

Here's the Sunday (National) Post article from Jennie: http://www.firth.com/articles/04sundaypost_0111.html It's a lot of the same old, same old, but there's a new shot from the red armchair/black trainers with white laces photoshoot. I've also put up last Saturday's Daily Record article with Janet's scan of the cover that wasn't online: http://www.firth.com/articles/04dailyrecord_103.html

Thanks boss...you're right ,nothing there. Goofy pic in the Post and the Daily Record cover looks like he's in the Witness Protection Program.

Thank you Janet, Jennie and Karen. Loved the pictures from the Post (Karen)What's more annoying is that he's finally associated with a film that is receiving widespread critical praise, people are going to get nominated for Academy Awards, the studio is pushing his name for same, and the clown can't even clearly express his unqualified support for the film. ...He needs to put a sock in it-never knows when enough is enough. But it still reminds me of the 'I'm on the brink therefore I'll try and blow it' syndrome.

Have found something new: �What strikes me about the Italians is their attachment to family,� he smiles. �Livia�s family is wonderful and close. You get a sense of security and stability. We English, on the other hand, we�re always off by ourselves. Other than the bolded part, this is verbatim what we translated from the Italian Vogue article and was up on the website before somebody's brother made a few revisions. ;-) If this even came up in the current interview, he probably *smiled* when he heard the weird translation. The other Italian quote is verbatim. These writers have no shame. ;-)

Posted on Sun, Jan. 11, 2004 CHICK FLICK REVIEW Masterpiece theater By Marilyn Bailey Star-Telegram Staff Writer LION GATE ENTERTAINMENT/JAPP BUITENDIJK Scarlett Johansson and Colin Firth in Girl With a Pearl Earring Flick: Girl With a Pearl Earring Chick: Scarlett Johansson, who plays Griet (pronounced "greet"), a maid in the home of 17th-century Dutch painter Johannes Vermeer. The fairy tale: An artist and his model fall in love. Vermeer (Colin Firth) is becomingly moody, a middle-aged, married-with-children painter of genius. Griet is a nubile maid, new to a household that includes a jealous wife, four children and a stern mother-in-law. Vermeer becomes fascinated by Griet, and she poses for his most personal and mysterious painting. You-go-girl moments: They're many, but they're extremely subtle. This movie is almost as quiet as a still life. Though she's illiterate and poor, Griet sees and feels things like the artist and is more useful to Vermeer than his privileged and educated wife. Griet silently but boldly suggests he change the composition of one of his paintings, and he does. She alone is allowed to clean his studio and help mix his paints, and she stands up to a predatory man who tries to abuse her low position. Reality check: You feel that these are 17th-century people -- the characters don't leap into bed together, for instance. The sexiest scenes are when Vermeer and Griet sit side-by-side grinding paints. What it's worth: Full price, for the sensation of stepping into a ravishing Vermeer canvas.

Thanks for all the new news and photos! Colin is to be on a Canadian TV show this next week called "TributeTV". I caught a short interview with him on a show called "Inside Entertainment" yesterday. It was done at the Toronto Film Festival, filmed outside at probably the same place he was hugging SJ. Here's the transcript I wrote out for it: IE: The 2 actors never touch in the movie but Colin says their onscreen sexual tension comes from a strong off screen friendship. CF: "I think that if you have...if you're relaxed with each other, if you can develop ideas together, if there's no conflict, it's just so much better." "This was a man who I'm sure lost hours and hours and hours in front of a canvas, and even though I might be a fairly crappy painter, I can still lose hours and hours in front of a canvas." IE: This 43 year old is quick to point out the similarities between the ancient art world and modern day Hollywood. CF: "And there's wonderful accounts of Michaelangelo in the Sistine Chapel with the Pope coming in like a Hollywood producer. 'When do I get to see it, when do I get to show it to my sponsors?' And he says no one gets to see it. It's like a film in the cutting room and they even had a physical fight at one point. I think the Pope hit him with a stick and Michaelangelo had to run away to Florence. You know this could be a modern story between a director and a producer perhaps."

Variety: Lions Gate's "Girl with a Pearl Earring" added 17 playdates for a total 41 and grossed $308,000, a notable $7,512 per engagement. Scarlett Johansson-Colin Firth starrer totes a $1.3 million cume as it prepares for expansions on Friday and Jan. 30. Off to watch the Eagles!:-)

(Evelyn), Goofy pic in the Post and the Daily Record cover looks like he's in the Witness Protection Program. I don't like any of them. Looks mighty ugly. A big contrast to the Mushimoto ones. Get back to LA, ASAP, Colin! ;-D We English, on the other hand, we�re always off by ourselves. He has also stated that he rarely sees his brother Jon. I think he might have said it's been 2 years. Thanks, Karen!

(Me), He has also stated that he rarely sees his brother Jon. I think he might have said it's been 2 years. I am referring to an article I read in 2003. And yes, I read it here. Sorry I can't remember which mag. or paper it is from.

OK, although it's not important information in the grand scheme of things, I was hoping you all could set me straight on two points regarding ODB's love interests, past and present. 1) I have heard various sources state that Livia is either an a)producer of documentary films, b) a television producer, c) an assistant producer, and d) a production assistant. Does anyone know which it is, if any? Does anyone know any of the work she's been associated with? 2) One of the recent articles posted referred to Meg Tilly as his 'ex-wife'. I was under the impression that they had never been married. Am I mistaken? Thank you all. I just like to try and keep my facts straight.

Leslie, as far as I know Colin and Meg never married, and Livia is a producer of documentary films. I don't know her body of work, this is the only link I found: http://www.fandango.it/eng/documentari/giuseppe/giuseppe.htm A doc. with Marc Evans who directed Colin in Trauma.

Portrait of perfection (Filed: 09/01/2004) Daily Telegraph Girl With a Pearl Earring recreates the world of 17th-century artist Vermeer with astonishing attention to detail. Sarah Crompton talks to an expert in Dutch art about the way it brings the paintings to life Cinema loves a tortured artist. Whether it's Charlton Heston cramped on his back painting the Sistine Chapel ceiling in The Agony and the Ecstasy, or Ed Harris splattering his canvases, fag in mouth, in Pollock, film delights in the recreation of genius at work. But I can't remember a film that goes to more trouble to make each scene look like a work of art than Girl With a Pearl Earring, which is released here next Friday. Starring Colin Firth as Vermeer and Scarlett Johansson as the servant girl Griet - very different but just as wonderful as she is in Lost in Translation and a very convincing look-alike for the girl in the famous painting - it evocatively and precisely recreates the painter's household in 17th-century Delft. In doing so, it vividly recalls the paintings of the period. Axel Ruger, curator of Dutch Painting at the National Gallery, was impressed. "The film takes the atmosphere and some of the pictorial language of the time and translates it into a cinematic language - a moving image of the still paintings, if you like. It's a great achievement. "Very often you see the protagonists involved in some kind of manual household task - peeling vegetables, washing, sweeping the floor - and it is almost as if a painting has come to life." He says that this is particularly true of the interiors, which are deliberately framed by Eduardo Serra's sumptuous cinematography to look like the rooms in a Vermeer. "Very often you see a box-shaped room, with a window on the left, subtle lighting and interior arrangements and furniture just like those you see his work." Such careful authenticity is all the more surprising because Tracy Chevalier's best-selling book, the source for the film, is based not on the facts of Vermeer's life (about which we know very little) but on a credible but fictitious premise. What if, she asks, Vermeer had been inspired by the beauty of a maid who came into his household, with whom he fell in love, with complicated consequences? It makes a great story, but the fact is, no one knows who posed for Vermeer. It may be that one of his daughters was the model. But Ruger says we simply do not know, just as the identities of the models for his other paintings remain lost in the mists of time. "Chevalier's novel extrapolates Vermeer's character from his paintings," he says. "Because he paints quiet scenes, she argues that he must be a contemplative man who is withdrawn from his family. But we know he had 10 children, so that would be quite involving. We know he was active in the Guild in Delft, and that he travelled round Holland. He was a prominent public figure. For all we know, he could have been out at the pub every night." This hardly chimes with the moody, silent character portrayed by Firth, full of suppressed emotion and wistful longing. But the film is faithful to another fact about the painter's life: we do know that Vermeer and his mother-in-law dealt in art, and we glimpse paintings on the wall of their home - such as The Goldfinch by Carel Fabritius - which it is feasible that they might have sold. It is also engrossing on the way Vermeer painted, building up depth of colour on his canvases. One episode shows him receiving a camera obscura, and snuggling with Griet under a cloak better to see its image. This is potentially controversial, since argument has raged long and hard in the art world over whether the artist did actually use optics to gain his pellucid effects. But Axel Ruger is satisfied that the notion is not overplayed. "I am adamantly against the idea that he directly used a camera obscura for his effects. But, on the other hand, Delft at that time was a centre for optics, and he was a very cultured man; so he would surely have been aware of the optical possiblities." Some of the loveliest scenes in Girl With a Pearl Earring are those where Vermeer teaches Griet how to prepare his paints, introducing her to the secret art of grinding and mixing heavy black, bright lapis lazuli, rich vermilion. The induction becomes a tender moment of understanding, but the techniques used, if not the emotion depicted, have their roots in a real and arduous process. Ruger explains: "It's all quite authentic. It was very laborious and involved, and every artist had his own recipes and idiosyncracies. Usually, the artist had an apprentice who paid to be in his studio and learn from him - whether Vermeer would have used his own servant for that is another point. But perhaps he was so besotted with her" That's only in the story, I point out. Ruger laughs. That's the thing about Girl With a Pearl Earring. It looks so beautiful and its story is so charming, that you are in danger of confusing the fictional Vermeer with the real thing. http://portal.telegraph.co.uk/arts/main.jhtml?xml=/arts/2004/01/09/bfgirl09.xml

As I was leaving the house this morning, BBC 1 Breakfast's show started to talk about the boom of the British film industry, and that they were reporting live in a few minutes from Shepperton Studios after the filming of BJD2 has just ended. And I am pretty sure they said they'd be talking to Colin and the producer of the movie, so I set my VCR. Won't be home till like 6:30pm to check, and the website mentions nothing so far. But check there later: http://news.bbc.co.uk/1/programmes/breakfast/default.stm as they usually have a clip.

From Variety: BAFTA narrows its best pic contenders Final 5 noms for each category to be announced Jan. 19 By ADAM DAWTREY LONDON -- "The Last Samurai," "Something's Gotta Give" and "In America" are among Oscar contenders that cannot win the best film prize at this year's British Academy Film Awards. All three failed to make the long list of 15 contenders in BAFTA's best film category, which was published Friday. Pics that emerged strongly in the first round of BAFTA voting, with 10 or more entries each across all categories, include "Cold Mountain," "Big Fish," "Girl With a Pearl Earring," "The Lord of the Rings: The Return of the King," "Master and Commander: The Far Side of the World," "Pirates of the Caribbean: The Curse of the Black Pearl," "Lost in Translation," "21 Grams," "Calendar Girls," "Kill Bill Vol. 1" and "Mystic River." The BAFTA long lists are voted by all the members. In the second round of voting, which closes Jan. 14, the members will choose five nominees in each category, to be announced Jan. 19. In the final voting, the members vote on the winners of the best film prize and the four acting awards, but the other sections are decided by specialist juries. The BAFTA ceremony takes place Feb. 15 in London. Hard to measure With 15 contenders on each long list, it's hard to pick front-runners, since pics that figure strongly at this stage do not necessarily show up on the short lists. But the long lists do at least make clear which films have not found favor with BAFTA voters. "The Last Samurai" may have missed out in the film and director sections, but it received several nods in the acting and technical categories. "In America" figures in the prestigious acting, directing and original screenplay sections. But "Something's Gotta Give," which has hardly been screened, made no impact whatsoever. Another U.S. kudos contender largely absent from the Brit list is "House of Sand and Fog," while "American Splendor" is nowhere to be seen. The value of sending out screeners was highlighted by a good showing for "The Station Agent," which figures on the best film list and several others. Other pics that clearly benefited from their screeners include "Big Fish," "The Barbarian Invasions" and "21 Grams." Small fish overlooked But smaller British pics, including several that sent out screeners, were largely overlooked. The best film list contains only three Brit pics (four if "Cold Mountain" is counted as British) -- two big commercial hits, "Love Actually" and "Calendar Girls," plus "Girl With a Pearl Earring." Some of these British omissions, however, will be rectified in the Brit film category, which is not voted by the membership and therefore does not have a long list. Both the short list and the winners are chosen by a jury. Several British contenders for American kudos are not eligible for this year's BAFTAs, because their U.K. release was in 2002. These include "Bend It Like Beckham," "Dirty Pretty Things" and "The Magdalene Sisters."

(Moon)He has also stated that he rarely sees his brother Jon. I think he might have said it's been 2 years. That must have been at Luca's christening as Jon is a godfather I believe! I am sure they must mingle occasionally. Jon lives (or used to) in the flat above Nick Hornby's office which indicates that he gets introduced to his brother's friends. Also didn't Helen Fielding write about gong to Arsenal with NH and the 2 Firth brothers and could could not get over having Mr Darcy to the left and right. Also he was at 3DOR. Have I just dreamt all this or can others confirm?

Colin Firth: The Q Interview 11 January 2004 Firth, 43, spent part of his childhood in Nigeria and the US, where his parents were university lecturers. He attended a Hampshire comprehensive, then went straight from drama school to the West End, in Another Country, also starring in the film version of the same. Firth's other films include The English Patient, Fever Pitch, Bridget Jones's Diary and Shakespeare in Love. In 1995 he became f�ted as "the male Ursula Andress" after emerging from a pond as Mr Darcy in the BBC's production of Pride and Prejudice. Firth has three sons: Will, 14, from his relationship with the actress Meg Tilly, and Luca, two, and Mateo, six months, by his wife Livia Giuggiolo. They divide their time between homes in Hampstead and Umbria. In Girl with a Pearl Earring, you've got rather good teeth for a 17th-century character, if I may say so... Well, the Dutch were absolutely fastidious about hygiene and cleanliness. The Dutch word for "beauty" is actually the same word for "clean", which shows how much they valued it. They were incredibly bloody civilised. Are you a clean person? Yes, I am. It doesn't mean I'm particularly tidy but, oh yeah, even in my most bachelor self, I've never been able to abide dirt. I don't mind papers all over the place but the kitchen and the bathroom have always been well scrubbed. You sound domesticated - do you cook? I'm married to an Italian who is a phenomenal cook, and far more fastidiously tidy than I am. I tend to make an outrageous mess in the kitchen. I like to think the results are OK but the process is pretty grisly. What's the best thing about life in Italy? Oh, you name it. It's got most things covered, Italy. You can go there for the food alone. The fashion, the sculpture... it really excels in every corner of culture, other than pop music. Do you feel yourself becoming more English when you're there? No, but I've spent a lot of time feeling like a bit of an expatriate [Firth lived in Canada for five years during his 30s] and I think that means you often seem more identifiably English, in the old-fashioned sense. I remember coming back from several years away and being told by an old school friend that I'd got plummier. But I don't think I had, you see. I think what had happened was he'd got less plummy, because he'd been listening to Jonathan Ross. There'd been a gradual move towards estuary that I hadn't been party to. Expat Brits don't tend to put on plumminess; they just stay in a time warp. Then they come back speaking like Celia Johnson and no one here still sounds like that, unless they're the Royal Family, or my grandfather. One of our staff relates how she once dropped her shopping, only to find the person helping her pick up her frozen peas was you. Really, good heavens... did I? Peas? Is the moment not as etched on your mind as it is on hers? I don't remember it, I'm afraid. Don't tell her. Are you normally chivalrous? Of course, if someone dropped their shopping I'd help, absolutely. Speaking of supermarkets, people often look at me and shake their heads in kind of funny-old-world disbelief. Then they often get out their mobiles. It's odd to go to the supermarket and find people staring at what you've got in your trolley and telling their friends. You feel as if just by existing, you're a bizarre spectacle. As an actor, how do you become magnetic? God, don't ask me. But if you want an earnest answer, you need to be riveted, absolutely spellbound by the person you're looking at. Forget "trying" to be sexy. That's just gruesome. Thinking of your fight in Bridget Jones, have you ever really been involved in fisticuffs? Yes, and I lost very decisively. I got the girl but I lost the fight. Yes, there were marks on my face. But I wasn't being very gallant. I think I spent most of the time running away, actually. A romantic gesture, nevertheless. Not really. I think the thing that's required the most courage that I've done in the name of romance was getting married, to be honest. If you're as scared of marriage as I was, it's a pretty romantic thing to have done. That and learning her language, I suppose. Specifically for courtship in Italian? Well, it's wonderful to have an excuse to learn a language. Her English is better than my Italian will ever be. But if you're going to live your life with someone you should, as a mark of respect, try to learn their way of conceptualising things. What music are you listening to at the moment? Um, it's very haphazard, always. There's an American singer called Kelly Joe Phelps, who I've got quite a passion for. I like the new Blur album, actually. And the Flaming Lips. Do you know them? I like Yoshimi Battles the Pink Robots. They often have celebs dressed as animals on stage at their concerts, don't they? I'd expect they probably do. They make me think of New York art school. Justin Timberlake dressed up as a dolphin - what would you be? It's unlikely I'd be tempted. When I see audience participation in a show I reach for my revolver. Are you stylish, or prone to fashion clangers? Oh, so many. And the worst thing is I probably liked some of them at the time. I used to wear Rupert trousers. Yes, big flared tartan trousers. Revolting. And, God, my Seventies hair's enough to spend my life apologising for. Vermeer hair. I burnt a lot of my photos from the time. Is your body a temple or a bike shed? It's an old converted houseboat moving slowly down the Thames. BY Hermione Eyre 'Girl with a Pearl Earring' opens on 16 Janua http://enjoyment.independent.co.uk/film/interviews/story.jsp?story=480468

It's an old converted houseboat moving slowly down the Thames. Oh, I love this quote! Sounds like he's responding to the pleas on these boards to "turn the ship around", etc. If CF were starring in The Tortoise and The Hare, is there any doubt which role he would play?

Thanks for posting the interview Maria, I very much enjoyed it. And thanks for the reviews ladies, more more, more! I hear GWAPE is coming out here in Canada this friday, so I'm all excited! (Evelyn) If he posted on Drool, I'd scroll through those long answers;-) LOL! Would you really? Come on, I thought you liked a good challenge. (Evelyn) What a guy...picks on the best thing he's done since the fifteen minutes on "Conspiracy" That is your opinion and many others', but not everybody's. It might not be his either, so let's take that into account. (Evelyn) A simple diplomatic: "At different times in my life I've been closer to one than the other". That's diplomatic? LOL! I would rather dodge the question altogether. Better safe than sorry. (Dorine) Not like he's had much to brag about recently. When was the last time he was in a potential bonefide Oscar contender? Not recently for sure :-), but are we sure that is what he is after? We know that's what WE want, for him to get as much recognition as possible and all kinds of awards, etc. but is this what HE wants? (Karen) Maybe when he's 95 years old and writing his memoirs, but not now. He was being interviewed to promote the movie; he has a contractual obligation to do his best to sell it. No thanks, I prefer the honest Colin now, not 50 years later. I don't want to read how he was full of s*** all those years ago. I appreciate his honesty, and his attempts at diplomacy. Sometimes he succeeds, and sometimes not. Just like the rest of us. As for his contractual obligation to do his best to sell the movie, I think he fulfilled his obligation by giving a great performance that's being recognized by both his fans and the critics, and that IMO will sell the movie better than any fake praise he can produce. He's also been doing the press rounds for GWAPE, so he is doing his part well I believe.

Oops, how do I fix that?

"It's odd to go to the supermarket and find people staring at what you've got in your trolley and telling their friends. You feel as if just by existing, you're a bizarre spectacle. " Poor guy:-((( Good excuse not to go to the supermaket, though. Great little interview, Maria.As always you do trot out the gems.

Is the moment not as etched on your mind as it is on hers? I don't remember it, I'm afraid. Don't tell her. LOL! Good questioner. ;-) Thanks, Mary, for the Bafta long list highlights. Have seen SJ's name mentioned at the BBC site: US actress Scarlett Johansson, 19, is featured twice on the best actress longlist - for Lost in Translation and Girl With a Pearl Earring. A few other names mentioned, but no Colin...as yet. No full list of possibles. http://news.bbc.co.uk/1/hi/entertainment/film/3389151.stm

Evelyn) If he posted on Drool, I'd scroll through those long answers;-) (Ildi)LOL! Would you really? Come on, I thought you liked a good challenge. S c o o o l l i n g

Karen, thank you for being gentle. :-) You are right, I'll withdraw the WE. The rest remains.

Gentle Reminder There are no WE's here. Also, no one is presuming to know what Colin wants. The opinions expressed here have been and will continue to be the opinions of the poster only. Thanks! :)

Thanks for the article, Maria. Very tongue-in-cheek which is a nice break from time to time. Gosh, would I like to drop my peas in the market and come face to face with ODB!

Is the moment not as etched on your mind as it is on hers? ...at least I have permanent sharpie etched on my coat from the premiere. I'll treasure that stain, always whether he remembers or not. When I see audience participation in a show I reach for my revolver. LOL, that's not one I've heard before. Good thing he doesn't ever accompany me to one of his films. Thanks Maria, great article and thanks Murph for the BAFTA list. Emma, welcome back. Please keep us posted on the BBC1 interview. ...did they mean finished filming for the day or finished filming altogether? I thought the schedule for TEOR took them to early Feb? Loved that article, Maria thank you.

(Ildi)Not recently for sure :-), but are we sure that is what he is after? Actors (all of us, really) want to be associated with work that is respected. I don't have to know him to know that. IMO, he has no family rift and he's happy with GWAPE--it's just that with certain media outlets he starts giving these portentious responses and they wind up obscuring what he's trying to say. I like the new Q&A, Maria, thanks. And the Flaming Lips. Do you know them? Am pretty sure these guys are Sooners, Ev. Can see you lining up for concert tickets.;-)

Hey...your'e right...Over ot O&E For Flaming Lips....

Maria thanks for the article, vey funny, put a smile on my face. You know you just have to love a guy who has to have a well-scrubbed kitchen and bath & seems to know how to do it himself.

(Evelyn) What a guy...picks on the best thing he's done since the fifteen minutes on "Conspiracy" (Ildiko) That is your opinion and many others', but not everybody's. It might not be his either, so let's take that into account. Though, he did admit at the Burns Q&A that he has had a run of poor judgement as far as projects go. (Ildiko) Not recently for sure :-), but are we sure that is what he is after? We know that's what WE want, for him to get as much recognition as possible and all kinds of awards, etc. but is this what HE wants? I can't imagine that what HE wants is to be if not universally, but locally bashed by the critics in projects... that many people, if not most critics, think or verbally express, are way beneath his talents. That being said, just because I liked WAGW (cute for what it was) and TIOBE (though might have been better with a different adaptation and director), I still think he hasn't done anything truly worthy of his talents since his small part in Conspiracy...until now. The awards are icing on the cake. I just want to see him in good projects that I'd be proud to watch or recommend to others.

Maria, thank you! That's the best one I've read in a long time! Allison), That must have been at Luca's christening as Jon is a godfather I believe! That must have been when I was away for the summer, because I don't recall reading anything about Luca's Christening. Also he was at 3DOR. Have I just dreamt all this or can others confirm? Again, I've never read that he did. Does anyone else remember?

Girls, as always . .thanks for the all the articles and pics . .Forgive me, my home computer died on us . .and 2 days without Drool . .almost unbearable! (Robert Horton)I can't think of anything wrong with Colin Firth's performance as Vermeer, except that he seems fundamentally miscast. (Linda)How? Why? I hate when a statement gets thrown out like that with no reason. Not that he isn't entitled to his opinion, but give the reason. sheesh! I was going to say the same thing . .umm why do you feel that way, Mr. Horton? Examples from the film, please . . . (Marc Evans interview)Q. What's the one glaring lesson you learned while making this film? A. The importance of casting. Since he appears to like Colin . .who he is talking about . . Mena? . .I thought she was an odd choice to put against Colin . . . (Tress)should you try and pigeonhole them back into their former 'genre'? I wholeheartedly agree . .unfortunately the realtity of show business, esp in Hollywood, is if that can stick you in that pigeonhole they will. It's just an easy way I think of keeping everyone straight . .this is the comedic actor, this is the character actor . .this one does only the quirky type roles , this one is great with heavy drama. . .there have been the lucky ones who have spanned the gammut (a Tom Hanks for instance) . . god bless em, they are lucky . .but few and far between . . I've actually been told by fellow actors and some casting directors that if you don't know your niche . .your pigeonhole, don't go out to LA, b/c you'll just be adrfit in a sea of faces;) . . . (Leslie)OK, Kimberly, should we put your DH on notice?? (CF - Telgraph)I am very attracted to people who are not English, and I am very interested in other cultures, . . I don't know what you may mean . .(*smiling slyly . . *) . . (Karen)Lots of factual errors ( re: the Telegraph article) You mean like this . .;) - (CF - Telgraph) Firth, then 30, married his Valmont co-star Tilly, Mmmmm . .love that Colin Bell photoshoot . .the one with him by the barn and in the woodpile . . (The Q Interview) "the male Ursula Andress" SNORT . . ok ther's a description I wouldn't have thought of! (The Q Interview)Q.Is your body a temple or a bike shed? A. It's an old converted houseboat moving slowly down the Thames. Can I come aboard?

Is the moment not as etched on your mind as it is on hers? I don't remember it, I'm afraid. Don't tell her. Well, that answers my question about if he would remember me from the loos in Toronto at the GWAPE gala. He probably doesn't even remember that he went to the 'wash rooms', but it will be forever etched in my brain....the twenty seconds I shared with "Mr. Darcy"! ;-) Thanks Maria and everyone else for the wonderful articles and pics. Have been away for a few days and you all have been busy!!! Wonderful stuff!!! **blowing kisses** Okay....and there is something going on in ODB's pants in these pics...I can't quite put my finger on it (wish I could, but I can't!). Just find some of these images fascinating....(I think there is a picture of ODB 'working it' with a water glass during this photo shoot...naughty....I don't know if it is him being naughty or me just me thinking naughty....either way....) ;-)

BBC yeah...oops, never mind. The Breakfast interview was with the producer of GWAPE. However the interviewer was confusing calling him Colin Firth's producer so no wonder I heard it wrong. Nothing too interesting to mention. No internet at home right now, sorry could not correct myself earlier.

DAVID WEDDLE (Variety) In "Girl With a Pearl Earring," director Peter Webber and his production team created a living, breathing, fully dimensionalized portrait of the 17th-century Dutch town of Delft on a budget of just $10 million. The secret to their success lay in the angle of attack. Webber is a passionate admirer of Stanley Kubrick's 18th-century epic, "Barry Lyndon." But upon reading Olivia Hetreed's screenplay for "Pearl Earring," Webber saw a key difference between Kubrick's film and the one he was about to make. "Kubrick was obsessed with the spectacle and manners of the period," says Webber. "So he staged these elaborate and expensive set pieces. My film was about the intimate relationships within a single household." "Pearl Earring" focuses on painter Johannes Vermeer (Colin Firth as he forms a covert relationship with 17-year-old servant girl Griet (Scarlett Johansson. "The characters who pass through Vermeer's house come from a broad spectrum of society, from the very wealthy to the very poor," says Webber. "You get a microcosm of 17th-century Holland under one roof. So the film is, in a sense, an intimate epic." Production Design Finding a production designer who could bring this distilled drama to the screen proved difficult. "The various British production designers whom I spoke to approached the film a bit like it was a museum piece," says Webber. "They wanted to get all of the period details exactly right, and were slightly scared of not getting it right." When Webber met Ben van Os --- who had worked with Peter Greenaway on "The Cook, The Thief, His Wife, and Her Lover" and "Belly of an Architect" --- he knew he had found the right person. "Ben is Dutch; this story is in his blood," says the helmer. "So he wasn't intimidated by the period obligations. He was much more interested in story and character. How are we going to create this mood? Ben said, 'We'll take this from this period and this from that period.' It was music to my ears. "The most important things are the story and the characters. I really don't care if I'm going to get a letter from some expert in Dutch architecture saying, 'That roof design wasn't used until 17 years after your movie takes place.'" Van Os created a cross-section of Dutch society by building three interior sets: the drab monochromatic, Calvinistic home of Griet; the lurid, painting-filled Catholic chaos of the Vermeer house; and the mansion of Vermeer's wealthy patron, van Ruijven (Tom Wilkinson , filled with curios gathered on his world travels and eerie stuffed animals, which convey van Ruijven's predatory nature. The Vermeer house presented the biggest challenge. Van Os constructed the three-story set on one of the largest soundstages in Luxembourg. "We wanted the house to give us that sense of frames within frames so familiar from Vermeer's paintings," says van Os. "We built rooms with connecting doorways that led the eye through the house to give a feeling of space --- and lack of privacy. We wanted Griet to always feel watched because the film is about being observed, either by Vermeer as he paints her, or by the other family members with their various agendas." Van Os knows that the little details give this cloistered world authenticity. "For instance, the windows are all exact reproductions of the those that were used at the time," he says. "That was a big undertaking, quite expensive. We went to a company that restores all kinds of windows in old churches and historic buildings and had them build them for us." For the exteriors, Webber and van Os spread dirt and trash to give the streets the feel of a crowded city. "I was obsessed with getting animals --- dogs, livestock --- into as many shots as I could," says Webber, "because it brings a breath of life to the piece. Costume Design The distillation process extended to the wardrobe as well. "I wanted a stripped-down look," says Webber. "If I dressed all the actors in the real costumes of that era, they would be wearing ruffles and baggy outfits. I didn't want to put Colin Firth in that. For a modern audience he's going to look too costumey. So we came up with a look we jokingly called period Prada, to give the clothes sleek lines. I called it my Vermeer filter: take the real clothes from the period and reduce them to their essence." Costume designer Dien van Straalen --- who worked for Greenaway on "The Cook, the Thief" and "Prospero's Books" --- combed through second-hand clothing and furniture stores, Indian silk shops and garment marts throughout London and Holland in search of period fabrics. Old curtains and slipcovers were converted to jackets and dresses, and aged with sandpaper. The wardrobes for each character varied from prosaic to grand. Again, the clothes made up a cross-section of the 17th-century Dutch society. "We used pale colors for Scarlett Johansson to give her the drab look of a poor servant girl," van Straalen explains. As for Vermeer, "obviously he was not a wealthy man, though he was considerably better off than Griet. So I wanted to keep him as plain as I could. He sometimes had to go out to social events, so we gave him one aged black dress suit with a simple white collar and a bit of braid. "Vermeer's patron, van Ruijven, wants to control Vermeer and enjoys his power over other people. For me he was a peacock strutting around with his money. I used more braids and more gold, big hats with feathers, and cloaks. We have costume makers in Holland who used to work for the opera so they know exactly how to make fancy clothing from that period." Makeup and Hair "The makeup for Scarlett Johansson was very simple," says makeup and hair designer Jenny Shircore, who worked on "Dirty Pretty Things"; "Notting Hill"; and "Elizabeth," for which she won an Academy Award. "We just had to keep her skin looking milky, thick and creamy. This required some makeup because Scarlett has spots and things that happen to a 17-year-old. We wanted to present her as if she had no makeup on. We gave her a little bit of help by bleaching her eyebrows, because in the Vermeer paintings it's all about skin and face, nothing else gets in the way, so you eliminate those other features." Almost all of the actors wore wigs, which presented problems. When Johansson's wig arrived a couple of days before shooting, it had the wrong color and texture. "It was a nightmare," Shircore laughs. "I didn't dare say a word to Peter, because I thought: 'We must sort this out without giving him a headache.' We were up all night dyeing, straightening, curling and redyeing the wig." "For Vermeer's wife, Catharina (Essie Davis), I used a very simple Dutch hairstyle. The women wound their hair round the back of their heads. There comes a point when you've finished the hair, it can't be wound anymore because the length is used up. Instead of neatly pinning it away, we let the ends splay out, because in looking at references, little drawings and prints, we found that that's what they did. Once you're actually working within a period, the hairstyles evolve very naturally." http://story.news.yahoo.com/news?tmpl=story&u=/variety/20040113/va_sp_ev/girl_with_a_pearl_earring_1

Variety - Nice news for those of us with IFC! IFC NABS 21-PACK OF LIONS GATE PIX - Ten titles to make network TV preem on cabler The Independent Film Channel has acquired "Shattered Glass," "Girl With a Pearl Earring" and "The Cooler" as part of a 21-film licensing deal with Lions Gate Films

(Tress) ...there is something going on in ODB's pants in these pics... ROTF! Now what would that be I wonder? Are those your car keys in your pocket my love, or you are just happy to see me? I like that pic for some reason, and the new ones from the Daily Telegraph. I saw the huge version of those, and on the one where he stands in the room looking down my eyes are always drawn to his denim covered thighs. A most lovely sight if I may say so. And the other one..., this man has the most beautiful profile. Maria, thanks for another great article. I had to laugh when I read about the problems with Scarlett's wig. What a fuss, and the thing was seen in the movie for 5 seconds only... (Dorine) I still think he hasn't done anything truly worthy of his talents since his small part in Conspiracy...until now. I agree, and it's frustrating. I'm still waiting for "The One", that will be worthy of his talents AND give Colin a bit more chance to shine than Conspiracy and GWAPE. This is a funny thing, you know. There were 2 other actors in my life I got all enthusiastic about. One kept making movies that pleased the crowds, and the few time he made ones to please himself he was ripped apart by critics and fans alike. So he made popular ones again and the crowd applauded, and he looked miserable. The other one got tired of the crowd pleasers and started making little arthouse movies that made him very happy, and his fans miserable. So where is the middle road, and where is the "perfect" script and the role that would keep all happy? Sounds almost impossible.

I didn't see Ebert and Roeper's show and was curious what Roeper's reason for picking Colin as Best Supporting Actor. I certainly liked him in the movie, but hardly thought it was of Oscar-worthy. Can anyone enlighten me?

He would have talked about him...if only the interviewer had asked.... Peter Webber Interview Director of Girl With A Pearl Earring http://www.futuremovies.co.uk/filmmaking.asp?ID=63

From a Japanese fan: http://www.bbc.co.uk/radio2/shows/ross/ Apparently, Colin will be interviewed this Saturday by Jonathan Ross on BBC2 Radio. It is listed as being on from 10:00a-13:00p and can be heard online.

(futuremovies)PW: In a way that�s one of the questions that the film is trying to answer: What is love? What different kinds of love are there? Wait . .doesn't that sound like a line Richard Curtuis used about Love Actually?;) Thanks for the articles Maria!

Good article, Maria. I like reading PW interviews. Wonder if the producers would have chosen him if he hadn't been an art major. I'm glad they lightened the film up, dark films don't do well on TV screens, IMO. (PW)"They were really in tune with the kind of film that we wanted to make and weren?t ever trying to make us too ?Hollywood?. LOL. Poor "Hollywood", always takes on a pjorative tone. Bet he only says that in UK;-/

(KarenR)Apparently, Colin will be interviewed this Saturday by Jonathan Ross on BBC2 Radio. It is listed as being on from 10:00a-13:00p and can be heard online. This is an absolute must! JR sends his guests up something rotten, but he is so funny they don't seem to mind, and enjoy it as much as the listeners.

Do they keep these archived online? I'll be on a plane.

(Dorine)Do they keep these archived online? I'll be on a plane. Yes, they do. The whole show from last Saturday in online and can be accessed via the BBC Radio Player on the Radio 2 Website. - Don't know how long it stays up though. GWAPE was reviewed by Jonathan Ross on Film 2004 on BBC tonight. Yes, the same JR from Radio 2. His comment on CF: Colin Firth is measured, subtle and effective. It's true that he isn't called upon to do much more than look troubled and moodily romantic while wearing a frilly blouson, but I suspect that there are many of you who will find that more than satisfactory - you know who you are, ladies! Really looking forward to Saturday!

If we want to listen to this BBC interview, here in the states, is it live? does that mean 5am est. or is this pre-recorded? Does that make sense? Thanks for the articles and news, ladies.

Girl With A Pearl Earring Director: Peter Webber AAH, THE BRITISH costume drama. What an institution. Girl with a Pearl Earring is of course actually set in Holland, but hey, what�s the harm in a Merchant Ivory accent or two? You wouldn�t want things to stray too far from the norm. Use real Dutch people? Madness, surely. Bring on the all the marks of a BBC-esque period piece - over the top character acting; working class people from Yorkshire (irrespective of actual geographical setting); pretty set and costume design; a bland-but-likeable story; Colin Firth - and everyone�ll love it. Girl with a Pearl Earring, adapted from Tracy Chevalier�s incredibly popular novel, invents a background story to artist Johannes Vermeer�s most famous painting. In real life, little is known of Vermeer himself, and nothing is known of the girl in the portrait. This, a potentially interesting premise, is dulled by Chevalier�s storytelling hands into limp clich�: �great artist� is inspired by an unlikely female muse. It is not, however, the story that makes Girl with a Pearl Earring the relatively enjoyable film that it is. Thanks to the talents of cinematographer Eduardo Serra, the whole thing genuinely looks like a painting, uncannily close, in fact, to a painting by Vermeer. The images of 17th century Delft deserve in themselves to be immortalised on canvas and beautifully composed shots emerge scene by scene, from two lovers strolling beside a canal, to Vermeer and his maid elaborately grinding and mixing his paint colours. Vermeer�s studio is permanently bathed in muted, golden shades, shot entirely in natural light and exquisitely recreated from scenes from the artists work. So much attention is paid to minute detail, even down to the less pleasing aesthetics of a fat maid rubbing lard into a chicken�s ass, that the blandness doesn�t hit you too hard. Scarlett Johannson, playing Griet, the young maid who ends up posing for Firth�s Vermeer, matches the film�s overall prettiness. She is so beautiful as to be actually mesmerising, with her wide eyed innocence, longing gaze and pouting lips. As always, Mr Firth has little to do other than look slightly stern, slightly brooding and intensely sexy (aka �repressed artistic passion�). This is probably all he can manage - that�s a whole three RADA lessons at once - but, to be fair, he is damn good at it. The chemistry between Griet and Vermeer is predictable and uninteresting, although both actors are fairly convincing in their roles, Griet�s growing artistic sensibility is underplayed, and, unfortunately, the content of Girl never quite lives up to its stunning packaging. http://www.studentnewspaper.org/view_article.php?article_id=20040113180340

(lindak)If we want to listen to this BBC interview, here in the states, is it live? does that mean 5am est. or is this pre-recorded? Does that make sense? The show would go out at 5am est. Not sure if it is pre-recorded or live. It does have the feel of a live show; some of his comments can be outrageous but very funny! The guest is in the studio during the broadcast, and chats to Jonathan in between the music segments - not a two minute spot by any means.

10 to 1 PM GMT....???? Does this show go on for 3 hrs???? You're kidding.... According to the website: http://www.bbc.co.uk/radio2/shows/ross/ One should be able to hear it later .... When is "later" ;-) I don't know.

I like what he said about ODB: Keira vs Scarlett: who trumps who? Daily Telegraph ...But more than all that, Johansson has, in these two films that have so suddenly made her name, inspired reputation-restoring efforts from her male co-stars. Murray and Firth, having coasted all too often in vehicles that were not up to their talents, react to the ascendant star with performances of real class. http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2004/01/14/bfgirls14.xml&sSheet=/arts/2004/01/14/ixtop.html

Thanks for the BBC Radio link. Looks like you can listen to the prior week's show after the broadcast. There are links to the interviews, but from Janet's note it seems like they're interspersed with the music? I see Ryan Adams will also be on; remember, CF is a big fan. Just saw him last week on Letterman, I think. Scarlett was just on Jay Leno's show. They showed the clip of Griet and Vermeer disagreeing over whether she should wear the pearl earrings. She said "Colin Firth is gorgeous and lovely!"

She was cute, a tad hyper, perhaps. And *what* was up with the discussion about shopping for phallic faucets? ;-) Loved that blue shirt she had on. Good color for her.

(Do)And *what* was up with the discussion about shopping for phallic faucets? And the toilets Louisa, the toilets..... Probably nervous. I did appreciate her Colin gush.

((Do)And *what* was up with the discussion about shopping for phallic faucets? Maybe this will explain: Just an exerpt from Liz Smith's column this morning in the local paper. ...Of far more interest to Scarlett right now is her new apartment in Hollywood. Her father, who is an architect, is helping her fix it up. "Just this week, all I've done is sit on toilets, lay in bathtubs, turn on sinks." Thanks, Janet. The last Saturday I was in London, I was walking along a market area and one of the vendors had a radio on. I think it was the BBC1 show he must have been listening to. Crazy questions, lots of laughs and music. I could have sworn he said we have Colin Firth on the line...the reception was poor, but it was enough for me to duck in the tent and pretend I was looking at backpacks. The voice certainly sounded like Colin and the interviewer was teasing about the attention from female fans. One of the questions was...who was the first person you kissed on New Year's Eve. The guy/Colin? being interviewed laughed and said, My Mum". Then there was a "there you have it ladies, this heart-throb kissed his mum first. Then all this music started and I realized I hadn't moved from my spot and the vendor was saying, "lady do you want to buy anything?" More on GWAPE: The True Meaning of Pictures Telling a thousand words: Scarlett Johansson in 'Girl with a Pearl Earring' Image: LIONS GATE FILMS 'Girl with a Pearl Earring' peeks under the Vermeer by Jessica Winter "It's an image--a picture made from light," Johannes Vermeer (Colin Firth) explains to his maid and muse Griet (Scarlett Johansson) after the startled young woman has peered for the first time through his newfangled camera obscura in Girl with a Pearl Earring. Tracy Chevalier's 1999 source novel, an enamored speculation on the 17th-century Dutch master and the genesis of his titular portrait, is not only an exemplum of fan-fiction as high lit, but (however fleetingly) a rumination on the ancestral origins of photography. Fitting, then, that the most obvious pleasures of Peter Webber's film version--as with John Maybury's essay on Francis Bacon, Love Is the Devil, and Derek Jarman's Caravaggio--lie in cinematographic mimesis. Eduardo Serra's images summon Vermeer's flickering play of diffused sunlight and shadow, his ethereal halations--captured in the effulgent wink of the famous Girl's dangling jewel. Better still, each performer of this chamber piece presents a face worthy of his or her own Vermeer treatment. Johansson and Firth's celebrated visages frequently fill the screen, of course. But behold, too, Judy Parfitt as the artist's imperious mother-in-law, wielding granite jaw and smelting gaze, and Essie Davis as Vermeer's wife Catharina, a sulky china doll with impossible azure orbs and strawberry hair that could only be conjured from a painter's palette. Back in real-life Delft, Vermeer made scant record of his mere 43 years on earth: Not a single piece of correspondence that he wrote or received survives today, though he did leave behind a mountain of debt, a prodigious brood of children (at least eight, perhaps as many as 11), and a precious cache of some 40 paintings. Focusing again and again on women lost or interrupted in mid-daydream amid familiar domestic surroundings, Vermeer found his great subject in what might be called enigmatic contemplation, and it occupies most of his waking hours in Girl with a Pearl Earring; holding to Griet's limited purview, the movie only projects generic creative torment and Heathcliffian allure onto Firth's stormy-eyed brooder. As Vermeer covertly enlists the illiterate Griet as his assistant and, eventually, his clandestine model, the film--embroidered by Alexandre Desplat's busily apprehensive score--becomes the unwritten diary of a chambermaid. Griet must also endure hard, repetitive labor, elude the suspicious spit of mopey Catharina and her meddling daughter Cornelia (Alakina Mann), and negotiate the vigorous advances of both a callow butcher's son (Cillian Murphy) and the lecherous patron Van Ruijven (Tom Wilkinson), whose purchasing power leaves the entire extended household variously in his thrall. Proust once noted, quite arguably, that "passion and suffering and sex are banished" from Vermeer's art. Chevalier's book and, more openly, Olivia Hetreed's faithful screenplay strive to instate heritage-drama renderings of all three, planning many of the Vermeer-Griet encounters around erotic similes or substitutions. Foreplay is an intimate huddle beneath the curtains of the camera obscura. Griet disrobes by simply removing her cap, unveiling her taboo hair. The climactic penetration, naturally, is an ear-piercing. As much animation as adaptation, Webber's film is impeccably surfaced, but it neglects a shapely indication of the central pair's instinctual aesthetic affinities--their courtship, so to speak. (By contrast, Chevalier's book arranges a charming introduction of boss and employee when Vermeer notices Griet's intricate set designs for chopping vegetables: "The colors fight when they are side by side, sir," she points out.) Johansson, so intelligently unmoored in Lost in Translation, again shoulders a largely passive, reactive role: Griet forever gasps and gapes in her master's presence. The lavish breathtaking further underlines the movie's muted but stubborn assumption that Vermeer's obsessive vocation has become a surrogate for forbidden upstairs-downstairs coitus.

Thanks Linda....Nice audio encounter at the marketplace with Colin;-) anyway. "Foreplay is an intimate huddle beneath the curtains of the camera obscura. Griet disrobes by simply removing her cap, unveiling her taboo hair. The climactic penetration, naturally, is an ear-piercing. " Jessica Winters read the book and "gets" it; she did her homework. Lots of good heavy stuff here... *with dictionary in hand;-)* Let's get her to come for the film discussion.

I've put up a list of GWAPE's expansion dates and places in the US through mid-Feb here: http://www.firth.com/gwape_dates.html

Thanks Boss... LOL. Like your "Disclaimer"....what makes you think it's gonna stop them. You da' Man;-) Looks like GWAPE is gonna hit every "one horse town".] More than I ever thought.

(Evelyn) Looks like GWAPE is gonna hit every "one horse town".] I didn't see yours or the two horse town you usually go to. ;-) LOL. Like your "Disclaimer"....what makes you think it's gonna stop them I toyed with more violent language (sending Mari's Uncle Vito) ;-)

(Karen)I didn't see yours or the two horse town you usually go to. ;-) Easy for you to say, Ms. Big City Girl);-) I'd say wee's been robbed, Evelyn. How dare it not come to Princeton?...fairly two-horse town in the scheme of things-except it has an art house theater.They had TIOBE for two months, fergawd's sake. Looks like I need to become the squeaky wheel. Now where is that phone number?...

1/30 Cinemapolis Ithaca NY Yes!! Just across the street form where I work! Easy in and out slippage;-)) Thanks for making my day Karen!

I can't believe it. Rocky Hill is where TIOBE went after Princeton. Just another 5 minutes up the road. Yes! Crap theater, though. No stadium seating, stale popcorn, dirty bathrooms. But, whatthehell. If it was good enough for Earnest, it's good enough for Vermeer.

I was told Miami Beach opens this Friday by the Miami Herald's film critic and I'm sticking to that. Thanks for the reviews, ladies. I plan to attend a book reading with Tracy Chevalier this Saturday. Looking forward to Colin's radio interview too.

(Evelyn) Looks like GWAPE is gonna hit every "one horse town".] (Da Boss)I didn't see yours or the two horse town you usually go to. ;-) But Tulsa ain't bad. Only about 300 miles r/t.LOL Hey, I get excited if I don't have to fly to Dallas. (MLSF was worth it!)

(Evelyn) Looks like GWAPE is gonna hit every "one horse town". Yeeeeeee-haaaaa! Comes to the Fox on the 30th. Great theater, nice (high backed) seats that tilt....risers (so you have that one row that has railing in front of it (acts as a nice ottoman). Am most content now. Thanks Karen! Thanks Linda for the Winters review.... The lavish breathtaking further underlines the movie's muted but stubborn assumption that Vermeer's obsessive vocation has become a surrogate for forbidden upstairs-downstairs coitus. Oh! My! ;-)

Thanks again girls . .esp Karen for the GWAPE extended release dates. . Leslie! . .. . .GWAPE will be in Bronxville (*dancing around: yayyyy!!!*) . .a literal 5 minutes from my house after 1/30 . .if you'd like to catch it then;)(though will also do the 19th as well;)

Not a good review from FT. Particularly hates his comments on ODB. Another British-actor-hating British film critic, IMHO. Just a thin veneer of Vermeer by Nigel Andrews Financial Times Art about making art. What an amazing record the cinema has on this subject. Its products sit at either end of a scale ranging between the sublime and the ridiculous, with almost nothing in between. Art biopics and art dramas are either masterpieces (Andrei Roublev, Lust for Life) or madnesses, and the second group is divided into the accidentally lunatic (Song without End) and the designedly so (This is Spinal Tap). This week we spy on Johannes Vermeer as he befriends, appraises and paints his model for the canvas that became known as Girl with a Pearl Earring. And we follow three American folk groups converging for a reunion concert in A Mighty Wind. The first film is a serious period piece, the second a mockumentary. But how do you tell the difference? Both present their stories in a style of po-faced solemnity, one with droll intent, the other without. But the Vermeer film's pedestrian seriousness and fustian reverence are their own eventual parody: I found myself giggling in the intervals when I wasn't fidgeting. Biopics like this are the cinema's equivalent of putting a blue plaque on a wall. "Vermeer slept here". So may many moviegoers. Nothing wrong with serious style of course, except when married to a stupefying triviality of content. As an exploration of art's pains and processes, Girl with a Pearl Earring has all the profundity of a Mills and Boon novel. It is a tale of artists behaving badly - but ever so attractively and creatively - in 17th-century Delft. The eponymous girl (Scarlett Johansson of Lost in Translation) is a pale, succulent-lipped maid in the Vermeer household who warms the cockles not just of Colin Firth's painter but of Tom Wilkinson's randy patron. "Ripe as a plum, still unplucked!" exclaims he in one scene, backing her into a wall and all but twirling his grey moustache. The great artist himself takes 25 minutes to utter a line - not even Hamlet had a more important delayed-speaking entrance - and spends the remaining 80 minutes wooing the girl into comradeship and compliance, before he lovingly pierces her earlobe for the eponymous adornment. This scene almost touches a brief, weird tenderness. But down below in the parlour Mrs Vermeer is still semaphoring her sexual jealousy, while the artist's mother-in-law (Judy Parfitt) is a dragonish caricature in Calvinist black, vainly trying to speed Vermeer's productivity. "Three months", she harrumphs with each new painting, "another three months before he's 'satisfied'!" Add a housekeeper with keys to the clich�s cupboard ("no smoke without fire", "she's eatin' us out of house and home") and at times you rub your eyes to make sure this isn't a Monty Python sketch. Press-show colleagues admired the respectful, Vermeeresque lighting. But reverend intentions and a cosmetic fidelity are not at issue. Only excessive respect, indeed, could produce a film at once so droopy and so loopy, one that configures its characters in a circle of hackneyed stereotypes around a no less hackneyed vision of the genius as crypto-Byronic matinee idol. Colin Firth's Vermeer is a sexy, surly, storm-browed introvert, with a caustic aside or winning scowl for every occasion. Give him a wet blouse and he'd be Delft's Mr Darcy. http://news.ft.com/servlet/ContentServer?pagename=FT.com/StoryFT/FullStory&c=StoryFT&cid=1073281025230

The Times's review. Marked 4 stars, but it's obviously been mislabled.:-( Peter Webber�s lavish melodrama, Girl with a Pearl Earring, pummels the senses with a Brian Sewell sense of its own painterly importance. It is quite brilliantly lit and dressed. Ducks are smothered in lard, and floorboards creak. But the master-and-servant romance has the erotic charge of a five-watt bulb. Set in Delft in 1665, the film picklocks the erotic mystery behind one of Vermeer�s most famous paintings. A humble peasant, Griet (Scarlett Johansson), is employed by the artist�s wife to launder sheets and scrub his studio. She is Cinderella in a house full of malevolent creeps and bitchy servants. The family is stony broke, and Colin Firth�s depressed, tetchy artist is blocked. But something about the 17-year-old waif with eyes as large as marbles inspires Vermeer to pick up his brush. Without at first knowing, or indeed desiring it, the vulnerable char becomes his inspiration and muse. I doubt there has been a more beautiful period romance that never happens. Firth smoulders like a damp rag. Johansson is the shapely marvel: she barely speaks a word, yet the entire drama is quietly frozen on her face. The rest is as Dutch as Dickens.

Empireonline's review is good: Tracy Chevalier�s novel, from which Girl With A Pearl Earring is adapted, attempts to solve the mystery that surrounds Vermeer�s painting of the same name. Although no-one is sure of the identity of the beautiful girl who inspired the artist to produce one of the world�s greatest paintings, Chevalier cobbled together a series of clues and created a bestselling novel. Director Webber sticks firmly to the book and, in doing so, has produced a captivating film whose stunning use of set design and colour recreates Vermeer�s sense of space and reality in almost every shot. Firth�s Vermeer is distant and untouchable, making his attraction to Griet all the more powerful. Johansson, meanwhile, shows a remarkable resemblance to the servant girl in the picture, and her ability to keep Griet simple and naturally beautiful (coupled with her turn in Lost In Translation) is a marker of good things to come. Very good � one of the rare book adaptations that actually benefits from a visual makeover.

Looks like the broadsheets have their knives out.

Girl with a Pearl Earring Alistair Harkness The Scotsman Girl with a Pearl Earring (12A) ** Directed by: Peter Webber Starring: Colin Firth, Scarlett Johansson GIVEN that Johannes Vermeer was a master of light, it should come as no surprise that this film version of Tracey Chevalier�s best-selling novel fictionalising the story behind the Dutch painter�s most famous work has been handsomely shot. Cinematographer Eduardo Serra beautifully evokes the mood of Vermeer�s paintings, giving the film an appropriately luminous hue. That, however, is about the best thing you can say about Girl with a Pearl Earring, a film that struggles to inject any life at all into its dreary source novel. Scarlett Johansson is suitably enigmatic as Griet, a maid in the Vermeer household whose pouting lips and soulful eyes attract the attention of the artist (Colin Firth), providing him with some much-needed inspiration - much to the chagrin of his wife. But understated and mesmerising a screen presence as Johansson is, there are only so many longing glances and wistful sighs you can take before you start questioning why any young actress would subject herself to wearing a milk maid�s hat for 90 minutes. Still, at least Firth succeeds in broadening his range. Not only can he do repressed and smouldering, he can do repressed and smouldering with hair extensions. Cool.

What do these people want? I'd like to see reviews of the movies they like...if anything.

This is good, from Scotsman on Sunday: Servant's brush with Dutch master is picture perfect AMERICA�s young hopefuls have precious few chances to shine. Tasteless teen comedies and tacky horror flicks rarely show the promise of a great future. It still seems a road that everyone has to travel, whether you are Tom Cruise (Losin� It), Leonardo DiCaprio (Critters 3), or Renee Zellweger (Texas Chainsaw Massacre: The Next Generation). Scarlett Johansson may have films such as Eight-Legged Freaks and Home Alone 3 on her CV, but at just 19 she has already emerged as the most beguiling female star of her generation. In Lost In Translation, Johansson holds her own against an Oscar-worthy Bill Murray as the young American adrift in Tokyo. In Girl With A Pearl Earring she becomes an Oscar contender in her own right with a luminous, remarkably poised performance as the 17th-century Dutch servant girl who may have been the inspiration for one of the greatest paintings of all time. As tender and spellbinding a presence as the young Audrey Hepburn, Johansson makes critics feel inadequate - you don�t want to review her work, you just want to write her love letters. Crafted with the precise judgment and fine brushstrokes of an old master, Girl With A Pearl Earring also marks an auspicious feature debut for director Peter Webber, who has made a period drama that rivals the classic Babette�s Feast in its attention to detail and atmospheric re- creation of a faraway age. Based on the Tracy Chevalier bestseller, Girl With A Pearl Earring is set in the Delft of 17th century Holland and tells of the servant girl Griet (Johansson), who is sent to work in the household of the painter Johannes Vermeer (Colin Firth). It is a household dominated by the influence of Vermeer�s imperious, penny pinching mother Maria (Judy Parfitt) and his jealous wife Catharina (Essie Davis). The artist�s studio is hallowed ground. Griet is ordered to clean it. Her sensitivity to his work wins his trust and eventually inspires a bond between them that transcends the barriers of class and circumstance that might otherwise have separated them. Unfolding with an economy and subtlety that is hard to fault, Girl With A Pearl Earring is a visual treat. Vermeer�s paintings come to life in the dappled light of wintry landscapes and the dusty darkness of candlelit interiors. The film�s strength lies in a mesmerising re-creation of the period, allied to emotions that are timeless. An artist torn between his dutiful wife and a servant girl with a much more profound understanding of his art, Vermeer becomes an entirely human figure. Griet may be a servant girl with a handsome offer of marriage from butcher�s son Pieter (Cillian Murphy) but it is understandable she should feel the frustration of wanting more once Vermeer allows her to see the world through his eyes. Distinguished by glorious cinematography and production design, this film deals in the implicit rather than the explicit. Meaning is found in lingering glances and painful intimacy rather than bold statements or flamboyant drama. In this respect, Johansson�s central performance is a revelation. She is able to let her features become a map of her character�s emotions, registering wide-eyed wonder, shame, enchantment or scalding injustice with little more than a hint of a smile or a modest look. It is a performance that emphatically confirms the maturity of her talent and the promise of future greatness. On general release from Friday

NY TImes January 15, 2004 Surf's Up at Sundance: Documentary Is First Film By SHARON WAXMAN LOS ANGELES, Jan. 14 � Hollywood packed up its parkas and sheepskin boots on Wednesday to head to Park City, Utah, for the 20th annual Sundance Film Festival, which will start on Thursday. For the first time, its opening film is a documentary. That film, "Riding Giants," is a fast-moving look at the origins of surfing by Stacy Peralta, who made his mark at the festival in 2001 with his first film, "Dogtown and Z-Boys," about skateboarding in Southern California. The festival will include 137 full-length films � 91 features and 46 documentaries � and 88 shorts. Another 30 short films can be seen at www.sundance.org, an online version of the festival. Festival programmers said they were optimistic about this year's slate, buoyed by the success of many of last year's entries, among them "American Splendor" and "The Station Agent," which were acquired by distributors and have gone on to critical acclaim and recognition during the current awards season. "The success of the films that were in the festival last year was very high," said John Cooper, the festival's director of programming. "That has us coming into this year on a high." Mr. Cooper noted a number of films this year that deal with memory and time, among them "The Machinist," "November" and "Trauma." He also observed that many of the entries experiment with nontraditional filmmaking techniques, such as mixing animation into a narrative or actors addressing the camera directly. "Those things don't throw the audience out of the film like they used to," he said. Already there was buzz around some films available for acquisition, including "The Motorcycle Diaries" by Walter Salles, about Che Guevara's journey into political activism, and "Open Water," a thriller about two people left to face sharks in the middle of the ocean. As has become the norm at the festival, there will be numerous films with major movie stars in them, including Julianne Moore, Kevin Bacon, DMX and this year Robert Redford, the father of Sundance. "It's a sign of the economics of indie films," said Laura Kim, a consultant to Sundance and an executive with Warner Independent Pictures. "You get your films financed if you put stars in it. That's not just Sundance. That's the film economy."

(Dorine)What do these people want? I'd like to see reviews of the movies they like...if anything. LA

Oh, yeah. That's right.

From:http://www.eye.net/eye/issue/issue_01.15.04/film/onscreen.html An affair of the art GIRL WITH A PEARL EARRING by JASON ANDERSON Starring Colin Firth, Scarlett Johansson. Written by Olivia Hetreed from the novel by Tracy Chevalier. Directed by Peter Webber. (PG) 95 min. Opens Jan 16. Though Colin Firth gets top billing for his role as 17th-century Dutch painter Johannes Vermeer, Peter Webber's finely wrought Girl With a Pearl Earring has two more noteworthy virtues. One is the sumptuous cinematography by Eduardo Serra, who closely emulates the buttery light, vibrant colours and canny use of perspective in Vermeer's own works. Many movies have tried to convey the dusky, richly textured look of a Dutch Master painting, but only Peter Greenaway's The Cook, The Thief, His Wife and Her Lover did so as memorably as Girl With a Pearl Earring. (Unsurprisingly, Webber's technical crew also includes Greenaway's production designer, Ben van Os.) The other virtue is Scarlett Johansson's precise performance as Griet, the 17-year-old girl who becomes the subject of Vermeer's titular painting (little is known of his real model). When Griet's own family falls on hard times, she goes into the service of Vermeer's. Despite her stoic expression and reserved manner, the young maid catches the fancy of several men: hunky butcher's son Pieter (28 Days Later's Cillian Murphy), Vermeer's rich and rapacious patron, Master van Ruijven (Tom Wilkinson) and the painter himself, whose ardour soon turns his mostly female household into a simmering stew of sexual jealousy. After Van Ruijven gives a scandalous commission to the artist, Griet is forced into a potentially ruinous situation. Though the story (adapted from the 1999 bestseller by Tracy Chevalier) can sometimes seem as undernourished as its heroine, Girl With a Pearl Earring offers a remarkably convincing recreation of the period and a fairly deft variation on the familiar story of an artist becoming infatuated with a muse. Johansson's wide eyes, creamy complexion and quietly fraught performance as the increasingly compromised Griet are all good reasons for that infatuation. On the other hand, Webber's directions to the one-note Firth must've consisted of "smoulder!" and "OK, now smoulder harder!" Thankfully, this handsome period romance is often as good as it looks. I think this one might have been posted already, so I'll just post the link, incase it wasn't: Subtle 'Girl With A Pearl Earring' awash in visual splendor BY: DAN BENNETT http://www.nctimes.com/articles/2004/01/14/entertainment/movies/1_14_0412_52_55.txt

Seems, at least according to this author's opinion, that we might see GWAPE mentioned at least a few times in the category of Oscar nominees this year. He even goes so far as to mention ODB as a best actor long shot. Music to my ears but I think highly unlikely. He was fabulous but the part was too small for an Oscar nod, IMHO. In any case, perhaps we'll get a glimpse of ODB on the red carpet this year? I believe this would be a first, no? Have the DD's ever successfully infiltrated this event? Given all the triumphs I've read about (trips to the loo, sharpie stains, clandestine passage of notes, and sweet utterings of 'darling') I think this event should be a piece of cake for the seasoned vets in this crew. It may also mark the first time I've stayed awake throught the entire show. I've always been a sucker for ODB in a tux. http://www.myinky.com/ecp/gleaner_entertainment/article/0,1626,ECP_4478_2573718,00.html LOS ANGELES -- The Academy Awards are shaping up as a literal horse race. Sweeping spectacle and historical pageantry -- featuring tons of horse flesh -- could dominate the ceremony Feb. 29. Everyone from jockeys and Hobbits to samurai and Civil War combatants are saddled up for a run at Oscar gold. Among the top contenders: the fantasy epic "The Lord of the Rings: The Return of the King," the Civil War saga "Cold Mountain," the racehorse drama "Seabiscuit" and the 19th century warrior tales "The Last Samurai" and "Master and Commander: The Far Side of the World." More intimate contemporary dramas produced many of the year's finest performances, including "Mystic River, "21 Grams," "In America," "Lost in Translation" and "House of Sand and Fog." Oscar nominations come out Jan. 27. The rundown of possible contenders in major categories: Best Picture: The top prize should come down to Frodo in Middle-earth vs. Odysseus in the Confederacy. Peter Jackson has scored back-to-back best-picture nominations with his J.R.R. Tolkien adaptation, and "Return of the King" is certain to make it three straight. The final chapter follows Hobbit Frodo Baggins' desperate attempt to destroy a ring of ultimate evil. But will Oscar voters crown a fantasy flick as the year's best? Such fanciful tales rarely are taken seriously enough to get nominated, and no fantasy film has ever won. Still, there's never been anything like "The Lord of the Rings," one of the most lavish spectacles in cinema history, whose three parts were shot simultaneously and rushed into theaters just a year apart. Academy members might lean toward "Return of the King" for best picture as a collective prize for the entire trilogy. Traditional Oscar wisdom should make Anthony Minghella's "Cold Mountain" the front-runner, though. Adapted from Charles Frazier's Civil War best seller, "Cold Mountain" is a reimagining of Homer's "The Odyssey" as a wounded Confederate deserter (Jude Law) wends his way home to his sweetheart (Nicole Kidman). "Cold Mountain" has the weighty drama, tragic romance and historical sweep that often clicks with Oscar voters. And it has something to offer every branch of the academy: A tremendous ensemble cast, passionate dialogue, lovely music, artful editing and cinematography, sumptuous sets and costumes. Since Minghella already has a best-director Oscar for "The English Patient," which also took the best-picture honor, academy voters might split their ballots. "Cold Mountain" could come away as best picture, with Jackson taking directing honors for his monumental "Lord of the Rings" achievement. Two other epics could creep into the best-picture mix, Peter Weir's Napoleonic-era naval tale "Master and Commander" and Edward Zwick's "The Last Samurai," an East-West culture clash set in 19th century Japan. Among more contemporary films, the strongest contender looks to be Clint Eastwood's "Mystic River," a somber drama of murder, remorse and suspicion centering on three reunited childhood friends. "Mystic River" is Eastwood's finest work since "Unforgiven" earned him best-picture and director Oscars. Other possibilities: Alejandro Gonzalez Inarritu's "21 Grams," a stark rumination on mortality, grief and vengeance; Gary Ross' buoyant "Seabiscuit," the story of the Depression-era racehorse that captivated the nation; Tim Burton's "Big Fish," a fanciful reunion story between a grandiloquent father and his down-to-earth son; "In America," Jim Sheridan's semi-autobiographical story about an Irish family in New York City; and Nancy Meyers' "Something's Gotta Give," a romantic comedy about a woman in her 50s wooed by a 60-something and a 30-something man. A handful of other acclaimed smaller films -- "Lost in Translation," "House of Sand and Fog," "The Station Agent," "American Splendor" and "Girl With a Pearl Earring" -- probably will not have the clout to compete for best picture but could score nominations in acting, writing and technical categories. Best Director: As with best picture, this looks to be a two-man race between Anthony Minghella for "Cold Mountain" and Peter Jackson for "The Return of the King." Clint Eastwood can figure on a nomination for "Mystic River." Other possibilities: Peter Weir, "Master and Commander"; Alejandro Gonzalez Inarritu, "21 Grams"; Tim Burton, "Big Fish"; Jim Sheridan, "In America"; Gary Ross, "Seabiscuit"; and Edward Zwick, "The Last Samurai." Women historically fare poorly, with only two female directors ever earning nominations. Still, Sofia Coppola for "Lost in Translation" and Nancy Meyers for "Something's Gotta Give" might have longshot prospects. Best Actor: Sean Penn has two great performances in the running, a plus and minus for his prospects. Penn plays a reformed hoodlum out for revenge over his daughter's death in "Mystic River" and a dying man who gets a second chance with a heart transplant in "21 Grams." The two roles could split Penn's support and leave him short of votes for a nomination on either film. But if he manages a nomination for one or the other (Oscar rules allow actors to be nominated only once in the same category), Penn could become the front-runner to win on the strength of both performances. Other possibilities: Jude Law, "Cold Mountain"; Bill Murray, "Lost in Translation"; Russell Crowe, "Master and Commander"; Ben Kingsley, "House of Sand and Fog"; Jack Nicholson, "Something's Gotta Give"; Tom Cruise, "The Last Samurai"; Tommy Lee Jones, "The Missing"; Michael Caine, "The Statement"; Jeff Bridges and Tobey Maguire, "Seabiscuit"; Ewan McGregor, "Big Fish"; Johnny Depp, "Pirates of the Caribbean: The Curse of the Black Pearl"; Colin Firth, "Girl With a Pearl Earring"; William H. Macy, "The Cooler"; and Robert Duvall, "Open Range." Last winter's top prize winners from the Sundance Film Festival produced two of the year's finest male performances: Peter Dinklage as a train-obsessed dwarf in "The Station Agent" and Paul Giamatti as gloomy comic writer Harvey Pekar in "American Splendor." But with such a strong lineup of bigger names in bigger films, it's questionable whether Dinklage or Giamatti could grab enough votes for nominations. Best Actress: Grim, grimmer, grimmest sums things up for three potential nominees, Jennifer Connelly, Naomi Watts and Charlize Theron. Connelly, a supporting-actress winner for "A Beautiful Mind," delivers a fierce performance in the bleak "House of Sand and Fog" as a woman battling to regain a home lost in a tax foreclosure. Watts is a bundle of fury and sorrow in "21 Grams," playing a woman who moves from grieving to vengeful over the deaths of her husband and children. Theron is absolutely ferocious in "Monster," playing serial killer Aileen Wuornos, a hitchhiking prostitute executed last year in Florida. For the unflinching role, Theron obliterated her cover-girl beauty, packing on 25 to 30 pounds and disguising herself behind dark contact lenses, fake teeth and a splotched complexion. Watts' pal Nicole Kidman, last year's winner for "The Hours," is a strong contender for her third-straight best-actress nomination with "Cold Mountain," playing a china-doll Southern belle who learns self-reliance amid the Confederacy's collapse. Other possibilities: Diane Keaton, "Something's Gotta Give"; Cate Blanchett, "The Missing" or "Veronica Guerin"; Julia Roberts, "Mona Lisa Smile"; Samantha Morton, "In America"; Scarlett Johansson, "Girl With a Pearl Earring"; Helen Mirren, "Calendar Girls"; Patricia Clarkson, "The Station Agent"; Diane Lane, "Under the Tuscan Sun"; Meg Ryan, "In the Cut"; and Gwyneth Paltrow, "Sylvia." Supporting Actor: Two lost souls might lead the way. Tim Robbins gives a career performance as a man emotionally shackled by childhood trauma in "Mystic River." Benicio Del Toro, a supporting-actor winner for "Traffic," adds another tremendous role in "21 Grams," playing an ex-con whose stab at going straight collapses in tragedy. Other possibilities: Last year's winner, Chris Cooper, for "Seabiscuit"; Albert Finney, "Big Fish"; Viggo Mortensen, Ian McKellen and Sean Astin, "Return of the King"; Ken Watanabe, "The Last Samurai"; Kevin Bacon, "Mystic River"; Djimon Hounsou, "In America"; Paul Bettany, "Master and Commander"; Alec Baldwin, "The Cooler"; Bill Nighy, "Love Actually"; and Philip Seymour Hoffman, "Cold Mountain." Supporting Actress: Like her co-star Kidman, Renee Zellweger of "Cold Mountain" stands to earn her third-straight Oscar nomination. This could be her year to win, playing a salt-of-the-earth handy-woman with great heart and humor. There also are possibilities for some child actors, who historically have had their best Oscar prospects in the supporting-actress category. In the running could be Keisha Castle-Hughes for "Whale Rider" and Sarah Bolger for "In America." Other possibilities: Marcia Gay Harden and Laura Linney, "Mystic River"; Melissa Leo, "21 Grams"; Scarlett Johansson, "Lost in Translation"; Shohreh Aghdashloo, "House of Sand and Fog"; Emma Thompson, "Love Actually"; Miranda Otto, "Return of the King"; Julie Walters, "Calendar Girls"; Patricia Clarkson, "Pieces of April"; Kirsten Dunst, Julia Stiles and Maggie Gyllenhaal, "Mona Lisa Smile"; Hope Davis, "American Splendor"; Holly Hunter, "Thirteen"; Christina Ricci, "Monster"; and Marie-Jose Croze, "The Barbarian Invasions."

FYI, the 27 Feb opening date floating around for Trauam in the UK is no longer any good.

the 27 Feb opening date floating around for Trauam in the UK is no longer any good. How traumatic! (sorry, couldn't resist -- slow day at work!)

The UK ivillage site has some items (interviews, reviews, etc.) for GWAPE: Colin Firth's top ten sexy moments: http://www.ivillage.co.uk/newspol/celeb/cfeat/articles/0,,528719_613615,00.html (I suggest any elaboration of the go to Firthology) *hint hint* Interview with Olivia Hetreed: http://www.ivillage.co.uk/newspol/readerswriters/writers/articles/0,,532364_613598,00.html (have put one of her answers on Spoilers as has to do with the ending and why it was done that way) Interview with Peter Webber: http://www.ivillage.co.uk/newspol/movies/features/articles/0,,532360_613608,00.html Was it hard to edit the movie? Were there any scenes that were really heart-wrenching to drop? You always have a hard time editing a movie. Anyone who thinks a film just falls together is kidding themselves. Films have to be bludgeoned, beaten and bullied into shape, and it's a terrible process because you're taking things that you really cherished and loved when you were shooting them and pulling them apart to make it work. There are many days you come home from the edit suite hanging your head in shame, thinking you're terrible, but it's all part of the process. The edit suite is where you really create the film - for me anyway. Having said that, there's a bunch of stuff I cut out that I'm quite proud of, but it just didn't work. Scenes that the people who have read the novel will undoubtedly miss. Though they'll get to see them later on, on DVD. This film had to be bare and taut, and I didn't want it to be self-indulgent. I'd rather leave people wanting more than wanting less. And because it had its own pace and its own kind of peculiar atmosphere - it's quite a delicate fragile film on one level - I got busy with the scissors. And the review: http://www.ivillage.co.uk/newspol/movies/features/articles/0,,532360_612903,00.html

You can watch several clips, plus an excerpt from the London press conference for GWAPE here: http://www.mymovies.net/features/features_media.asp?filmid=1519&avfid=2364 There is also a text portion for the press conference, though it doesn't include the last section, where Colin interjects that the pressure to have a scene where Griet washes her breasts came from him. ;-)

Thank you, Karen. Loads of goodies, today. SAG nominations on E! this morning. Nothing for GWAPE;-( Off to Firthology.

Aaaah�the wonders of being snowed in at home for a day. Gives one a lot of time to ponder. Not meaning to shift the topic of the current postings but�I viewed FP last night for the first time. There�s a scene where ODB is talking to himself late one night trying to justify his passion as a football fanatic. It immediately struck me as having an interesting parallel to the life of a drooleur. Thought I might share this idea with all the DD�s. Quoted from CF in FP: �Perhaps it�s not something you can understand unless you belong. But what about this? Three minutes to go and you�re 2-1 up in a semi-final. You look around and you see all those thousands of faces contorted with fear, hope, and worry. Everyone lost. Everything else run out of their heads. Then the whistle blows and everyone goes to despair. But just for those few minutes you�re at the center of the whole world. And the fact that you care so much, that the noise you�ve made has been such a crucial part of it, is what makes it special. Because you�ve been every bit as important as the player and if you hadn�t been there then who�d have been bothered about football really? And the great thing is that it comes around again and again. There�s always another season. If you lose a cup final in May, well there�s the third round to look forward to in January. And what�s wrong with that? It�s actually pretty comforting if you think about it.� Now, translated into �drool-speak� it might sound something like this: "Perhaps it�s not something you can understand unless you belong. But what about this? Oscar nominations are just three weeks away and you�ve got GWAPE being buzzed about by a number of industry insiders. You read the postings every day and sense all those thousands of keyboards atwitter with fear, hope, and worry. Everyone lost. Everything else run out of their heads. But when the list comes out, you know you might all fall into despair. But just for those few weeks you�re at the center of the whole world. And the fact that you care so much, that the noise you�ve made has been such a crucial part of it, is what makes it special. Because you�ve been every bit as important as ODB and if you hadn�t been there then who�d have been bothered about his rise to glory really? And the great thing is that it comes around again and again. There�s always another new release. If GWAPE doesn�t cement his position as a PMT, there�s always TEOR to look forward to next season. And what�s wrong with that? It�s act ally pretty comforting if you think about it."

Leslie: I have moved your Hornbyesque ponderings comments to Firthology.

Looks like the broadsheets have their knives out. (Evelyn) Yep...and we've still got the Telegraph, Guardian and Independent to come. And then there's Christopher Turkey. Oh, and Cosmo (what sort of name is that?) Landesman :-( I thought they would approve of GWAPE. Perhaps it's not miserable enough. I had a quick flick through the film mags and weeklies for reviews of GWAPE. Generally, all very positive reviews, especially "Now" magazine (main movie review, 2 page spread) - "hauntingly beautiful, timeless". All full of praise for Scarlett (a star is born etc). Colin fares less well. Hotdog (quite a good film mag) describes him as "eternally underated". Otherwise he's not mentioned (the focus is on SJ's performance), and there's one very nasty (on a par with the broadsheets!) comment about how the film serves to highlight Firth's limitations as an actor, whilst, contrastingly illustrates SJ's glowing talent. I heard a similar type of review on the radio - praise for the film, for the director, for the cinematography, for Scarlett, but criticism for CF- he "looked too old" for the part, was "not convincing" and apparently has "blank expressionless eyes." Who are these reviewers? I won't launch into my usual tirade, but they really do not seem to know what they are talking about. And they have the power to damage and undermine. What's with the Times "4 star so-called" review.. "But the master-and-servant romance has the erotic charge of a five-watt bulb.... Firth smoulders like a damp rag. " Sounds like he's writing under duress or drugs. FYI, the 27 Feb opening date floating around for Trauam in the UK is no longer any good. (Karen) Publicity-wise, it's very close to GWAPE. And runs the risk of being totally savaged by our sadistic "critics". Better hopefully to get a positive buzz at Sundance and a wider distribution deal. Incidently, the Times has a full page article about Sundance, and films showing there - and whereas all for all other films there's a mention of the cast, Trauma is just "Marc Evan's 'Trauma'. Okay, I'm getting paranoid... (Dorine)What do these people want? I'd like to see reviews of the movies they like...if anything They like "Young Adam" (explicit rough sex, degrading to women, nihilistic characters, dark) Morven Cellar(?), dunno what it's about, and "The Mother" (man has sexual relationship with girlfriend's 60-something mother, again, explicit sex, unlikeable characters, dreary). All got brilliant reviews but no-one went to see them (except the critics). On the other hand, according to the Guardian film critic, the Richard Curtis and Harry Potter movies are "crap". Not a word I particularly like, but one that tells you a lot about the current standard of film criticism in the UK!

Good review by Will Self in the Evening Standard. People who go out in the evenings read the ES! Full page review with striking picure of the ear piercing. sorry but have not the time to type it all out now but the salient bits: ....Vermeer - as depicted by CF- is no turbulent Impressionist, or polymorphously perverse Renaissance genius, but a rather weak, tongue-tied man, whose intense devotion to his work masks a failure to engage with his life. ....Vermeer is a man who manages to be conspicuously absent even when he is present. ...If all this makes GWAPE sound unappealing then it shouldn't.... Personally, I revelled in the exactitude of the period detail, from bloody pig's heads in the meat market to the mechanics of pre-industrial domestic laundering. It is good to see the full resourses of contemporary fil-making harnessed in the surface of historical verisimilitude on this small scale, instead oftheir usual epic expenditure. .... Scarlett Johansson may have a pout that speaks of congenital collagen, and certainly she brings a sly fortitude to her role; but in a film which features such powerful players as Wilkinson, Davis and Parfitt, I could not say that she stood out more than Firth. Still, perhaps this very febrile quality to their interaction was also one of the film's strengths.In the most heightened scene, Griet tears gerself away froma particularly intimate moment of depiction at the hands of Vermeer to throw herself into the arms of Pieter (CM), the butcher's boy who is wooing her. The implication that being beautifully portrayed is as acutely sensual as being made love to is what ties the whole conceit together most prettily.

but in a film which features such powerful players as Wilkinson, Davis and Parfitt, I could not say that she stood out more than Firth. Is this (scarcely able to believe it) actually praise for CF? Can't quite work it out. I like Will Self, and would lend far more credence to what he writes than to the the ramblings of the spotty oik "Total Film" brigade. IMHO a review in the ES can often determine whether a film is a box office success.

Bethan, can you stand another good one?;-) From Channel 4: GIRL WITH A PEARL EARRING FILM REVIEW Intelligent adaptation of Tracy Chevalier's bestselling novel which is rich in atmosphere and gorgeous to look at, featuring Colin Firth and Scarlett Johansson A deeply understated and intelligent film, this faithful adaptation of Tracy Chevalier's speculative novel on the life of the artist Vermeer marks an outstanding debut for director Peter Webber, and a fine turn from upcoming actress Scarlett Johansson. Chevalier's novel was a luminous evocation of the life of the 17th century Delft artist, fabricating an utterly believable tale around the celebrated portrait that forms the film's title, imagining its subject as the young maid Griet (Johansson) of Vermeer (Firth). Driven into domestic service after an accident puts her father out of work, Griet is set the tricky task of cleaning the artist's room without disturbing so much as a crease of material, all under the watchful eye of the other women of the house. Noticing her interest in his work and her eye for colour, tone, and composition, the otherwise detached Vermeer employs her in preparing paints, and eventually she poses for him, in a transgression of her position in the house which brings sparks of illicitness and intimacy to their chaste relationship, and later arouses the disgust of Vermeer's wife (Davis). Webber's film is pensively paced, leaving room for some beautiful cinematography from Eduardo Serra, whose sensitivity to Vermeer's work pervades the film's lush visuals like an omniscient visual narrator; an appropriation of the world and style of this outwardly stoic man which adds valuable insight into his character. Furnished with minimal dialogue, Firth, and especially Johansson, create subtle performances out of gesture and restraint, where the slightest glance can be loaded with emotional weight. Johansson's Griet is poised and unusually beautiful. In contrast, the film's more verbal moments are the only points at which it's in danger of becoming overblown, but not enough to upset its balance. Verdict Arty but accessible, Girl With A Pearl Earring pays tribute to its subject matter with some of the most beautiful visuals on screen this year. High on atmosphere and low on action, its restrained emotions go against Hollywood conventions, creating a rich and rewarding film.

Bethan, can you stand another good one?;-) From Channel 4: (Mari) Ah, not bad at all. Hope springs.. Let's see what the Telegraph, Independent and Guardian have to say. (If the Guardian prints a a good review, I'll frame it!)

(Evelyn) Looks like the broadsheets have their knives out. I didn't think they would and had greater faith that they'd reward this small Brit film. Am not looking at the FT as a trend setter necessarily. ...and I couldn't care less what Hotdog, which is aimed at the blockbuster and Bennifer crowd, publishes. When I've flipped through its pages, I don't know 99% of the people/things covered. Those people aren't going to GWAPE no matter what it says. (Bethan) Better hopefully to get a positive buzz at Sundance and a wider distribution deal. Trauma's distribution deal in the UK is done. I'll have more info next week. (Bethan) They like "Young Adam"...Morven Cellar...and "The Mother"...All got brilliant reviews but no-one went to see them (except the critics). On the other hand, according to the Guardian film critic, the Richard Curtis and Harry Potter movies are "crap". Not a word I particularly like, but one that tells you a lot about the current standard of film criticism in the UK! Tells me they have taste and higher standards than most audiences, but that'll only start a discussion about why people go to movies and what they see. ;-) Morven Caller was another brilliant piece by Lynne Ramsay ("Ratcatcher"); her films are like artwork and this one starred Samantha Morton. Need I say more?

(Karen)Am not looking at the FT as a trend setter necessarily. Agree, not for most films; but GWAPE would appeal to the highbrow audience who would read the Financial Times.

(Bethan) They like "Young Adam".... That was a very well done movie. Depressing, but well done. Can't fault 'em for liking that.

Daily Telegraph review Girl With a Pearl Earring, directed by Peter Webber and based on a novel by Tracy Chevalier, is the second film in successive weeks that stars Scarlett Johansson. A fictional biography of the mysterious subject of Vermeer's greatest painting, it seems to have been mad e expressly for the purpose of showcasing the talents of this farouche and supremely fascinating young actress. Johansson plays Griet, a 17-year-old girl in 17th-century Delft, who leaves behind her poor parents to go to work as a maid in the Vermeer household. Her father is blind, but she likes nothing better than to look at the world around her and in small ways to rearrange it. She washes dirty windows to let more light enter the building. She mops the floor with the same care as a painter passes his brush across canvases. Soon she attracts the attention of Vermeer (a remote-seeming but competent Colin Firth), much to the annoyance of his wife (Joanna Scanlan) and his malicious daughter (Alakina Mann). Griet goes on to have a fairly tepid romance with a local butcher boy. She's also attacked by Vermeer's bullying patron (an underused Tom Wilkinson). Not much else happens. It doesn't matter. This is a film about atmosphere and texture and light, an avant-garde movie masquerading as a historical drama. Vermeer offers the young girl an aesthetic education, showing her how a camera obscura works and discoursing about perspective and illusion. At the same time, he is inspired by her beauty, inquisitiveness, and eye for detail. The scene in which he pierces her ear is wonderfully erotic. Who better to play the maid's role than Johansson? This is a film that proceeds at a languorous pace at the best of times; when she appears on screen, it stops dead. She's a forcefield sucking in all the energy. We peer at her eyebrowless face, her alabaster skin, her inquiring eyes. She holds our gaze, and returns it - with interest. Rarely does she speak (just as well: her accent sounds like that of Ren�e Zellweger in Bridget Jones's Diary). She ends the film as mysterious and inscrutable as she began it. The other star of this film is cinematographer Eduardo Serra, who counterposes the ordure-strewn lanes and the market-stall pigs' heads with rapturous, light-saturated interiors. Girl With a Pearl Earring is intelligent, ably acted and wonderful to look at. But it's also too becalmed and aloof in tone to truly captivate. Still lives are one thing; inert ones are a different matter. � Copyright of Telegraph Group Limited 2004. Terms & Conditions of reading. Commercial information. Privacy Policy.

much to the annoyance of his wife (Joanna Scanlan) OMG! Did they really print that? Shame, shame. competent Colin Firth Well it's positive. ;-) Girl With a Pearl Earring is intelligent, ably acted and wonderful to look at. I'm hard pressed to see that this is what they were getting at in the review, but I'll take it. Thanks, Bethan.

Major disappointment! CF is no longer named as a guest on JR's Radio 2 show this Saturday. - He appears to have been replaced by a comedian I've not heard of.:-(((((

Get that frame ready, Bethan! Peter Bradshaw Friday January 16, 2004 The Guardian 4 out of 5 stars In her last three major films, it has been 19-year-old Scarlett Johansson's destiny to evoke menopausal longing in older men, and what's not to long for? Billy Bob Thornton was obsessed by her in the Coens' The Man Who Wasn't There; Bill Murray was entranced by her in Sofia Coppola's Lost in Translation. And now it is the turn of Colin Firth, playing a stubbled, romantic-looking Johannes Vermeer in this speculative imagining of the 17th-century Dutch artist's relationship with his unknown model, to be captivated by the bloom of her untouched loveliness. Even when she was in the 2002 horror movie Eight Legged Freaks, come to think of it, I'm pretty sure I remember seeing some of the older male giant monster-spiders looking at Scarlett piningly, exchanging shy smiles with her, before scuttling off home to contemplate the desolate reality of their monster-spider marriages and careers. Be that as it may, this movie - taken from the Tracy Chevalier novel - is a stunningly designed piece of work, with hauntingly beautiful cinematography from Eduardo Serra of the sort that often gets called "painterly" and here really deserves it. This film is a tremendously intelligent and detailed homage. The production design by Ben Van Os is outstanding. Films about artists don't have to look like their art, of course; that can look self-satisfied and obtuse - like the clever but faintly redundant pastiche sequences in Julie Taymor's Frida - and to be frank, the sheer mass of controlled visual detail sometimes threatens to refrigerate and paralyse the movie. There were times, in fact, when I wondered what a movie about Vermeer's life that wasn't trying to imitate his art would look like. Exactly the same, maybe? Can the detail of his paintings be used as primary, real-world source material? It is into this gilt frame, at any rate, that Scarlett Johansson daintily steps, playing Griet, a girl from a dignified but impoverished Protestant family, forced to take a post as domestic help to the Catholic Vermeer household in the prosperous town of Delft. "Keep clear of their Catholic prayers!" hisses her mother before Griet sets off. "Stop your ears!" She conceals her gorgeous hair within a modest traditional Dutch headdress, and does her best to fit in as a servant in a house full of dominant women. Essie Davis is Vermeer's highly strung, perpetually pregnant wife Catharina; Judy Parfitt is his formidable clay-pipe-smoking mother-in-law Maria Thins, and Joanna Scanlan gives a tough performance as Tanneke, the raw-boned serving woman who is the nearest thing Griet has to a friend. Colin Firth, as Vermeer, must reconcile the domestic calm of the painter's family life with the life-force romantic-artist image that the director has evidently decided should be his look. He's the sort of long-haired, moody, intense-eyed guy who looks like he should be roistering around town and painting can-can dancers, but actually stays in en famille , reading and drinking contemplative mugs of beer while small children scramble on and off his lap, doing everything but watching television. Webber's masterstroke is the use of Vermeer's eerie, empty studio, familiar from so many paintings but here untenanted except for the uncanny, robot-like wooden life model and, in one scene, the camera obscura device that is Vermeer's link with the modern world of image. Griet impresses Vermeer with her intuitive sense of light and colour and he is soon infatuated enough to want to paint her in secret while Griet models his wife's pearl earrings. Her ears are not pierced, so Vermeer tenderly contrives this penetration himself, and the metonymical deflowering of the virgin Griet is just explicit enough to work as both erotic encounter and pagan obeisance. But the movie is more complicated than just being about erotic obsession sublimated into artistic rapture. This painting has been privately commissioned for Vermeer's wealthy patron, Van Ruijven: a lip-smacking performance from Tom Wilkinson. He has conceived a goatish desire for Griet and the idea of possessing her image appeals to his decadent aesthetic cupidity. But Van Ruijven also clearly understands, without anyone saying a word, that as a frequent and honoured visitor, he will have ample opportunity of forcing himself sexually on the serving maid Griet, and so the painting will be an exquisitely evil memento. So there is a real whiff of sulphur about the commission, in which the financially straitened Vermeer is ambiguously complicit: he is preparing to sell Griet body and soul, and the painting becomes an occult object of betrayal. Webber gives a long, long close-up on Johansson's face as she models for that famous portrait study and the effect really is swooningly beautiful, though a little coercive - as if we were being ordered to swoon. Often, Firth and Johansson will gaze at each other, silent, stricken, he out of desire, she out of submissive deference, but it may be just that a sense that any dialogue at all is too crude an intrusion into this visual splendour. Girl With a Pearl Earring at times surrounds itself with an art-gallery hush, but it is just so ambitious, and intriguing, and beautiful, you will find yourself immobile in front of its canvas, drinking in the details.

From the Telegraph: 'On set, Scarlett would tear strips off Colin' Girl With a Pearl Earring, Peter Webber's atmospheric debut feature, crackles with the chemistry between Scarlett Johansson and Colin Firth. 'It really clicked between them,' the director tells Marisol Grand�n What was it like directing Scarlett Johansson? 'There was a toughness about her': Scarlett Johansson as Griet When we hired her, she wasn't a name. I didn't think: "Gasp, I'm directing Scarlett Johansson!" I'd seen her in Ghost World, The Man Who Wasn't There and Manny and Lo which is a great film. She was one of 150 actresses we were talking to. I didn't think there would be many potential Griets out there, and I was right because we only found one. And it was Scarlett. Now she is "Scarlett Johansson" - a name that everyone knows and it's rather wonderful that we have been part of that. She's had a great year and so she should do because she is amazing. She had her 18th birthday at the end of the first week's shoot, but there was a maturity about her, a wisdom and a toughness. She was just a very interesting character. You have to be when you're in a film where the camera gazes at you for 90 minutes. Very deliberately, we pared her dialogue out. You don't need Scarlett to tell you what she's thinking, you just see it on her face. I also like that she looks real. She doesn't look like a skinny, anorexic Hollywood star. I think that's very important in this film. Girl With a Pearl Earring is your first feature. How was the leap from directing for television? It was fantastic. It was like getting off a leaky old rowboat and getting on board a cruise liner. There's a limit to the scale of artistic ambition in television, especially these days. It's more a medium for producers and writers. Movies are great for directors because you get to run the show and that can be quite addictive. There was fear, but there's fear with every film I start. Even with the tiniest documentary - in the car on the way to the shoot I always feel like I want to throw up. On a feature film, 150 people are standing around saying: "Right, what do you want to do?" So you had better know what you want to do. Having a lot of practice in television prepares you because you have to think on your feet. Each scene is designed to look like a Vermeer painting or a painting from the era. How long did it take to perfect the lighting and details of the mise-en-scene? What you're looking at is the work of director of photography Eduardo Serra, who is a god of cinema. He's been doing it for a long time and he works incredibly quickly. Some shots look like they took hours to light but actually took 25 minutes. Some stuff is more complicated but he works surprisingly fast and that comes from a lifetime of experience. A lot of those Dutch paintings are lit the same way: tall, diffused light coming down at an angle through a window which is often on the left-hand side of the room. So that kind of limits your options. That's not to take away from Serra's mastery because he also makes the light beautiful. The best thing about him is that he's not just obsessed about pictures. He's interested in story and character, and he has half the ego most other DOPs have. What was Johansson and Firth's relationship like on set? Did he, being the veteran of romantic films that he is, offer her any guidance? I don't think for one second that Scarlett would take any guidance from Colin. They had, in a joyful way, a very combative relationship. They obviously had strong feelings for each other. It really clicked between them. And they used those feelings in the scenes. That's what chemistry is. You can't fake chemistry, it's a real thing. Great actors do a lot of their own work. On set, they would go for each other hammer and tongs. Scarlett would tear strips off Colin. Sometimes you would think they were being serious but it was just a game they played. When the cameras turned on there was this wonderful atmosphere. They created a barrier to the warmth they felt for each other. As a director, you nip and tuck and maybe encourage them in one direction or another. They were two great actors. I think Colin offered Scarlett a few tips but if anything it was the other way round. She's been doing this probably as long as Colin. How familiar were you with Vermeer before you took on this project? Very. Girl With a Pearl Earring is a painting I've known for a long time. I've always loved Vermeer and the sense of mystery surrounding his work. There's something very special about the world he created which is very cinematic. I found Vermeer quite obsessive: the way he returns to the same corner of the room again and again. I remember being on a college trip to see the painting. It had a profound effect on me. Making this film felt like the completion of a journey. I thought about how relatively unformed I was when I saw that painting for the first time, and the difference going back some years later. Being that bit older, I saw something else there. It made me aware of the differences between the girl and her relative innocence at the beginnings of adulthood and Vermeer. Any film-maker will identify with him because a) he's an artist b) he's harrassed by his financiers and c) he spends a lot of time being a voyeur. One of the most powerful moments in the film is when we see Griet's hair through Vermeer's eyes. We share his gaze. How crucial is editing to the sense of voyeurism you created in the film? Webber: 'Once I get the scissors out I can't seem to restrain myself' A very simple editing problem is when to cut from one face to another. We recut that scene again and again. How long do we stay on Scarlett? How long do we stay on Colin? You can't be on them at the same time unless you do some intrusive split-screen technique. Editing obsesses me. I was an editor for five years which probably accounts for the shape of this film, which is quite lean and spare. Once I get the scissors out I can't seem to restrain myself. I'm reading a book by Walter Murch called In the Blink of an Eye to find some answers myself. As film-makers, we can tell you exactly where to look, exactly what's important at that time. That's what editing is really. It's deciding where you want the audience to be looking at that particular point in time. In one scene, shot in a single take, Griet is setting the table. She is watched by Vermeer who is in turn watched by his wife, daughter and mother-in-law. The complex relationships and power struggles make gripping cinema. What was the most difficult aspect of achieving that scene? Shot-wise that was quite a simple scene. There were boring, technical and tricky continuity issues with her laying the table: she had to make sure she didn't make too much noise putting the plates down and so on. But in the end, there was a wide shot, two or three close-ups and that's it. What is complex are the emotions and undercurrents going on. People who love the film divine those undercurrents. No doubt there will be some people who won't engage with it who'll find it slow. But people who do find it quite thrilling. You can achieve complex things through simple means, like Vermeer. He pared things back so they're as simple as possible. That's what we tried to do in shooting and through the editing. Music adds a tremendous dramatic dimension to the story. Alexander [Desplat] has done a fantastic job. He's quite rightly been nominated for a Golden Globe. Music is a difficult trick to pull off, because the wrong score could have dragged this film down. Alexander did the opposite. As an English-language film set in 17th-century Holland, how did you decide to which accent to use in the film? You have to make a decision. That's all. I think the thing to avoid is American actors speaking in American accents, Australians speaking in Australian accents. When it's a mix-up like that, it confuses the audience. I chose the most neutral accent to my ear - a standard received pronunciation, but a bit less English. We could have done it all in Dutch accents but it would have been a bit ridiculous. In America I think it works because it sounds oldy-worldy. It probably irritated a few Dutch people but there we go. I'm sorry because we love the Dutch.

From the Atlanta Journal Constitution. (Note: for EG, this is close to gushing) Girl With a Pearl Earring ELEANOR RINGEL GILLESPIE Grade: B- Verdict: Gorgeous to look at, but not much there dramatically. Watching "Girl With a Pearl Earring" is like watching paint dry. It's meant to be. Paint - and how it interacts with light - is the essence of this visually exquisite, emotionally stunted film. Director Peter Webber and his production team intend to put us inside a Vermeer painting. It's a striking experience of light, color and composition. But it's also somewhat stifling Like the Tracy Chevalier novel on which it's based, the movie imagines a back story for the famous "Girl With a Pearl Earring," painted by Dutch master Johannes Vermeer in 17th-century Delft. Griet (Scarlett Johansson) is a Dutch girl rented out as a servant to the Vermeer household after her working-class father is blinded in an accident. Chez Vermeer makes the Osbornes look like the Brady Bunch. The home is a discordant jumble of spoiled children; gossipy housemaids; a shrewd, flinty mother-in-law (Judy Parfitt); a jealous, high-strung, perpetually pregnant wife (Essie Davis); a lecherous patron (Tom Wilkinson), who always drops by to fondle the "talent;" and Vermeer himself (Colin Firth), who does his best to keep things at an artistic distance. But he takes an interest in Griet. Perhaps it's her inner stillness in the midst of so much mindless commotion. Perhaps it's the way she asks whether she should clean the studio windows (as ordered by others), noting that, in doing so, she'll change the quality of the light. Or perhaps it's because of her luminous skin and huge, watchful eyes. Because she's the only one granted access to Vermeer's inner sanctum - his studio - Griet is viewed by everyone else with suspicion and envy. For good reason, as her relationship with Vermeer subtly evolves from a servant with potential to a trusted apprentice to the model for one of the most haunting portraits ever painted. There's a hint of bashful Jane Eyre overpowering Mr. Rochester in their scenes together, which gives them a slight erotic tingle. But Webber wisely keeps the focus on the work and on the world that surrounds it. Inside Vermeer's cramped, candlelit studio, Griet is introduced to the mysteries of light, texture and shade, to the beauty of lapis lazul, to the secrets of the camera obscura. Outside, she's caught up in the tactile, crowded world of Delft, a bustling mercantile city with a teeming street life to rival Franco Zeffirelli's Verona in "Romeo and Juliet." Firth brings the requisite semi-banked fire to his role as the brooding artist whose ardor for his work is often heedless of the feelings of those around him. As always, the actor does the dashing thing flawlessly. Johansson's earlier work in "Lost in Translation" has already established her as one to watch. Her remarkable resemblance to Vermeer's anonymous model aside, she gives a superbly nuanced, nearly mute performance, mostly consisting of a deft gesture, a nuanced expression, a flared nostril or a subtly shaded glance. She could be acting in a silent movie � so much so, you half expect Charlie Chaplin to hand her a flower. Unfortunately, Webber lacks Chaplin's delicate way with a story. The transcendent richness of Eduardo Serra's cinematography and Ben van Os' production design only emphasizes the weakness of the script, which manages to be both slight and melodramatic. We're immersed in Vermeer's exquisite artistry, but we're kept distanced from the characters. At the very end, we're invited to gaze briefly at Vermeer's masterwork and, in that minute and a half, we connect more vitally with what's on screen than we have with anything in the preceding 97 and a half minutes. And perhaps that's the movie's point. Beauty can't be explained. It just is.

Really good one from the St. Louis Post-Dispatch (Local boy makes good.;-);-) Girl With a Pearl Earring BY CALVIN WILSON Post-Dispatch Griet (Scarlett Johansson) is a servant in the home of painter Johannes Vermeer (Colin Firth). She knows her place, which is to perform her duties, do as she's told and speak only when necessary. But behind her silence, Griet has ideas. It's just that in 17th-century Holland no one of importance is interested in hearing them. Except, perhaps, Vermeer. "Girl With a Pearl Earring," the feature debut of director Peter Webber, is based on a novel by Tracy Chevalier. Both the book and the film take their inspiration from a Vermeer painting of a young girl who wears a blue headband and a pearl earring. In its way, the image is as hypnotically enigmatic as the Mona Lisa. Who was the girl, and why, after hundreds of years, is her portrait still so beguiling? Not much is known about Vermeer's model, not even her name. But that's where the imagination comes in. Taking the Chevalier novel as their template, Webber and screenwriter Olivia Hetreed explore a story about art, its admirers and its mysteries. Vermeer becomes intrigued when Griet, against all propriety, takes an interest in his work. Before long, she's assisting him in his studio, although surreptitiously. Essential to their collaboration, which crosses lines of class and gender, is its secrecy. Outside the studio, they lead very different lives. Vermeer is obliged to appease not only wife Catharina (Essie Davis) and mother-in-law Maria (Judy Parfitt), but also his wealthy patron, Van Ruijven (Tom Wilkinson). Griet has a suitor in Pieter (Cillian Murphy), a butcher's apprentice who might be good for her, as well as good to her. Problem is, having come to see the world with fresh eyes, she might never be happy as a butcher's wife. In a lesser film, Griet would become Vermeer's lover. But "Girl With a Pearl Earring" is better than that. It's a film of subtle beauty, devoid of melodrama and directed with painterly grace. Webber immerses the moviegoer in the world of the film with mesmerizing immediacy. It's as if we're looking over Griet's shoulder as she makes her way through the day, from her lowly chores to her higher calling. It's hard to imagine this film being as effective as it is without Johansson in the title role. Not only does she uncannily resemble the girl in the painting, but she also has a stillness about her that is as evocative of the film's setting as its cinematography or art direction. Balanced between the earthy and the ethereal, Johansson goes a long way toward suggesting Griet's contradictory nature before the character has spoken a word. Equally impressive is Firth, who brings a quiet dignity to Vermeer while also hinting at the unruly impulses that find expression in his art. His interpretation of the painter is all the more intriguing for its remoteness and restraint. Such an approach to the character only lends heightened poignancy to Vermeer's unspoken desire for Griet - who, we may reasonably assume, harbors similar feelings for the painter. Webber and Hetreed might have taken a safer road, paved with cheap sentiment. Instead, "Girl With a Pearl Earring" respects your intelligence while engaging your emotions. In the art world, there's a word for such a work: masterpiece. "Girl With a Pearl Earring" **** (out of four) Rating: PG-13 (for mild sexual content) Running time: 1:35

(The Guardian) ...erotic obsession sublimated into artistic rapture ...always *my* preferred way of explaining the CF obsession. ...decadent aesthetic cupidity I'll give Brit reviewers one thing....the vocabulary seems generally to reach to a higher assumed "age" than in the US. These look pretty good so far. I can hardly wait to see this movie.

(mari) *respects your intelligence while engaging your emotions. In the art world, there's a word for such a work: masterpiece. GWAPE hasn't opened in my neck of the woods yet, however, I know I'll find it engaging (as I did the book ). Thanks for this one in particular, Mari.

Thanks, Mari for the Telegraph Q&A article with Peter Webber. Some very interesting insights. ;-) Love reviews that help expand my vocabulary. God love the UK reviewers for that much anyway. ;-)

From the Independent, good old Charlotte O'Sullivan (2/5 stars) In Godard's 1963 film Le M�pris, a naked Brigitte Bardot lolls on a double bed and itemises her cinema-friendly assets. "Do you like my breasts?" she wonders, "My ankles? My knees? My thighs?" One can imagine the 21st-century's latest muse, Scarlett Johansson, compiling a similar list. The young actress has two films out in as many weeks, both hungrily obsessed with her objects of desire. Lost in Translation, tellingly, begins with a close-up of her peachy bottom, gently encased by see-through silk knickers. Girl With A Pearl Earring, meanwhile, feeds on Johansson's eyes and mouth - features so ripe they look ready to secrete juice. You don't have to be a Scarlettophile, however, to appreciate this handsome period outing. Producer Andy Paterson and his script-writer wife Olivia Hetreed fell in love with Tracy Chevalier's "re-imaginging" of the relationship between a painter (Johannes Vermeer) and his servant-girl model, even before the novel became a best-seller. And the many fans of that zippy Jane Eyre meets Brief Encounter meets Spare Rib romance will be pleased to hear that, as adaptations go, this one stays pretty true. Griet (Johansson) is an illiterate but instinctively artistic Protestant girl in 17th-century Delft, thrown into the chaotic Catholic household of her semi-famous employer Vermeer (Colin Firth). She captures his heart and mind; alienates his wife, Catharina (Essie Davis); earns the grudging respect of his mother-in-law (Judy Parfitt) and fends off the venal but discriminating art dealer Van Ruijven (Tom Wilkinson). When not rubbing her arms raw in the laundry room, our reserved heroine also finds time to sit for the titular portrait that Van Ruijven mischievously commissions - resplendent in a blue and yellow scarf, a pearl dangling wetly from her ear. Visually, the film makes a good fist of aping Vermeer's famously natural aesthetic - you can almost believe he helped to dab at the screen. Still, the film is built around Johansson's performance. One should be pleased. Cast in secondary roles, till now, the 19-year-old is one of those exceptional actresses who can "pass" as strange or normal. The secret weapon in Ghost World and The Man Who Wasn't There, her subtleness has been a joy to behold. The irony is that in Girl With A Pearl - in terms of her craft - she's never looked so bog-standard. Me, I blame first-time feature director Peter Webber. He seems unable to trust that audiences will warm to a character as phlegmatic as Griet. His solution? To clue us in on her inner turmoil by having Johansson sport a permanent frown. Griet almost touches Vermeer's hand; she sees him sensually stroking his wife; she gets picked on by his daughter; she's accosted by Van Ruijven. On each occasion, you can all but hear Webber cry: "Scarlett! You're an imperilled ingenue! Work that forehead!" Still more annoying is a soundtrack that amplifies her every breath. When Griet's upset or excited, she inhales more quickly. Close your eyes and you could be listening to a porn film. The heavy breathing reaches its climax at the point when Vermeer penetrates Griet's virgin lobe with the earring. Even if panting's your thing, though, it's unlikely you'll be convinced by the body heat on display. You believe that this servant finds her master's work fascinating, not that she's aroused by him. Every now and again, Firth manages to convey Vermeer's longing for her, but even then, things go awry. In a crucial scene, modest Griet agrees to swap her beloved headscarf for the yellow and blue turban, and the artist gets a fleeting glimpse of her chestnut hair. He looks on with frantic desire, but from where we're standing, said tresses resemble comedy dog-turds. Thank God for the turban. Girl With A Pearl Earring is more effective when it concentrates on the minor characters, in particular, Vermeer's permanently pregnant wife. One of Webber's best moves is first to show Catharina ensconced in her domestic sphere, and then swing the camera round to reveal the dishevelled painter sitting there as well, at once incongruous and strangely content. It's clear that this pair exist in different worlds. Yet, while he's able to play a part in hers, she's not welcome in his. We discover that Vermeer often painted servant girls, not only as they were, but dressed up as "ladies". Something about his mate, though, repels his imagination. It's hard not to be moved by Catharina's stretched-cat face as she screams: "Why don't you paint me?" In the middle of all this make-believe, she's saddled with that most horrible and fixed of roles: the desired but unloved wife. In this respect, Girl With A Pearl is streets ahead of Lost in Translation. Webber's film also has a more egalitarian approach to notions of culture. Griet's noble desire to hide her hair makes you think of the current debate about what Muslim girls can and cannot wear at school in France. As you watch the Catholic families walking through Delft, meanwhile, it strikes you that their stiff, jet-black outfits look as "foreign" as round-brimmed Hasidic hats. Without labouring the point, the film-makers constantly underline the impossibility of identifying who or what is the norm. If only the film's foreground were as absorbing. Johansson looks good enough to eat, but she and Firth's simmering shenanigans make little impression. Vermeer's great gift as an artist was to imbue ordinary life with a sense of mystery. Alas poor Webber. The immaculate consummation witnessed here idles in a middlebrow limbo, neither earthy nor divine. http://enjoyment.independent.co.uk/film/reviews/story.jsp?story=481549

Full review Girl with a Pearl Earring (12A) by WILL SELF, Evening Standard Peter Webber's debut feature is a languid affair, as studiedly brown as the Vermeer paintings that it builds on for its painstakingly detailed portrait of life in 17th century Delft. The action - such as it is - concerns the entry into the Dutch master's family of Griet (played by Scarlett Johansson), the young daughter of a humble tile painter, whom circumstance forces to become a maid. The household is dominated by Vermeer's mother-in-law, Maria Thins (Judy Parfitt, making a spirited bid for cinematic Pipesmoker of the Year), but the reality of Griet's subjugation is voiced by the painter's wife, Catharina (Essie Davis), who snaps, "Don't speak unless you're spoken to!" as Griet voices an innocent enquiry. Beautiful, vain, and subject to continual pregnancies the way the sea is beset by tides, Catharina may have her man sexually and domestically, but she longs to possess him artistically as well. However, we soon learn that there is no meeting of eyes between them: Vermeer's vision is his own, no matter how dependent he is on his womenfolk, or his patron, the sinisterly earthy Van Ruijven (Tom Wilkinson), a man driven, like all artistic patrons, to experience the power of creativity with grotesque vicariousness. Sent to clean his studio, Griet soon comes to captivate Vermeer, both as muse and helpmeet, as she mixes his paints from malachite and shellac, and learns, too, the fine detail of his compositional technique. But Vermeer is not Griet's only admirer. Van Ruijven has a taste for such virginal treats as well, and in a peculiar deal made to ensure that the painter's family doesn't suffer the ignominious bankruptcy of their neighbours, he secures Griet's presence forever. Vermeer - as depicted by Colin Firth - is no turbulent Impressionist, or polymorphously perverse Renaissance genius, but a rather weak, tongue-tied man, whose intense devotion to his work masks a failure to engage with his life. In the rolling sensuality of a world in which masters and servants sleep cheek-by-jowl, and the wet nurse is a human equivalent of a Milton steriliser full of babies' bottles, Vermeer is a man who manages to be conspicuously absent even when he is present. As I say, if it's a strong narrative you're after, then this isn't the film for you. Indeed, it's difficult to see how Webber could have extracted much in the way of motion and vigour from a painter whose works epitomise the stillest of lives, and the most placid of portraiture. In The Draughtsman's Contract, the sexual turmoil of rakish English Restoration dandies was captured from a variety of surprising perspectives, and this film leans heavily on Peter Greenaway's legacy, by painting a portrait of a period's social mores from a palette of received imagery. I don't suppose too many people will be sitting in the stalls oohing and aahing when they spot this or that detail of their favourite Flemish daub, yet the pervasive sense of inhabiting a world one has only previously seen framed is uncanny. If all of the above makes Girl with a Pearl Earring sound unappealing, then it shouldn't. Like Lost in Translation, the other film currently featuring the prodigious Scarlett Johansson, it is a mood piece; and I suspect that whether you find it to be more or less than the sum of its parts will depend on how you are feeling when the lights go down, rather than up. Personally, I revelled in the exactitude of the period detail, from bloody pigs' heads in the meat market, to the mechanics of pre-industrial domestic laundering. It is good to see the full resources of contemporary film-making harnessed in the surface of historical verisimilitude on this small scale, instead of their usual epic expenditure. Of course, it is a tad ironic to hail as cinematic art a production in which the plot resolution is a single still image, but it isn't one that it's necessary to dwell on. Scarlett Johansson may have a pout that speaks of congenital collagen, and certainly she brings a sly fortitude to her role; but in a film which features such powerful supporting players as Wilkinson, Davis and Parfitt, I couldn't say that she stood out any more that Firth. Still, perhaps this very febrile quality to their interaction was also one of the film's strengths. In the most heightened scene, Griet tears herself way from a particularly intimate moment of depiction at the hands of Vermeer, to throw herself into the arms of Pieter (Cillian Murphy), the butcher's boy who is wooing her. The implication that being beautifully portrayed is as acutely sensual as being made love to is what ties the whole conceit together most prettily.

For those who don't read O&E, where all the awards/noms get listed, GWAPE's Ben Van Os got a nomination for his art direction in the category of period/fantasy film. I'll post the whole thing on O&E

Thank you everyone for the GWAPE reviews. I am not sure of a release date yet in South Africa :-( so I enjoy what others have to say.

Making a virtue out of a necessity, ( I needed change for parking) I bought the Daily Mail. Wish I hadn't :-( Our friend Mr tookey says: BEAUTIFUL BUT ITS ONLY SKIN DEEP 2 out of 5 stars This film which tells TC's invented story of events in the 1660's that led to the creation of one of Vermeer's nst famous paintings, can be recommended with confidence to anyone who only goes to the cinema purely to see pretty pictures. First time director PW and his experienced cinematographer, ES, make every frame look like an Old Master. The sense of colour and texture is marvellous, so full marks to production designer Ben van Os and hair and make up designer Jenny Shircore. Missing however, are an involving stroyline and characters we might find intriguing or with whom we might wish to spend time. The love story between the artist's maid and model (SJ) and a butcher's boy (CM) is perfunctroy and underwritten. Almost as poorly developed is the potentially more interesting and cerebral one between the anxious tongue-tied servant and her employer, Vermeer,(CF) who seems to confuse agonised genius with severe constipation. It's hard to know why Vermeer's unappealing wife (ED) becomes quite so hysterical when the maid poses for an extremely modest pertrait that might help them survive financially. TW, cast as Vermeer's melodramatically villanous patron does everything except twirl his mustochios but forgets to do anything that is particularly dastadly beyong groping the maid, which diminishes the drama more than somewhat. The whole production is assembled with extraordinary care but fails to convey anything mch beyond tedium. This film certainly looks like high art, but that is not the same as being it.

A near-perfect Pearl By LIZ BRAUN, TORONTO SUN Someone less enamoured of Girl With A Pearl Earring than we has commented that the film is so slow it's sort of like watching paint dry. Actually, it's exactly like watching paint dry. That would be the point. Girl With A Pearl Earring concerns the painter Vermeer and his complicated relationship with a young maid in his household. The year is 1665, the setting is the Dutch city of Delft and the goings-on are as 1665-ish as you can imagine -- slow, detailed, labour-intensive, no-mod-cons. The stillness of the film (not the oxymoron it seems) is one of its many marvels. As befits the subject matter, the film is visually magnificent, all light play and painterly. Girl With A Pearl Earring is truly fabulous to look at. Cinematographer Eduardo Serra has created magic here. Based on the novel by Tracy Chevalier, Girl With A Pearl Earring stars Colin Firth as Vermeer and Scarlett Johansson as Griet, the maid in Vermeer's household. When Griet's father is hurt in an accident, she must find work to support her family. In the household of Johannes Vermeer, the painter's mother-in-law (Judy Parfitt, who is remarkable in this role) runs the show. Vermeer himself is depicted as a reclusive perfectionist. He seems to hide out from his wife and children, and small wonder. Many demands are made on him to paint more and earn more. What quickly differentiates Griet from everyone else in the house is her actual interest in what Vermeer does. Slowly, they develop a relationship. He teaches her how to look at colour and how to mix colours on his behalf. How Vermeer comes to paint a portrait of Griet involves some of the sexiest non-sexual scenes extant -- Vermeer catching a glimpse of Griet's hair when she removes her cap, for example. Much of the smouldering activity is conveyed via extreme close-up of Johansson, who could ignite celluloid in a jiffy with that face. Girl With A Pearl Earring is heavy with desire, despite the social, religious, economic and status barriers that separate the two main characters. Those social, religious, economic and status barriers are examined in great detail, too, another huge attraction of the film. Girl With A Pearl Earring pays meticulous attention to all the dress, domestic arrangements and social machinations of the time. This is very rich fare. GIRL WITH A PEARL EARRING Time: 1 hour, 30 minutes Rated: PG Director: Peter Webber Stars: Colin Firth Scarlett Johansson 'SMOULDERING PLENTY' -- LIZ BRAUN, SUN Sun Rating: 4 out of 5

From Mari's posting: In one scene, shot in a single take, Griet is setting the table. She is watched by Vermeer who is in turn watched by his wife, daughter and mother-in-law. The complex relationships and power struggles make gripping cinema I thought this scene was incredible. It combined all the best of everything cinema has to offer; acting, editing, lighting, cinematography, direction... It just all came together at that point for me. (Shoshana) ...the actor does the dashing thing flawlessly ...couldn't agree more (Karen) From Charlotte O'Sullivan and the Independant ...I would venture to guess that this woman's daily breakfast consists of rusty nails washed down by battery acid. (Mari) His interpretation.... is all the more intriguing for its remoteness and restraint. I'm hard pressed to think of someone who does this better than ODB. (Karen) From Will Self of the Evening Standard... IMHO, the classic case of a frustrated critic thinking far too much of himself...masking his underlying feelings of inadequacy by trying to dazzle us with linguistic contortions...so did he like it or not??? (Allison) From Mr. Tookey at the Daily Mail... Sorry to see such a bad review, but it really was LOL. Thanks to all for the numerous reviews this morning. A great way to start the day.

(Dorine) Love reviews that help expand my vocabulary. God love the UK reviewers for that much anyway. ;-) Me too!I keep my dictionary by my computer and have a lengthy list. I have to write out the definition for it to stick in my head!!!

good old Charlotte O'Sullivan: He looks on with frantic desire, but from where we're standing, said tresses resemble comedy dog-turds. Thank God for the turban. Well DD's who have seen this film.... How come I haven't read about this in your reports at *Spoilers*? Holding out on us?;-)

Beedde, I assure you that her wig does not resemble dog turds.;-) A balancing act gracefully done Much to contemplate in 'Earring' By Lisa Kennedy Denver Post Movie Critic The young woman in the painting "Girl With a Pearl Earring" glances over her shoulder, making the sort of eye contact with artist Johannes Vermeer - and us - that is now the stuff of magazine covers. But the power of that portrait, believed to have been painted in 1665, is hardly throwaway. Art invites response, even four centuries later. A portrait can make us crave more - more back story, more history. The museum poster that author Tracy Chevalier had hanging in her bedroom inspired her to write a novel about that unknown model's life. And the manuscript for that best seller (it has sold more than 2 million copies) captured the imaginations of the producers of this elegant and graceful movie. When film takes on painting, it's often with a heady mix of the competitive and the celebratory. Director Peter Webber's first theatrical feature gets the balance just right. While Chevalier's book was told from the point of view of the young Dutch house servant Griet, screenwriter Olivia Hetreed avoids what in film too often amounts to a cheat - the voice-over. Instead, this tale of a young woman who leaves her parents' Protestant home and disrupts the Catholic house of the painter and his family hews closely to Griet's emotions while giving us glimpses of life in 17th-century Delft. In Vermeer's household, the glum painter (played by Colin Firth) retreats to his studio, which offers respite from the minor chaos of the houseful of women. He is surrounded by his wife, his daughters, his mother-in-law, and a flock of gossiping servants. Newcomer Griet (Scarlett Johansson) displays a curiosity that stirs Firth's Vermeer. While it would be tempting to wish for romance between the two, the movie has grander ambitions. And Cillian Murphy does a nice job as Griet's class-appropriate suitor, Pieter. There's a grit to Griet's life. Cinematographer Eduardo Serra's work is full of shadow and light and the milky blues, bleached whites and micturated yellows of candlelight that constitute so much Vermeer's palette. (For another example of Serra's gift, see "The Flower of Evil.") But "Girl With a Pearl Earring" mounts a serious exploration of tensions beyond the aesthetic: the frustrated minuet between duty and desire, the hardness of domestic work and the precarious fortunes of the bourgeoisie, the vulnerability of the artist to his patron. It is no surprise that Webber made documentaries. He pays heed to the details of life in Delft. The head maid's gruff directions to Griet about canal water underscore the domestic pecking order but also remind us that cleaner water came with a better address. In "Lost in Translation," Johannson plays the younger woman to Bill Murray's aging actor. A similar intimacy exists between Griet and Vermeer, wavering between a friendship and something more. "You looked inside me," says Griet upon seeing the completed painting. This isn't as revealing as it sounds. Johannson grasps just what a peculiar thing Griet's gaze is. It isn't defiant. It isn't inscrutable like Mona Lisa's smile. It isn't beckoning, exactly. Of course, there is a little Rorschach test embedded in the best portraits. Casting Johannson, who physically conjures the anonymous woman in the portrait, could have been a clever stunt. But the actress pulls off gestures and expressions that could be the foundation for a new brand of silent-film acting. They're not grand, just telling. There may be one too many shots of open-mouthed wonder, but Johansson remains the thinking, feeling core of the movie. Even though Essie Davis does a deft job of making Johannes' wife, Catharina, impossible, it would be overly simple to cheer on Griet at the expense of the Vermeer women. Vermeer shares his vision only with this outsider. Everyone else, with the exception of his mother-in-law, is judged incapable of understanding the painter's calling. Firth makes a dour Vermeer. By today's standards, he would be judged passive-aggressive. He's good at setting the household against itself. He yells at his child for quiet but encourages Griet's enthusiasms. And you'd have to be a blinkered romantic to not recognize the nasty selfishness in the moment when Vermeer asks Griet a question about light and his wife's earring in front of Catharina. Tom Wilkinson's Van Ruijven is the moneybags underwriting Vermeer's precarious career, but he comes across as base, a necessary evil. Vermeer's mother-in-law, Maria Thins (Judy Parfitt) is the artist's true patron. She maintains his working conditions, not just because it fuels the household economy but because she recognizes what must happen to keep the painstaking talent working. To earn its props, a period film must resonate in our time. A movie about art doubles that demand. Webber has delivered the goods and then some. "Girl With a Pearl Earring" - like the portrait that reappears as the movie's final grace note - invites contemplation. On beauty and the relationship of artist to model, to be certain. But thanks to Webber's will to deliver glimpses of life beyond the Vermeer household, the film reminds us that art and commerce have been going steady unsteadily for centuries. Girl With a Pearl Earring ***(out of 4 stars)

From Kevin O'Sullivan of the Mirror: GIRL WITH A PEARL EARRING 19:00, Jan 15 2004 * * * * One of the great 17th-century Dutch painters, Johannes Vermeer served up an artistic mystery to match the enduring guessing game surrounding the true identity of da Vinci's enigmatic Mona Lisa. Vermeer's most famous work is his portrait of a hauntingly beautiful young woman wearing a simple blue headband, a modest smock and a single pearl earring. But who was she? Here, director Peter Webber offers an intriguing theory. In a meticulous reconstruction of an age when people lived in a venal world full of rotting meat and mud, Webber transports us back to 1665 and the Venice-like city of Delft. There we find Vermeer (Colin Firth), a tormented man in a house full of hectoring women torn between the financial realities of providing for his family and the art which he hates to compromise. Into his home comes a maid, Griet, forced below stairs when her father is blinded in a kiln accident. Uneducated, Griet is nevertheless intelligent and impresses her master with her understanding of his work. Played by future superstar Scarlett Johansson, Griet resists the attentions of Vermeer's oafish patron Van Ruijven (Tom Wilkinson). But, desperate for Van Ruijven's cash, Vermeer secretly agrees to paint his stunning maid. The closest Vermeer and Griet get to consummation is in the scenes where they quietly mix the richly coloured paints in his studio. As with all good works of art, nothing is overstated in a lovely film that paints its own impressive picture. http://www.mirror.co.uk/atthemovies/atthemovies/content_objectid=13821700_method=full_siteid=50143_headline=-GIRL%2DWITH%2DA%2DPEARL%2DEARRING-name_page.html

(Guardian)So there is a real whiff of sulphur about the commission, in which the financially straitened Vermeer is ambiguously complicit: he is preparing to sell Griet body and soul, and the painting becomes an occult object of betrayal. Excellent way to put it. Thanks Karen, Mari, and Bethan. Decent reviews from the UK! I'm still shell shocked from the last round. Mr. Kookey: Actually, his comment is, again, very personal and humiliating. I guess that's just his style. His opinion, of course, and he's entitled to it, but again over the top and a bit unnecessary, IMO. He makes a few valid points, but I find him distasteful. (CO'S)but from where we're standing, said tresses resemble comedy dog-turds. Thank God for the turban. How odd. (Mari)(Local boy makes good.;-);-) LOL, I can hear the St.Louis crowd cheering from here.

Also from today's Mirror: When we meet... I suspect it was in a hallway or street. ;-) COLIN FIRTH - MASTER CLASS Jan 16 2004 COLIN FIRTH TALKS ABOUT HIS NEW ROLE AS VERMEER AND LIFE AFTER MR DARCY. By John Hiscock He became a romantic national hero with his portrayal of the brooding and captivating Mr Darcy in Pride And Prejudice. Women still go weak at the knees when they recall his smouldering performance in the 1995 television mini-series which catapulted Colin Firth from a solid, middle-aged actor into an international sex symbol. And no one was more surprised than Firth himself. "I was 35 when I did Pride And Prejudice and I thought romantic, leading man parts were passing out of my scope," recalls the Hampshire-born actor, now 43, with a laugh. "It was time for me to do character roles and joyfully get fat, so the reaction to Mr Darcy took me very much by surprise. "It has put the romantic, leading man back on the agenda in terms of the sort of work that is coming my way. I would never have expected it. In fact, I don't know what would have happened without Mr Darcy." When we meet, Colin - whose new film Girl With A Pearl Earring has just been released - is casually dressed in trainers, jeans and a dark crew-neck sweater. It's a far cry from his dashing Darcy look, but he admits that his experience playing his most famous role helped when he was courting his wife Livia. An Italian film maker, they met in 1996 while they were both working on the movie Nostromo. They were married in June 1997 and have two sons, Luca, who is three in March, and five-month-old Mateo. "Because of the conventions of her family, being Italian, my courtship with my wife was quite formal and very old-fashioned," Colin explains. "And I think our relationship benefited from that." Firth's most serious romantic involvements - of which he insists there have been very few - were all with his leading ladies. He has a 13-year-old son William from a five-year relationship with actress Meg Tilly after they met on the set of the 1989 film Valmont. He also had a brief relationship with the British actress Jennifer Ehle while they were filming Pride And Prejudice. "Until I met my present wife, at the age of 35, you could name two girlfriends of mine," Colin says. "Yet there is this extraordinary image of me as a man who goes off with his leading lady all the time. In reality, any 35-year-old man who can claim to have had two past lovers is hardly a philanderer." He is, he believes, a better father now than when his first child was born. "I was 30 and I still felt far too young for anything like that," admits Colin. "I hadn't quite got over not being 18 anymore and having a child changed my life dramatically. This time, I finally feel old enough and a little more equipped for it, but in some ways it's almost an identical experience because the joy is there both times." Since his career took off with Prejudice, Colin has had high-profile roles in The English Patient (1996), Fever Pitch (1997), Shakespeare In Love (1998) and Bridget Jones's Diary (2001) - in which he also played a Mr Darcy - among others. In Girl With A Pearl Earring, he plays the 17th century painter Johannes Vermeer who falls for a beautiful peasant girl, portrayed by Scarlett Johansson. It has been seen as his best film in years and rumours of an Oscar nomination are in the air. "I do like to mix and match," says Firth, when asked about taking on the role of the Dutch master. "I was just really ready to do a bit of drama, since there had been quite a string of romantic comedies and light stuff." Although he considers London to be his home, Colin is a much-travelled actor who has lived, at various times, in Nigeria, America and Canada, as well as Winchester, where his father was a history lecturer at King Alfred's College. "The business of moving about has been in my family for generations," he explains. "My parents were born in India, my sister was born in Nigeria and my mother did a lot of her growing up in America." After returning to Britain in his early teens from St Louis, Missouri, where the family briefly lived, he joined the National Theatre. He made his professional London stage debut, replacing Rupert Everett as the spy Guy Bennett in Another Country, and in 1984 appeared in the film of the play, also with Everett. The pair of them also ended up together in the 2002 movie of Oscar Wilde's The Importance Of Being Earnest. "Yes, Rupert and I go back a long way," Colin admits. "We were bantering on the set all the time like naughty schoolboys. Someone referred to us as being like an old married couple." Then, with a smile and a courteous farewell, he strolls off down the hotel corridor, seemingly oblivious to the stares of recognition and the inevitable whispers of "That's Mr Darcy!". - Girl With A Pearl Earring is on general release.

'Girl' a lifelike portrait of a century Though a bit dry, story of Vermeer, model, a brilliant likeness of 1600s daily life By Robert Denerstein, Rocky Mountain News January 16, 2004 Girl With a Pearl Earring, the big-screen adaptation of Tracy Chevalier's much-admired novel, provides a crash course in 17th century living. Director Peter Webber presents a complete and fascinating portrait of life in 17th century Delft, Holland, so much so that students of the period may want to own the DVD. If you've ever had a burning desire to know how laundry was done in the 1600s, this movie provides an answer. And, no, I'm not being glib or sarcastic. Girl With a Pearl Earring brilliantly captures the texture of ordinary life. The movie is about the relationship between Johannes Vermeer and the servant girl who became the subject of one of his most revered paintings, a story that provides Webber with an opportunity to focus on everything from the way Vermeer mixed paints to the form of patronage that enabled him to make a comfortable living. The movie is textured in much the same way as a Vermeer painting, but like the novel on which it's based, it's a somewhat dry speculation about the origins of a single painting. The story, which at times flirts with inertia, revolves around Griet (Scarlett Johansson from Lost in Translation). Early on, Griet, raised in a Protestant family, is sent to work in the Vermeer home as a maid. The Vermeers are Catholics. Eventually, it becomes clear to Vermeer (Colin Firth) that the girl's penetrating gaze reflects a special kind of vision. Maid and artist may be kindred spirits. Vermeer is portrayed as aloof, a man who's mostly ineffectual when away from his easel. He understands Griet's potential, but he's also under the sway of his crude patron (Thom Wilkinson), a mother-in-law who constantly frets over money (Judy Parfitt) and a needy wife (Essie Davis) who's shut out of his creative life. Johansson, who perhaps carries Griet's wide-eyed pose too far, might have done well to close her mouth once in a while. Yet, there's something provocative in her gaze, an inchoate longing that probably will never be satisfied. Those familiar with the novel should agree that Webber, working from a script by Olivia Hetreed, has done justice to Chevalier's low-key mixture of art and domestic intrigue. Firth does his best with a role of a man who can never be fully free, and the supporting cast, particularly Wilkinson and Parfitt, acquit themselves well. A subplot connects Griet with the son of a local butcher (Cillian Murphy). Girl With a Pearl Earring has the look of a Vermeer painting, a sense of preternatural calm over ripples of disquiet. And we do have the same rewards of perspective that the novel offered, the world seen as much from the subject's point of view as from the artist's. All things considered, that's a worthy - if not always riveting - accomplishment.

Speaking of the Rocky Mountains, do we have any Sundancers here? Anyone ready to leave the tundra that is the East Coast for the relative warmth of Utah?;-)

(Webber), I think Colin offered Scarlett a few tips but if anything it was the other way round. She's been doing this probably as long as Colin. Aha! Now we know why Colin thinks Scarlett will be a director. I wonder how many things she suggested to him? ;-) Thank you ladies for the reviews! (Dorine) Love reviews that help expand my vocabulary. God love the UK reviewers for that much anyway. ;-) LOL! So that's what they're good for? ;-)

The Globe and Mail: http://www.theglobeandmail.com/servlet/ArticleNews/TPStory/LAC/20040116/MOVIE16/TPEntertainment/Film Are you ready for your close-up? By JOHANNA SCHNELLER What's in a face? Studies show that even babies prefer large, symmetrical features. Movies specialize in blowing them up two storeys tall, inviting leisurely, detailed scrutiny of a matinee idol's mouth or cheekbones or chin. You could ponder for years which centimetre makes Jeff Bridges's face so much more classically handsome than his brother Beau. And then, when you find a face that is beautiful to you -- Marlene Dietrich's, or Faye Dunaway's, or Diane Lane's -- you could spend your life lost in it, reading in it every kind of promise or mystery, goodness or cruelty. A beautiful face can give you hope that humans can attain some kind of, if not perfection, at least radical improvement. A surgically constructed face could never be as nuanced as a god-given one. Two films opening today are constructed almost entirely around gazing into the faces of their leading ladies, Scarlett Johansson in Girl with a Pearl Earring, and Charlize Theron in Monster. In both of their two-hour running times, the camera rarely strays from the infinite space between hairline and collarbone. In the former, it finds a heaven there; in the latter, a hell. This is a departure from big Hollywood films which, these days, are all about the wide shot. Computer-generated imagery has given directors, limitless possibilities for crowd and battle scenes. So movies now are excuses to use that technology; stories are created to accommodate crowd scenes. Think of the thousands of orcs pouring across the fields in The Lord of the Rings: The Return of the King, or the hundreds of ships spanning the sea in the current trailer for Troy. Monster and Girl with a Pearl Earring, however, focus instead on the opposite staple of filmmaking, the close-up. The close-up is the most intimate of shots; it is filmmaking's gift to emotional transparency. In the hands of the right actor, director and story, a close-up can make a thought or feeling physically visible. Interestingly, both of these films were made outside the studio system, and both were created by women -- Patty Jenkins wrote and directed Monster, and Olivia Hetreed wrote Pearl Earring from the novel by Tracy Chevalier -- who, traditionally, care more for nuance and less for spectacle than men. These films create whole worlds, too. But they do it in the smallest space imaginable, in the curve of an eyebrow or the curl of a lip. Watching them is akin to staring into a lover's eyes in the early, heady stages of an affair, when every flicker is endlessly fascinating. Girl with a Pearl Earring is an art-mystery romance about Jan Vermeer's masterpiece of the same name. It posits that the girl in the painting -- who gazes over her shoulder so steadily, and whose downy cheek reflects the pearl's light so sublimely -- was a servant, here called Griet, with whom Vermeer (Colin Firth) fell madly, if chastely, in love, consummating their relationship only on canvas. The film is lit and shot like a series of paintings and, like a painting, its emotional impact comes from images, not words. Vermeer and Griet's affair is nearly silent; they communicate with their eyes. They have to. As a proper servant, Griet is covered from neck to ankle in layers of muslin, and her hair is wrapped in a scarf and hidden under a cap. So literally, all you can see is her face. With Johansson, that is enough. Her face is not classically beautiful, it's a bit puffy and pouty. But it is an ideal face for a 20-year-old, innocent and wise, intelligent and curious, wary and hopeful, obedient and defiant. You have no trouble believing that men would burn with desire for Griet night after night; you look and look and look at her face, and never tire of it. In fact, the movie ends with a two-minute shot of the painting itself -- it starts on the earring, then pulls back until the art fills the screen, and the camera simply stays on it, unblinking. And though it's a ravishing way to end the tale, and satisfies the real relationship you have developed with the painting, and you feel so grateful to be given permission to gaze for such a long (on film) time on something so beautiful, you find yourself wishing it was Johansson that Vermeer painted. You miss her face. Monster is the opposite in many ways. It's based on the true story of America's so-called only female serial killer, Aileen Wuornos, a prostitute and abuse victim who shot six men and was executed last year, and it's a meditation on not beauty or goodness but evil. You restlessly search Theron's face for answers as to how that behaviour is possible. Well, for the first few minutes, you search for signs of Theron's real face: Her stunning mein is obscured by prosthetics around her mouth, brown contacts and makeup that mottles her silky skin. You glimpse flashes of Theron under the beastliness when she smiles broadly, which is rare. But gradually you sink into Wuornos's face, and eventually its expressions -- wounded, scared, scarred, defiant and hideously vulnerable -- become her story. Theron's performance is staggeringly good, because she's as committed emotionally to Wuornos as she is physically. With it, she joins the ranks of actresses who have uglied down to move up: Sally Field, who traded in her Flying Nun habit to play a schizophrenic in Sybil, the TV movie that started her on the road to being taken seriously and winning two Oscars; Demi Moore and Sigourney Weaver, who shaved their heads for G.I. Jane and Alien 3, respectively; Salma Hayek, who sported a mustache and monobrow for Frida. Indeed, several of Oscar's best actresses won their trophies for fighting their looks: Nicole Kidman with her prosthetic nose in The Hours; Halle Berry sporting tattoos and waitress uniforms in Monster's Ball; Gwyneth Paltrow and Hilary Swank for cross-dressing in Shakespeare in Love and Boys Don't Cry. (Gorgeous male actors aren't immune, either: To avoid being typecast as pretty boys, Johnny Depp, Brad Pitt and Jude Law routinely disguise their beauty behind bad teeth and demented hair; Orlando Bloom will soon, I'll wager.) Beauty can make you swoon, but it seems you need a little ugliness to teach you about real life. "I was getting stuck," Theron has said. "I'd go through five meetings to get a part and still hear, 'She's too pretty.' I'd grown used to that." That would be a problem most of us would welcome. But because beauty is so fragile, so elusive, such a matter of minute degree, it's an easy one to fix. � 2003 Bell Globemedia Publishing Inc. All Rights Reserved.

Thanks to Mary, there's a new gallery of additional images from the W photoshoot, taken at Chiswick House: http://www.firth.com/gal/gal_03jw.html

From the Tribute.ca newsletter: B.L. This film is about the painter Vermier, whom you play. Were you a fan of his work or did you know anything about him before taking on the role? C.F. I am and I was, yeah. I knew more about Vermier than I knew about the book actually. I had not read the book when I got the script and it did seem somewhat consistent how I felt about him when I saw my first Vermier. I�m not a person who has a particularly sophisticated reaction to paintings and fine art. It must have been about five or six years ago, when I was on a promotion for Shakespeare in Love, and I was in the Met in New York and I saw the painting "Woman with a Water Jug" in the window and that was the one that did for me. It was a very small painting in quite a small room full of other Dutch and Flemish art, and it just blew me away. B.L. Was playing him a bit of a challenge for you, because here is a guy that really existed, but we really don�t know a lot about him. There isn�t a lot of information on his background. You were pretty well working with a blank canvas so to speak. C.F. It was easy in some ways and difficult in others when the character is an enigma like that, because it�s not like playing somebody totally familiar. If I were playing the British Prime Minister it would be an exercise in imitation as much as anything else and I�d have to work very hard to a specific model. With this, we had carte blanche. There is no portrait or physical description of him. But in another sense though, it was specific because that enigma didn�t just give me carte blanche to develop the character in any way I wanted to. The enigma was essential to the story so it was to some extent an exercise in preserving that. B.L. You get to work very closely with Scarlett Johansson who is one of the brightest young up-and-coming stars to come around in a long time. What impressed you about her and how did you enjoy working with her? C.F. Just about everything really, I think she�s extraordinary. She was 17 years old when she started this job and she is one of my favorite actors that I have ever worked with. One of the things that throw you slightly when you are in your early forties is to work with someone who is that young and actually probably, as experienced as you are because she�s been doing it that long. So there was a lot of the �old soul� in her and she offered unbelievable energy. She was able to keep up with the workload and she had just come off a really difficult schedule and came right into this. I think I�d realized with middle age coming on, my exhaustion threshold was much lower than hers. B.L. She was absolutely mesmerizing in this role I thought. C.F. She was utterly committed to the project and utterly enamored with it all, and when you�ve got something like this it tends to weave a spell on all of us and puts us all on the same page. B.L. You have worked with a lot of young actresses in the last few years. Amanda Bynes, Mena Suvari, Scarlett Johansson� C.F. It�s been a long time since I have done a film without an American actress interestingly enough. It�s very often that American actresses come to England to work and I tend to be there when they do. B.L. It�s interesting. How have you enjoyed working with these up-and-coming young women? Are they good sparring partners for you? C.F. Amazing. Oh yeah, absolutely. When someone is young and brilliant it does throw down the gauntlet. It stops you from becoming stagnant and complacent and jaded. It keeps you fresh to work with brilliant young people, definitely. B.L. You also just released Love Actually, which I have to say I truly loved your storyline. How much fun did you have working on that? C.F. That was a walk in the park and yes, it was a very different piece for me. Girl with a Pearl Earring was not a walk in the park; I felt it was treading a very narrow line of getting it right. With Love Actually I was very fortunate where we had the beautiful location. I was the only one who got to go to the south of France and my story is set apart so it was like a mini movie and I wasn�t sprinkled around the rest of the shoot like the other actors were. So it was mine and my part of the story kicked the film off, so we started with that and it was only three weeks. I wasn�t carrying the film and it was incredibly enjoyable and I was in very good hands with Richard Curtis the director and there was nothing to it. It was just fun really and when you�ve only got three weeks to do something, you might as well have fun. B.L. It�s funny, I have to admit that every time I told people that I would be interviewing you, every single person was just aflutter. I know that you have been dubbed the British sex symbol, how does that sit with you? I have to tell you, there isn�t a person in this world that wouldn�t want to meet you and be in my place right now. C.F. Oh, there�re some people in the world � B.L. Very few! C.F. There are probably quite a few people who do know me that probably wish they didn�t. I don�t know, I have no intelligent answer to that question, really. B.L. Fair enough! OK... Everyone wants to know what is happening with the sequel to Bridget Jones� Diary. Can you tell us anything about that? C.F. It�s starting very soon now. It�s a very strange beast because it existed before it existed, if you understand what I mean! It existed as an idea and even as a production before it really existed as a script, and the script has been catching up with the rest of the machine. All along the rest of us have been standing by asking, "what are we actually going to make here?" I find that there is a tremendous paradox with sequels. In some ways people want a sequel because they love the first one, so that�s why they want it. So in some ways they are looking for the first one and then they get angry if that�s what they get. So it�s got to pay homage in some extent, and then it has to develop from that. I think it�s getting there now, it�s sort of where we are. It�s going to be a long shoot and I think it does take the story forward.

(Mari) Really good one from the St. Louis Post-Dispatch (Local boy makes good.;-);-) Ahhhh, the gang in the school yard must be cheering....or maybe the jail yard;-) The Mirror: "It[P&P] has put the romantic, leading man back on the agenda in terms of the sort of work that is coming my way. I would never have expected it. In fact, I don't know what would have happened without Mr Darcy." "You'd be wandering around the bowels of BBC." Thanks for all the reviews. Pox on bin Tookey.

Karen, thanks for the Master Class article & Brenda thanks for the Tribute.ca newsletter. In both of these article they talk about him as middle aged, as if he is just a short step away from being a doddering old man. I find it so hard to believe that at 35 he felt romantic leads would soon be out of his scope. At 43 he's calling himself middle-aged, and talking about an exhaustion threshold. I always wonder if he says this tongue-in-cheek or if he really means it. Doesn't he look in the mirror -- he has gotten better with age!!! IMO, being in my mid-forties, I won't hit middle age for another ten to fifteen years, & old age doesn't start till sometime after eighty. And yes Rod Stewart is singing "Forever Young" in the background right now;-)

Thanks to Karen, Mari, Brenda and others for all the great reviews, articles, interviews! I was told to lay low about non-work related internet sites but I can't take it anymore! I had to duck in here, it is the only way I have enough happy thoughts to slog through the drudgery! Did a brief look-see and didn't see this one posted before... The Story Beneath That Calm Vermeer By Laura Winters Special to The Washington Post Sunday, January 4, 2004; Page N01 Johannes Vermeer's celebrated portrait "Girl With a Pearl Earring" captures the imagination through the questions it elicits and leaves unanswered. The painting, which hangs in the Mauritshuis, a museum in the Hague, depicts a beautiful young woman posing simply against a black background, wearing a turban-like kerchief on her head and a single, giant pearl. The young woman looks directly at the viewer with a mysterious, doe-eyed gaze. Who was she? And what was her relationship to Vermeer? To this day, we still don't know the answers -- but the questions spurred Tracy Chevalier to write a book that imagined the story behind the painting. Her 1999 novel, also called "Girl With a Pearl Earring," became a worldwide bestseller. Now Peter Webber, a British director, has made Chevalier's book into a movie that opens here Friday and stars Colin Firth as Vermeer and Scarlett Johansson as Griet, the young woman who becomes Vermeer's obsession and, eventually, his artistic muse. The facts we know about Vermeer's life are sparse. He was born in Delft in 1632 and died in 1675, converted to Catholicism to marry his wife, Catharina Bolnes, and left behind 11 children and something like 35 paintings. Most of what we can divine of the painter's sensibility comes from his paintings -- often quiet scenes of reflective women, framed in soft daylight, doing everyday tasks. "One of the most wonderful things about Vermeer's paintings is that they are removed, in a certain way, from time and place," says Arthur K. Wheelock Jr., curator of northern baroque painting at Washington's National Gallery of Art and organizer of the museum's acclaimed 1995-96 Vermeer show. But the girl with a pearl poses a special enigma for viewers. "She is in a costume that is not specific to any particular culture," says Wheelock. "She is almost like a sibyl, a kind of ideal figure from another world." And, unlike many of Vermeer's women, the girl looks straight at us "with a very personal, very open look," says Wheelock. Her gaze prompted Chevalier, a native of Washington, to start writing her book. "I've had the poster of that painting up on my wall for years," Chevalier said by phone from London, where she now lives. "One morning I was wondering, 'Why does she have this ambiguous look, where you can't tell if she's happy or sad?' And I suddenly thought, 'The look on her face is the story of a relationship between the model and the painter.' " In her novel, Chevalier invented the character of the model. She spun a story in which 16-year-old Griet becomes a maid in the Vermeer household in Delft to help out her parents financially. At first, the remote painter, who is in constant flight from his brood of children and his temperamental wife, takes little notice of her. Slowly, however, Vermeer realizes that Griet has an aptitude for color and light. She becomes his secret assistant, grinding his pigments and even adjusting the position of objects he paints. As their unspoken attraction grows, so does his wife's jealousy. The storm breaks when Vermeer clandestinely begins to paint Griet wearing his wife's pearl earring. When British screenwriter Olivia Hetreed was given a galley proof of Chevalier's book, she read it in about two hours. "It was so gripping that I felt as though I didn't breathe," she recalled. "I thought of it as a domestic thriller." Hetreed's husband, producer Andy Paterson, and his partner, Anand Tucker, bought the film rights for their company, Archer Street Ltd. Hetreed wrote the screenplay, which in turn inspired Webber, who had never directed a feature film before and was known in England mainly as a director of documentaries and TV dramas. "When I read the script, I thought, 'This is a wonderful tale about an innocent girl coming of age, and there's this fascinating dark undertow that I can bring to the story,' " Webber said, sitting on a sun-drenched patio during the Toronto International Film Festival in September. It's an undertow that the film might not have had, if Webber hadn't directed it. "What happens when people are in love but can't express it?" he said. "What happens when power and money get in the way of love and sex? I think all of that is very contemporary, and I wanted to try to make a period film that felt, somehow, not 'period' at all." But Webber also wanted to convey the strict social mores of Vermeer's time, where the free expression of emotion between master and maid would be, as he put it, "an impossibility." "Griet can't express what she feels, nor can Vermeer," he said. "The drama in this story comes from that. What I was trying to do was show the way that something grows between two people. Vermeer sees something in this girl that is far more than just sexual, and she, who's so restrained in that household, finds her world opened up by him. And, with her willing participation, he uses his obsession with her to create a masterpiece." To convey this hothouse of stifled emotion, Webber needed the right actors. He set out on an extensive search for Griet, seeing, by his count, more than 100 actresses. When he first met Johansson, who was 17 at the time, she was en route to a New York Knicks game -- a far cry from the 17th century. But her very modernness fascinated Webber. "I realized that what would work was to take this intelligent, zippy girl and repress all that," he explained, "putting her in a situation where all that energy and joy are trying to burst out." Johansson arrived on the set in Luxembourg directly from "Lost in Translation" with very little time to prepare. "I got there and thought, 'Welcome to the 17th century,' " she said with a laugh, on the phone from Los Angeles. She bleached her eyebrows so that she would look more like the girl in the painting, but did not read Chevalier's novel because it is written from Griet's point of view and "I thought it was better not to have that first-person narrative, so that I could start with a clean slate," she said. Once filming started, she said, she realized "that my character is completely in love with Vermeer." Despite the stretch across centuries, her empathy for Griet allowed her to give an emotionally wrenching performance using very few words. "I think it was really to my advantage that I didn't have that much dialogue. It was a lot easier for me to allow whatever I was feeling to play across my face -- Griet's longing, her frustration and hurt." Johansson stresses that her character is no victim. "She's a force to be reckoned with," she said. "She's one of the strongest characters I've ever played." Unlike Johansson, who could define Griet for herself, Firth had the difficult task of playing an actual historical figure placed in a fictional context. The biggest challenge, he said, was creating a concrete character for Vermeer. He did a lot of research on the artist's life, which yielded more mysteries than answers. "Vermeer's incredibly elusive as an artist," he said. "I agonized about it: What kind of man was he?" While trying to solve this mystery, Firth immersed himself in the painterly process, learning to hold a brush correctly and to handle paints. In the end, Vermeer's paintings themselves held a key. "This man was painting quiet paintings in a noisy house," he said. "He had 11 children, and yet his paintings very rarely feature children. That tells us something: He must have had two lives." He paused. "I think that Vermeer saw things in a very specific and extraordinary way. He's a painter who stands back. In some ways, what makes his paintings so achingly mysterious and passionate is that you're not close to his models, even though you would get closer if you could. There's a lot of passion there, but also a kind of distance." Drawing on these clues, Firth portrayed a deeply reserved man who, in the film, gradually admits Griet into his private world. For the scenes set in Vermeer's studio, cinematographer Eduardo Serra used a different film stock and diffused lighting to re-create the magical luminosity of Vermeer's paintings. In crafting the sets, Webber and Ben van Os, his production designer, also looked to Vermeer's work for inspiration, as well as to the works of other Dutch artists of the period, such as Gerard ter Borch. Because Delft has changed since that time, only a few of the exteriors could be shot there. Vermeer's house was built on a set in Luxembourg. "We were trying to reflect that quiet, sober, almost moralizing ethos that you see in Dutch paintings," said Todd van Hulzen, the set designer. "There are very few films where you get that intense Northern European Calvinist aesthetic. It's a dark look -- lots of ebony -- but also very rich, because the Dutch were the ruling empire of that time." But Webber was also intensely aware of the dangers of becoming overly slavish to period details. "There's a certain kind of English period film that I detest, which is all about the frocks and the horse and the carriage," he said. "So I tried to strip down some of the ruffly clothes and bring the film to life. I wanted you to be able almost to smell the meat in the market." In so doing, he has managed a fresh take on the sometimes overwrought genre of films about artists, according to Piers Handling, the director of the Toronto International Film Festival. "What I like about Webber's film is that it very much situates Vermeer in his domestic situation," he said, "rather than depicting the cliche of the artist as mad genius." Webber may be an iconoclast, but he is thoroughly grounded in film history. He says laughingly that he was a "pretentious teenage intellectual" who cut his teeth on double bills of Jean-Luc Godard and Yasujiro Ozu. Slim, dark-haired and "thirtysomething," as he puts it, Webber has a cheeky, forthright manner and a restless intelligence. He grew up in West London and, after getting an art history degree, did a graduate program in film and worked as a film editor. He made a wide range of television documentaries (mainly about topics in science and music) before moving into TV drama. Webber finally got attention -- a lot of it -- in 2001 with "Men Only," a searing two-part series that followed several lower-middle-class British chaps who meet weekly to play soccer and who, spurred on by drink and drugs, gang-rape a young woman. When "Men Only" aired in England, critics were explosively divided between those who lauded its honesty and those who were, frankly, shocked. "I remember one editorial that said it was a vile piece of pornography, all the worse for being so well acted and directed," said Webber, looking pleased at the memory. In directing "Girl With a Pearl Earring," Webber has again confounded people's expectations. "It surprised a lot of people when I did this film, because they only knew my 'tough' side, so to speak," he said. "But people are complex: We don't have only one side. Now film executives who had passed on the script of 'Girl With a Pearl' come up to me and say, 'Oh my goodness, we read that script, but we really didn't see this movie in it at all.' " True to form, even in the wake of his new success, Webber still wants to keep people guessing. "What's important for me is to have a new challenge each time and not get bored," he said, smiling. "I want people, when they see my next film, to say, 'Hang on, is that really the same filmmaker?' " http://www.washingtonpost.com/wp-dyn/articles/A49841-2004Jan2.html

Thanks for all the wonderful reviews and tidbits today! Bee - Hmm SJ wig looking like dog turds? . .what film was she watching?;)

Review: Girl with a Pearl Earring By Caroline Westbrook BBC News Online entertainment staff Girl With a Pearl Earring, starring Colin Firth and Scarlett Johansson, has been critically acclaimed. Following on from Lost In Translation, actress Scarlett Johansson plays a very different kind of character in Girl With A Pearl Earring, based on the best-seller by Tracy Chevalier. This time around she is Griet, a 17th Century Dutch girl who is forced to go and work as a maid after an accident leaves her father blind and unable to support the family. Her new boss is the painter Vermeer (Colin Firth) and after she lands the job of cleaning his art studio he begins to take more than a cursory interest in her. Click here send in your review of the film She eventually becomes his muse and the model for one of his most famous paintings - but things are complicated by his permanently pregnant, highly-strung wife Catharina (Essie Davis), who is none too pleased with the arrangement. Like Lost In Translation, the focus of the film is on the platonic relationship between an older man and a much younger woman - one which continually threatens to spill over into something deeper. Beautiful cinematography Johansson has been nominated for a Golden Globe for both films - and it is easy to see why - she is superb here, in a role which gives her just a handful of dialogue. Firth, complete with long hair and big shirts, is also excellent, while beautiful cinematography and a haunting soundtrack add to the overall effect. However, those who read Chevalier's book may be disappointed by the under-use of important supporting characters and an ending which has been changed from the original, losing one of the most important plot points in the process and feeling inconclusive as a result. It is a noticeable let-down in what is otherwise a visually stunning treat, one which offers another welcome chance to see one of the best new actresses around. http://news.bbc.co.uk/1/hi/entertainment/film/3402851.stm

B.L. You have worked with a lot of young actresses in the last few years. Amanda Bynes, Mena Suvari, Scarlett Johansson... C.F. It�s been a long time since I have done a film without an American actress interestingly enough. It�s very often that American actresses come to England to work and I tend to be there when they do. An understatement about 'where' he is. But this film was made in Luxembourg. Picky picky ;-) B.L. It�s funny, I have to admit that every time I told people that I would be interviewing you, every single person was just aflutter. I know that you have been dubbed the British sex symbol, how does that sit with you? I have to tell you, there isn�t a person in this world that wouldn�t want to meet you and be in my place right now. C.F. Oh, there�re some people in the world � B.L. Very few! C.F. There are probably quite a few people who do know me that probably wish they didn�t. I don�t know, I have no intelligent answer to that question, really. LOL! Colin, meet Silvio. Silvio, Colin. ;-) Thanks Brenda! GWAPE has arrived in San Diego and the Union-Trib's critic is a Colin fan, per one of its other staff writers who told me. Gave it 3-1/2 of 4 stars. Here's his review: 'Girl With a Pearl Earring' a gem of light, awakenings By David Elliott Union-Tribune Movie Critic January 16, 2004 Painter Johannes Vermeer was forgotten for about 200 years, rediscovered by 19th-century scholars and then began (like the revived El Greco and Caravaggio) winning a devout modern following. His pop prize of fame � the very idea would have baffled him � is "Girl With a Pearl Earring," a hit novel by Tracy Chevalier. There isn't much story for a film to hang its pearl on. Griet (Scarlett Johansson), the milky Protestant virgin who will become the subject of Vermeer's most tenderly immaculate portrait, is hired as a servant in the Catholic artist's Delft canal home. He is prospering, yet very dependent on a covetous patron, Van Ruijven (Tom Wilkinson, his mustache looking fresh from Frans Hals). Colin Firth, as Vermeer, at first seems recessively English. Sure, Vermeer was a quiet, lab-of-art master who left behind a small body of profoundly posed work. Nobody painted pearls better, or made a whole painting into more of a pearl. But he must have had force of personality to go his singular way, not aping Rubens or Rembrandt, painting with finicky purity the mostly interior views in his home of a few people and immaculate furnishings, in the cool window light that became his signature. Firth indicates that force, though his Vermeer is sly and careful around his insecure (because not greatly loved) and materialistic wife (Essie Davis), and her fierce hawk of a mother. And Griet, though no daisy, is initially scared of them all. Artists had rather raffish reputations even in bourgeois Holland, and the household women are dominators, even the raw-faced cook Tanneke (Joanna Scanlan). But Griet has beauty she has not recognized, which awakens through the reflective beauty of Vermeer's art and his love of her face. The art is a window of escape from prudish Calvinism and her hard-pressed family. Scripted by Olivia Hetreed from the novel, the story is about the anxious and then proud blooming of Griet as a woman, true to her mind and body. The movie has a soberly sexy wit. When a veil is lifted on a new painting, it's a disrobing. When Vermeer has Griet grind paints with him (artists had to be chemists of a sort), the rich colors are like foreplay. A blue strip of cloth around Griet's head is a banner of ripening, and her loss of virginity is symbolized (Vermeer-style) by the piercing of Griet's ear for the pearl. The pearl itself is passion, sublimely sublimated. Van Ruijven, the haughty grasper, makes a move at Griet, but it is the painting of her lustrous portrait that liberates Griet for a lucky butcher boy (Cillian Murphy). Johansson, almost jaded with young sophistication in "Lost in Translation," is here a servant becoming a myth, knowing that the painting will make her a jewel (the pearl with a pearl). Debut director Peter Webber relishes the distant but brothy density of Delft and Vermeer's household. He and almost salivating cinematographer Eduardo Serra have made a devoutly painterly movie � very Vermeer in the upstairs studio, closer to Terborch or Rembrandt in other rooms, and a Peter Breugel tumult of life outside (plus, some Canaletto canals). Anecdotally, the film is a camera obscura, a peephole condensation of the mystery and mystique of Vermeer, whose legend is spellbound in a private light. He can never be explained. But the people are alive, too busy existing to know that a genius of stillness was making them, and one pretty girl especially, icons of beauty to be loved in another age.

Get that frame ready, Bethan! (Mari) Peter Bradshaw Friday January 16, 2004 The Guardian 4 out of 5 stars Well, that really is a first! Wow. Daily Mail excepted, GWAPE has done very well in the tabloids. Seriously and thoughtfully reviewed. 5 stars in the Express, and an excellent (long) review, huge pic. The review is well written and perceptive..."What really impresses is the way a seductive recreation of the period is linked to the kind of torments that are timeless." 4 stars in the Mirror "As with all good works of art nothng is overstated in a lovely film that paints its own impressive picture. And 4 stars (I think)in the Sun "a finely drawn period drama with top notch performances." Overall the critics have responded very favourably. And no silly digs at CF/"Mr Darcy". I am all amazement. ;-)

Well done, Bethan! (Karen), LOL! Colin, meet Silvio. Silvio, Colin. ;-) Of course, you would think of Silvio! LOL! However, those who read Chevalier's book may be disappointed by the under-use of important supporting characters and an ending which has been changed from the original, losing one of the most important plot points in the process and feeling inconclusive as a result. Good point. I don't think others have made a case of it. Thanks for the reviews, ladies.

It'll be interesting to see what edited scenes/characters end up on the DVD.

...from where we're standing, said tresses resemble comedy dog-turds The only thing I can figure is that the reviewer was standing near a straining dog's rear end that was partially blocking her view of that beautiful scene. (Who let the dogs out?!) Such a stupid review says more about the nastiness and myopia of the writer than of the quality of the movie.

Overall the critics have responded very favourably. And no silly digs at CF/"Mr Darcy". I am all amazement. ;-) Told you so. Told you so. I knew they couldn't do it to this film; it wouldn't merit it. However, there are still the weekend critics: Cosmo, the ever-hateful Barbara Ellen (will she chime in since James Christopher already did one?? Hopefully no), then there's Philip French for The Observer. I too love to read the reviews for their "entertainment" value. Good thing no one really pays any attention to them in the UK.

Overall the critics have responded very favourably. And no silly digs at CF/"Mr Darcy". I am all amazement. ;-) Except that nasty guy from FT. I suppose he said something like this, "Give him a wet shirt, and he'll be Delft's Mr Darcy". Very nasty comment.

Another review from The Globe and Mail: Girl with a Pearl Earring By RICK GROEN From Friday's Globe and Mail Rating: *** At first glance, even second, there looks to be no motion in the picture. It seems as static as you'd expect from a movie that's all about a painting. But watch a little longer, think a little harder, and something interesting happens. The film begins to acquire at least some of the magical properties of its famous subject � layers start to emerge, layers of light and colour and meaning, and Girl with a Pearl Earring comes alive. Only then does it talk to us, delivering in muted tones a rather daunting message: Fine art needs fine perceivers, or else it will turn crude. Of course, the piece of art under consideration is the celebrated work from the Dutch painter Johannes Vermeer. It shows a young woman in a makeshift turban, her eyes wide, lips parted and full, the titled pearl dangling from her left ear lobe, her expression a puzzle mingling sadness with joy, enigmatic enough that critics have dubbed her the Mona Lisa of the north. In her novel, Tracy Chevalier did at length what many of us do instinctively. She converted the painting into a narrative, inventing a backstory for the girl, and writing the book in the voice of this conceived character � a mere servant, unschooled and naive but always observant and strongly intuitive. The challenge of the screenplay is to find a cinematic equivalent for that interior voice, an especially tricky task since the plot is minimal here � not a whole lot occurs outside of her head. Is the challenge met? Partly. The script does well to preserve the themes, and, beyond that, the tradeoff is obvious: What we lose in psychological depth is gained in visual appeal � the movie is gorgeous to behold and, in the alluring person of Scarlett Johansson, so is its star. She plays Griet, a teenager torn from her own humble family and pressed into service at the Vermeer household. Making his feature debut, and drawing on his documentary background, director Peter Webber is quick to establish the rigours of underclass life in 17th-century Holland � the cramped sleeping quarters, the stench of the adjacent canal, the daily grind of scrubbing and laundering. The m�nage chez Vermeer is stolidly Catholic and very large. His brood of children and his ever-pregnant wife all fall under the watchful gaze of Maria, his shrewd mother-in-law, who owns the house and pinches every penny. However, in the midst of this chaotic sprawl, there is an oasis of calm: The master's studio, separated from the other rooms and brighter, its windows admitting the precious light. We see it when Griet does, her first day on the job, accompanied by her mistress's stern admonition: "Disturb nothing." Cue the disturbance. Like everything else here, it happens gradually and with subtlety. At first, Vermeer (Colin Firth) is merely glimpsed at the edges of the picture, a near-silent figure with long hair and a short manner � curt, unsmiling. Instead, the initial focus is on the people around him, and on how each of them views his art as a means to an end � a supply of income to his pecuniary mother-in-law, a totem of loyalty to his jealous wife, a source of status to his loud-mouthed patron (Tom Wilkinson). To them, art only has extrinsic value; intrinsically, it's worthless: "They're just paintings, paintings for money � they mean nothing." But Griet knows better. Entering his studio to dust and clean, an allegedly ignorant girl marvels at the layered evolution of a work-in-progress, instinctively grasping how colour and perspective and composition all dance together to animate the canvas. Recognizing a kindred spirit, an aesthetic soul mate, Vermeer tutors her in the mixing of pigments, and shows her the mirrored innards of his camera obscura, explaining that "It's an image made of light." Of course, so is his art, so is the movie we're watching, and the two begin their own mating dance, moving toward the climactic moment when the film morphs completely into the painting whose name it bears. Some will argue that it takes too long to get there, offering scant diversion en route. Others will find the sights arresting and the theme enriching � it's all a matter of perception. Nevertheless, there can be no disagreement over Johansson's performance. An extraordinary embodiment of the period, she looks to have stepped right into a Vermeer frame. We recently saw her in Lost in Translation, and very few actors could manage the transition from a night in Tokyo all the way back to the days of the Dutch Golden Age � yet Johansson, blessed with a face for all seasons, makes the trip without breaking stride. Nor will anyone dispute the power of one luminous sequence, an extended scene where the master invites the servant into his imagination, asking the girl to pose for eternity. The imagery is entirely sexual: He pierces her ear, preparing for the pearl drop to come; he removes her bonnet, unloosing a cascade of golden hair; he insists that she open her mouth, that she wet her lips, that she widen her enraptured eyes. Yes, the imagery is palpably sensual, but it's just imagery. In the outside world, where Griet must deal with the mundane embraces of her dull boyfriend, or the lewd advances of that rapacious patron, sex is all too real. But here, in the transforming light of the studio, it's symbolic; here, life is being penetrated by art � reconceived, reordered, reshaped by art. The artist has seduced his subject for the purpose of creation. But in this case, because she's such a sensitive accomplice, because she sees his work so clearly, the seduced becomes one with the seducer. Griet is both in the painting and outside the painting; she is the fine art and she is the fine art's keen perceiver � each needs the other to exist. At least, that's the lofty claim of Girl with a Pearl Earring, a picture that asks of its audience exactly what Vermeer demanded of his � to look past the static appearance and discover the dynamic reality. But the painter backed up his demand, and the movie can't � not quite, not fully. It isn't an exciting work of art so much as a contemplative reverie on the nature of art � and what's wrong with a smart essay that unfolds like a sweet dream?

Dark Marc Jan 17 2004 Claire Hill, The Western Mail After directing horror film My Little Eye, surely Marc Evans would want a lighter subject? Instead his new film shows Colin Firth, of Mr Darcy fame, unravelling as mental illness overtakes him. The Welsh director spoke toClaire Hill about his punk band past, his love of Hitchcock and his plans for a musical IF MARC EVANS was told that he had to make a film in Wales every year on a small-to-medium budget, he would be perfectly happy. No dreams of Hollywood or working in America, just an idealised view of an old socialist-style working film system. "I just want to make films," he says. "Obviously I would not want to work in the Communist system or have my work politically censored. "But if there was a new law in Wales which said to someone has to make a film a year and you're that man, that would suit me fine." Braving the torrential rain of a miserable Cardiff Sunday, the tall, 44-year-old director patiently has his photographs taken before we settle down for a coffee. He is a bit delicate after drinking lots of grappa with his family the night before. So with last night's stubble, slight greying at the temples and a thick parka coat bulking him up, Evans looks a little imposing. His nickname is Dark Marc, due to his propensity to make frightening films, but once he opens his mouth he is friendly and amenable. Once you start him on topics such as his work, or his other love - music - he is off. And he can talk and talk. He is getting ready to take his new film, Trauma to the Sundance Festival, hosted by Robert Redford. The last time he was there, in 1997, he took his first film, House of America, and, while he might just want to watch instead of promote Trauma, if the trade press falls in love with it, it will surely spell success. House of America was a unsavoury look at a family trying to escape their lot. Resurrection Man was a portrayal of 1970s Northern Ireland and My Little Eye, a Big Brother meets internet slasher movie, have all lived up to his dark reputation as a film-maker. Has the 44-year-old chosen to shake this off with his new film? Frankly, no. Trauma, starring Colin Firth and Mena Suvari, tells the tale of a man waking from a coma to find he has lost his wife in a car crash. Plunging into grief, he experiences a kind of mental illness and struggles to cope while the rest of the world is coming to terms with its own loss - a young, adulated pop star who people never knew personally. In the programme for the Sundance Festival, a note has been added about Trauma which lumps the film into a category called "post 9/11 films". Evans hadn't thought about his film in that way. "Really, the film is about an ordinary man in extraordinary situations. "The rest of the world is dealing with the grief of this person they do not know and he is trying to cope with this personal death." Firth was easy to get on board and a pleasure for Evans to work with. "Colin was quite anxious to shed the Darcy role, and shirt, so he was up for it. "What actor does not want to be in every scene of a film?" But Firth was never meant to be in the film - it was written for a younger man. However, Evans immediately thought of him when he read the script. "I worked with Colin on Ruth Rendell's Master of the Moor and I have always known he has a dark side. "We sort of became friends and he was bemoaning the fact that people do not do the 'man in a suit' film anymore. "So when I read the script I thought of him, as he was looking for the darker material. "He said yes straight away." With Firth on board the film instantly had more selling power but American actress Mena Suvari was brought in initially to get more funding. Evans is candid about what is needed to get a movie shot and out in the cinemas and does not gloss over the film process. "We needed Mena for the money and originally I did not know that much about her. "She looks like an angel. She is the American Beauty. "But she is dark as hell. She was reading a book on the Yorkshire Ripper and she had been to visit a pathology museum. "That interested me, she looks like an angel but was darker." Evans screened My Little Eye for Suvari and her husband, cinematographer Robert Brinkmann, to give them an insight into his work, before the 24-year old actress signed up. The L'Oreal model is quite picky with her roles, so it was another coup for Evans to have her on board. "That made me respect her, she did this because she wanted to. "She was delightful to work with." Moving from a group of unknown actors in My Little Eye to the famous faces in Trauma was easy for Evans, because the cast were down to earth. "I was never nervous with the people I worked with. "Colin was a dream. In his view some of the romantic comedies he felt miserable on, but in this film he was covered in ants and he had a laugh." The film was also a joy to work on for Evans because he got to work with Oscar-winning Gladiator cameraman, John Mathieson. Here he goes off into great detail about lenses and the different technical shots, before apologising for being "geeky". Amicable and eager to tell stories about Firth, Evans recalls what the Bridget Jones actor told him about filming Conspiracy, the drama about how senior Nazis met to decide on the Final Solution, the murder of up to six million Jews. Firth and the rest of the cast apparently spent their spare time camping it up in Nazi uniforms as the only way they could cope with the heavy subject matter. Evans is a passionate film director, not in it for the fame or money. Although he can play the game to get a film made. "Directing is like being given a train set and the chance to play with it. "As I have got older I have realised that it is quite hard to get films made, so it is a precious opportunity." Ever since he decided to be a director he has striven to make the kind of films which he would like to see in the cinema. BWhether this means it is a niche market for those people who enjoy an uneasy cinematic ride, he does not seem to care. The Cardiff-born director has clear ideas about what cinema is, and what it should do. "I go to have an outer body experience, for it to take me somewhere I have never been before - I don't want a film to be normal or see something I already know - those are the films I aspire to make." Wanting a film to make him feel uncomfortable, it is unsurprising that he loves Hitchcock and has a soft spot for David Lynch. Recently he has been impressed by American Splendor and the docu-film Touching the Void. "When I was younger, I liked films that made me empathise with something horrible. But as you get older cinema pushes you less and less, but there is a certain point in that film where you go, 'Oh my god'. When Evans was younger he wanted to be a painter, or an artist. He says he was not a film geek, or even that interested in cinema. He studied history of art at Cambridge, took a year out before and after his degree, but still hadn't painted a thing. It was hanging around at Chapter Arts Centre in Cardiff that he became interested in films and European cinema. He joined a course at Bristol University, where his contemporaries and friends included the director Michael Winterbottom. After learning his trade in television, he has moved on to feature films, but that was not before the obligatory stint in a punk band. In The Gits, he was a drummer, despite the fact that he was "crap". In fact, the music for Trauma was recorded in Abbey Road, Studio Two, where The Beatles'All You Need is Love was done. "I had to call the rest of The Gits to get them to come to the studios just to say The Gits were at Abbey Road." Music is such a passion of his that he will obsess about it more than film. The only time he has been star-struck was interviewing Nicky Wire, bassist with the Manic Street Preachers, and his actress girlfriend Nia Roberts will attest he is constantly filling their flat with new CDs. But he knows where his talents lie, as he makes plans for the future. Evans would love to work with Matthew Rhys again, do something with Nia and also other popular independent cinema names such as James Spader, Stanley Tucci and Philip Seymour Hoffman. As for the type of films, he would make a comedy - if he could find one that made him laugh. "It would have to be a dark comedy," he admits, knowing that it is fulfilling the Dark Marc tag, "that is what I find funny." At the moment he is looking at making a musical set in Swansea - a film about the life of Joe Meek, the legendary record producer who killed himself and his landlady. That film is set to star Rhys Ifans, while Michael Sheen is signed up to play Dylan Thomas in a film about his wife Caitlin. Evans would like to undertake a project which could star all of the modern young Welsh actors and, typically, he has a film that he is writing languishing on his laptop. But, either by default or his own doing, it seems that A Marc Evans Film will always be dark. "Someone said my films always end with a death or someone walking away - that's true."

Firth on Evans Jan 17 2004 Claire Hill, The Western Mail BRIDGET JONES star Colin Firth relished the chance to appear in a darker film, but it was working with the Welsh director that made the process worthwhile. Firth said, "Marc and I worked together on the Ruth Rendell TV movie Master of the Moor and I thought he was brilliant. So I wanted to join him again but our numerous attempts never quite panned out. "Then Trauma came out of leftfield and intrigued me enough to sign on to what was clearly going to be an interesting journey. My main motivation for doing anything these days is to work with people I have always wanted to collaborate with and this seemed the perfect opportunity for us."

A less than stellar review from the Toronto Star: Texture missing from visual treat PETER HOWELL MOVIE CRITIC Girl With A Pearl Earring Starring Scarlett Johansson, Colin Firth, Tom Wilkinson, Essie Davis and Judy Parfitt. Directed by Peter Webber. At major theatres. PG Why is Da Vinci's Mona Lisa smiling? What is Rodin's The Thinker pondering? What incredible vision inspired Dali's The Persistence Of Memory? In the presence of an acknowledged masterwork, a thoughtful person can't help but wonder about the story behind the enduring image. Such artful thinking sparked Tracy Chevalier's 1999 bestselling novel Girl With A Pearl Earring, which offered a dramatic explanation for one of most famous and enigmatic paintings by Johannes Vermeer, the 17th-century Dutch master. Chevalier used fiction to suggest answers to eternal questions: Who was the young girl who peers so knowingly from the picture? Why is she dressed so exotically, wearing a turban not of her culture? And where did those pearl earrings come from? The conceit of Chevalier's book, and now the attentive and visually splendid movie by first-time British filmmaker Peter Webber, is that the girl was an enigmatic housemaid named Griet, who is played in the film by the remarkably assured Scarlett Johansson (Lost In Translation). As the tale goes, she was both muse and temptation for the very married and very Catholic Vermeer (Colin Firth), who had to struggle to balance his artistic instincts against his adulterous urges. The story opens in 1665 in the artistic city of Delft, with the shy young Griet being dispatched by her family to the Vermeer household as an act of desperation. Her artist father was recently blinded in a kiln accident, and no money is coming in. "Keep clear of their Catholic prayers," Griet's mother scolds. The Vermeers are also in disarray. The painter and his wife Catharina (Essie Davis) have a large brood, with yet another child on the way. They live in the home of Catharina's shrewd mother Maria Thins (Judy Parfitt), who sees all too well that a reckoning is coming: The family can no longer afford to maintain its lavish lifestyle. The perfectionist Vermeer takes many months to complete a single painting, and his major source of income is money he receives from wealthy patron Master van Ruijven (Tom Wilkinson), whose patience and loyalty are fast running out. There is no hurry to set the scene, something that is both strength and weakness for the film. Griet stoically takes up her tasks in the kitchen and laundry, working for small pay and even less thanks, and her actions are a study in calm determination. She is resigned to her fate, which she accepts unsmilingly but with grace. The only sense of a life beyond the mundane for her comes when she cleans the sacrosanct studio of Vermeer, who begins to notice and appreciate her artistic sense � Griet realizes that cleaning the windows could affect the painter's light � and her attention to detail. Vermeer gives her the important task of mixing the colours for his palette, even as his high-strung wife begins to cast suspicious eyes toward the pair. Screenwriter Olivia Hetreed dispenses with the book's first-person narrative, but she retains Chevalier's careful assessment of 17th-century Europe in general, and the Vermeer household in particular. There is much pleasure to be derived in simply sitting back and taking in the scene, much as you would for a painting. Cinematographer Eduardo Serra (The Wings Of The Dove) gives the film a lustrous feel, each scene looking as if it could be a Vermeer portrait. The picture is simply ravishing, but at times it falls prey to its own contemplations. Dramatic turns involving Catharina's increasing jealousy, Griet's growing interest (and vice-versa) in Vermeer, the wooings of a local butcher boy (Cillian Murphy) and the demands of van Ruijven are treated as diversions, rather than being part of the main narrative. Johansson is marvellous as the self-contained Griet, so introspective it seems impossible the same woman also played the outgoing Charlotte of Lost In Translation. It is only when she smiles (rarely), and her face is transformed, that we can see the resemblance between the two characters. Wilkinson also impresses as van Ruijven, making something out of a character that is little more than a dirty old man. Less successful is the casting of Colin Firth as Vermeer. The 24-year age gap between Firth and Johansson isn't the problem � she is old beyond her years � but the romantic involvement so essential to the film's suggested intrigues just isn't there. Firth doesn't even show up until a good 20 minutes into the film, and when he does he's so self-absorbed, he barely notices her. The stately pace continues, with eros implied, but not shown. Whatever lustful urges were brought out of Vermeer by his subject for Girl With A Pearl Earring remain as tantalizingly obscure as always. And perhaps that's the way it should be, since all great art is improved by mystery.

Thanks for the Marc Evans interview, Mari. Very interesting!

Hey all I hope I haven't missed anything but am now listening to Jonathan Ross and there is no mention of Colin being on it today. Have I got the wrong week??? Help

Results of the "Hello" Magazine poll - ODB did well http://www.hellomagazine.com/celebrities/specials/men03/pagina_1_1.html

(kelli)hope I haven't missed anything but am now listening to Jonathan Ross and there is no mention of Colin being on it today. Have I got the wrong week??? His name disappeared from the guest list on Friday, and was replaced by Rob Bryden, I think. No explanation. I emailed the show, but have had no response.

(ME)"She looks like an angel. She is the American Beauty. "But she is dark as hell. She was reading a book on the Yorkshire Ripper and she had been to visit a pathology museum. Doesn't sound like MS was subject of the 'importance of casting remark'. Thanks Mari, for the great article on ME and T.

(Toronto Star) Less successful is the casting of Colin Firth as Vermeer. The 24-year age gap between Firth and Johansson isn't the problem � she is old beyond her years � but the romantic involvement so essential to the film's suggested intrigues just isn't there. Firth doesn't even show up until a good 20 minutes into the film, and when he does he's so self-absorbed, he barely notices her. The stately pace continues, with eros implied, but not shown. Everyone happy that he explained it? ;-) Thanks for the article, Mari. Very interesting. (Linda) Doesn't sound like MS was subject of the 'importance of casting remark'. LOL! Naturally, I was thinking the same but it could still be about her, i.e., not that she was bad but the 'importance of casting' a hot American actress in order to generate interest in the film. Just another angle. (Evans) "Colin was a dream. In his view some of the romantic comedies he felt miserable on, but in this film he was covered in ants and he had a laugh." So, Colin thinks being covered by ants is preferable to working in a rom-com. The definitive measure. ;-)

(Marc Evans) At the moment he is looking at making a musical set in Swansea - a film about the life of Joe Meek, the legendary record producer who killed himself and his landlady. Can't wait;-) Note to ME: "Call Hugh Jackman" (Globe /Mail)We recently saw her in Lost in Translation, and very few actors could manage the transition from a night in Tokyo all the way back to the days of the Dutch Golden Age ? yet Johansson, blessed with a face for all seasons, makes the trip without breaking stride" The reviews are better than I thought...but a lot has to do with SJ being the Flavour of the Month now. All of them single her out. ME)"She looks like an angel. She is the American Beauty. "But she is dark as hell. She was reading a book on the Yorkshire Ripper and she had been to visit a pathology museum. (Linda)Doesn't sound like MS was subject of the 'importance of casting remark'. Methinks he was CUA after the remark that he cast her for the cash. ME does sound like an intriguing person...an odd ball, but interesting.

Thanks Janet for your response at least I know I haven't gone mad!

(TS)but the romantic involvement so essential to the film's suggested intrigues just isn't there. Firth doesn't even show up until a good 20 minutes into the film, and when he does he's so self-absorbed, he barely notices her. The stately pace continues, with eros implied, but not shown. (Karen)Everyone happy that he explained it? ;-) Yes...and no;-)I see the point, but to me, that's direction and not necessarily casting.

Thanks for the interesting ME article Mari! No sex please, we're painting Chris Knight National Post Friday, January 16, 2004 GIRL WITH A PEARL EARRING It's a rare work of art that makes a journey from one medium to another unscathed. Johannes Vermeer's 1665 painting Girl With a Pearl Earring has made it twice. The painting, one of only three dozen surviving works attributed to the Dutch master, was the subject five years ago of a novel by Tracy Chevalier, who imagined the life of its subject, about whom even less is known than the painter. Now that story has been adapted for the screen, and those who enjoyed the novel will find little of substance changed. Not since Kazuo Ishiguro's The Remains of the Day (another tale of introspection and things not said) has a book been so lovingly rendered in celluloid. The story concerns Griet (Scarlett Johansson), the daughter of a Delft tile maker who has lost his vision and hence his livelihood; she supports her parents by working as a maid in the house of Vermeer (Colin Firth). He and his wife, Catharina, share their home with a growing brood of children, Catharina's shrewd mother, Maria Thins, and another servant, Tanneke. They are several steps up the social ladder from Griet, but hardly secure -- an early scene shows a bankrupt neighbour being visited by 17th-century repo men -- and they are heavily dependent on Vermeer's odious patron, Pieter Van Ruijven (Tom Wilkinson), who demands that his ego (and sometimes more) be stroked. Johansson, not yet 18 when filming began, performs superbly in a role that demands much. As a possible conquest for Van Ruijven, the romantic interest of another Pieter, a butcher's son (28 Days Later's Cillian Murphy), and the subject of Vermeer's painting, Griet is always at the receiving end of a male gaze, and constantly reminded of it. "Don't get caught up in his world," Pieter tells her, and Maria Thins echoes the advice: "You're a fly in his web." Johansson's face, luminous yet earthy, seems at once open and curious with those wide eyes, and guarded in the tilt of her head. She wears a bonnet throughout the film (tellingly, her hair is revealed only once) and uses it as a shield against emotions that might find their way in or out -- when she first sees her portrait she blurts out, with a mixture of awe and fear: "You looked inside me." Firth is the go-to actor when roles demand smouldering, which he does like nobody's business -- even tightly buttoned into a waistcoat, emotionally he is open-shirted and damp. He can spend a six-minute scene in total silence, constantly about to speak. Vermeer finds a kindred if illiterate spirit in Griet; she possesses an instinctive understanding of composition, but lacks the vocabulary to describe it. From brief, Socratic conversations about his work, he moves on to having her mix paints, an arduous task that in the 1660s required procuring rare minerals and lots of work with a mortar and pestle. Still, the relationship never approaches one of equals: When Griet tells her master she doesn't have time to do both his bidding and her regular household chores, he shuts her down with a brusque remark: "Make time." First-time feature director Peter Webber relies a little too heavily on swelling music to carry the mood, but he needn't -- the lighting and composition are pretty as a picture. Characters are framed in doorways or seen through window panes as though caught on canvas, and the light of candles or the sun catches them most often from one side, creating deep shadows and highlights. One pastoral shot of a riverbank next to a regularly spaced row of trees and a country lane looks as though it could be a painting itself, until we see figures in motion on the path. As in the novel, much of the emotional content is shown in tiny gestures. Johansson conveys joy or fear with the slightest change of pace, and the sexual tension between Griet and Vermeer is all in the eyes, or at most the accidental brush of knuckle against knuckle as she hands him a jar of colour. It's enough, though -- Maria Thins sees her son-in-law smitten but also painting faster than ever; Catharina, ignorant of painterly things and in fact forbidden to enter the master's studio, has a vague feeling of unease; and eldest daughter Cornelia is young enough to have a child's instant and illogical hatred of Griet, but old enough to know how to cause trouble. In the end, it is nothing so crass as sex that brings matters to a head. Writer Chevalier and screenwriter Olivia Hetreed are wise enough to know that emotion usually begins with a look, and sometimes it ends there. Rating three 1/2 http://www.canada.com/national/nationalpost/news/artslife/story.html?id=6175f2ae-f54b-4dd1-95bb-ed51b4c0adad

Karen, it looks like the MyMovies link you posted the other day has added a couple of clips. One of a press conference and the other an interview with the writer and director. My home computer is too weak to pull them up (and now I can't watch from work) I shall go mad, mad I tell you! http://www.mymovies.net/reviews/review_offical.asp?filmid=1519&reviewid=1

'We didn't want the "Griet discovers her sexuality in front of the mirror" scene' (Filed: 15/01/2004) Even before Girl With a Pearl Earring became an international best-selling novel, producers were circling for the film rights. Screenwriter Olivia Hetreed explains how she came to write the script and the challenges of adaptation. Interview by Marisol Grand�n Tracy Chevalier's fictitious novel about Vermeer and his maid, Griet, has now sold more than two million copies worldwide. But how did it get from page to screen? Before the book was published, companies including Miramax were keen to buy the rights, although nobody could have predicted the book's tremendous success. Thanks to Pathe Films and Lion's Gate Entertainment, the film's backers, Chevalier's tender narrative escaped Hollywood's clutches. Olivia Hetreed is a seasoned British screenwriter who chooses her projects carefully. She wrote the screenplays for several ITV dramas including adaptations of The Canterville Ghost, What Katy Did and one of the BBC's contemporary stories based on The Canterbury Tales. How do you think the film would have turned out had it gone to Miramax or one of the other Hollywood studios? The book is written in the first person. So the single biggest challenge of the adaptation was to find a way of bringing Griet's inner voice to the screen. Miramax wanted it with voice-over. But voice-over seemed to me to be completely wrong for this film, partly because it would make it very literary, but also because Griet is a character who is not analytical. She is not able to work out what her situation is. She's simply in the moment. In order to have that, you need to be as involved in the situation as she is. Voice-over immediately puts a distance on it and a kind of detachment. I was very lucky that that pressure never came on me because of the way the film was made. The film was protected. Both Pathe and Lion's Gate who were the principal producers were even pulling in the opposite direction. They would say: "Oh, I don't think we need to be as obvious as that." They were really sympathetic to the nature of the film. It's not an ordinary film in that respect. It does ask quite a lot of the viewer and it's quite ambiguous, particularly the ending. How did you and producer Andy Paterson convince the author, Tracy Chevalier, to sell the film rights? We were very fortunate. I got a copy of the book before it came out because I share an agent with her. I read it prepublication. And although there were people interested, it wasn't a best-seller at that point. I read it and just completely fell in love with it. I thought it was utterly thrilling. When I read it, I 'saw' the movie immediately. Andy and co-producer Anand Tucker met Tracy and they pitched her their version of the story. They told her they didn't want to change it. She believed that they wouldn't make it Hollywood, they wouldn't have them sleep together, or have the "Griet discovers her sexuality in front of the mirror" scene. So she went with it. Chevalier thought for a second about writing it herself. But with really impressive self-control and restraint she thought: "No actually, that's not what I do." She has written two more novels since and has been incredibly trusting and generous. Was it tempting to add a kiss or any more contact between Griet and Vermeer? No, I don't think so. The 'almostness' of the story and the incredible tension was more thrilling. There's a moment where Vermeer and Griet are outside the house. He says "Tomorrow" and she says "I can't". It's like an affair. They're moving past each other and they're barely acknowledging each other. To me, those moments of tension are more thrilling than getting on with it. Indeed, our instincts were always to play it down. Colin and Scarlett agreed. Colin and Scarlett's relationship on set was very interesting. I was there just before they started shooting all the studio scenes and just after. The difference in the two actors' relationship before and after those scenes was amazing. I returned six days later and they were completely different with each other. It had been such an intense experience for them. Reports suggest Chevalier received just �10,000 for the film rights. Is that true? That wasn't for the rights, that was for the options. She was paid a lot more when the film was made. How much extra research did you have to put into the screenplay? The book is very clever because it's carefully placed on the few known facts about Vermeer. They're like little pillars sticking up out of the dust of history, which tell us about his family and some of his business transactions. But it's pretty sparse information. However, there is a wealth of information about 17th-century Dutch society. I did the research again and I covered a lot of the same ground as Tracy. As I was going through, I'd suddenly find something and think: "Ah! That's where she got that from!" But in the process of adaptation, you need to do the research, put it to one side and just write. Otherwise you can get very clogged up. I talked to people like Nicola Costaras at the Victoria & Albert Museum who restored the painting. It was really fascinating to talk to somebody who had been that close and really had her paintbrush all over it. We discussed painting technique and what she felt about it. I also spent a lot of time talking to figurative painter friends of mine about being a painter. The least clear character in the book is Vermeer. He's obscured because Griet is looking at him, so we see him completely through her eyes. I was intrigued as to what it is a painter does apart from actually splodging paint onto canvas. What are the mental processes going on? Vermeer's paintings are so much about what he leaves out, the choices he makes and the very careful framing and placing. I even sat for a friend as he worked. While I was sitting, we talked about looking. It seems to come down to that - looking and looking and really trying to understand what you're seeing. At various points while writing the script, I was influenced by the theories of the time and I read some of the material that would have been available to Vermeer and so on. That all fell away compared with the importance of having a clear gaze; really seeing what's in front of you and understanding how that effect is achieved. I'd recommend it to anyone, it's almost like therapy. You are now known as an expert in literary adaptations. What do you think of that label? I wouldn't mind being known as an expert at anything. I've done quite a lot of adaptations and for me it's a bit like casting: if I find the right project, something that sings for me, then it's an incredibly happy experience. I have tried adapting something without feeling sympathetic towards it. But that's a terrible trial for everybody. Almost anybody could see that there's a film in Girl With a Pearl Earring, and I got lucky. I felt it spoke incredibly directly to me. Then it's a question of will you get that lucky again; will you find material that has that sort of resonance for you. In fact, the next thing that I found is a contemporary American story. It's very different ground in some ways, but it's also very focused on a few characters, and it's also an intimate domestic story. I'm more interested in human interaction than whether it's a period piece or not. Although Girl With a Pearl Earring looks beautiful and the period stuff is beautifully done, it is actually a story about a few people and their very close relations. It's deliberately focused so closely that you don't need to know about the Golden Age in Holland to enjoy the film. How did you decide what to omit? How many versions did you have to produce until it was just right? It's a gradual process. The first draft was much closer to the book than the final film is. Then, through the drafts it developed its own character. It started to grow up and stop being simply the child of the book. I think it has to go through that process in order to become effective in its own right. An imitation of the book isn't effective, however nice the book is. That's a very necessary process. I was incredibly fortunate in that I worked with Anand Tucker who is a director and with Peter Webber [the director of Girl With a Pearl Earring]. Working with them on drafts helped me to concentrate on what the film would be, rather than how beautifully I could make a line work. About a third of the story came out in editing. So quite a lot of the decision-making about leaving things out was post-script. Editing streamlined the story. We were all clear that the story was Vermeer and Griet and their relationship. It was just a question of what would actually play into that and make it work, and what was distracting and had to be jettisoned. Before editing, there was great stuff there, but Peter was fantastically ruthless. http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2004/01/16/bfhetreed16.xml

A very long and chatty interview by Neil Young's Film Lounge with Peter Webber on GWAPE http://www.jigsawlounge.co.uk/film/peterwebberinterview.html

Whoops, me again... Interesting interview with Eduardo Serra at Cinematographer.com re GWAPE along with three quicktime clips (which, as you now know, this whiny moper can't see...) http://www.uemedia.net/CPC/cinematographer/article_5939.shtml

Colin interviewed (I use that term lightly here, strange format) in the Jan/Feb magazine/website for Southwest trains??? http://www.e-motionmagazine.co.uk/SWTEmotion/NewsFeatures/ColinFirth.htm

Thanks for all the links, Maria. I'll have to check them out in the morning. Wasn't it the mymovies' site press conference clip that I was pointing out? The director and writer ones would be new. Thanks! Philip French's in The Observer: Old Masters, young servants Vermeer's masterpiece is bought vividly to life thanks to brilliant cinematography Sunday January 18, 2004 A feminist subspecies of the traditional biopic has arisen in recent years in which recognition is demanded for the women living in the shadow of famous artists. In Percy Adlon's C�leste, the centre of interest is not Marcel Proust, but his devoted housekeeper. Camille Claudel sets out to rescue the sculptress exploited by Auguste Rodin. Tom and Viv seeks justice for T.S. Eliot's maligned wife. Frida claims equality for the painter married to the bombastic Diego Rivera. Surviving Picasso puts the case for the artists' crushed mistresses, Fran�oise Gilot and Dora Maar. For his musical, Sunday in the Park With George, Stephen Sondheim invented a mistress-model, wittily called Dot, for an egotistical Seurat to work into La Grande Jatte. Something similar, though more sombre, lies at the centre of Peter Webber's Girl With a Pearl Earring, a film of the Tracy Chevalier novel. The movie's central conceit is that there was a teenage maid called Griet (Scarlett Johansson) in the cramped household of Johannes Vermeer (Colin Firth) in Delft who posed for his Girl With a Pearl Earring. This is the painting from around 1665 that sold for the equivalent of 25p in the 1880s and now hangs in the Hague. There is also the invention that Vermeer, who sold as few paintings as his admirer Van Gogh did, had a rich patron, Van Ruijven (Tom Wilkinson rawing on the overbearing, upper-class side of his repertoire). In this wealthy merchant's house hangs View of Delft and his support, nurtured by the painter's mother-in-law (Judy Parfitt), keeps the cash-strapped Vermeers from starving. When Griet arrives to take up her post, she sees the Vermeers' bankrupt neighbours weeping beside the canal as the bailiffs take away their furniture. This film, then, is about art and exploitation and how a young woman attempts to resist a system designed to make her hopelessly vulnerable. Griet is a Protestant in a Catholic household. The artist's permanently pregnant wife and her cruel children despise and resent the pretty newcomer. The lecherous merchant Van Ruijven lusts after Griet and, in lieu of realising his desires, he agrees to have a painting made of her to leer over in his private gallery. This turns out to be Girl With a Pearl Earring. There is in Vermeer's paintings of servant girls a sense of passivity, of quiet acceptance of their place, that led Claude Goretta to call his celebrated 1977 film The Lacemaker, a reference to the Vermeer painting in the Louvre that he compares with the resigned state of Isabelle Huppert at the end of the movie. But this applies only to the surface appearance of the subservient Griet. Though illiterate, she's strong-willed and intelligent. Vermeer, who appropriately remains a quiet, mysterious man, recognises her natural understanding of art and a sensitivity superior to that of his petulant wife and domineering mother-in-law. She becomes involved in mixing his paints and in the shaping of his work, subtly producing a change in the composition of Woman With a Water Jug. Does Vermeer lust after Griet the way his patron does? Is desire for the model sublimated or expressed in the work of art? Griet feels she is being possessed and when her ear is painfully pierced by Vermeer and her blood flows, it is clear she is being symbolically deflowered. His mother-in-law abets in this act as a way of pleasing the rich patron and her role brings to mind Vermeer's earliest genre painting, The Procuress. Immediately after the piercing, Griet rushes off to surrender her real virginity to a boyfriend, a butcher's son of her own class. Girl With a Pearl Earring is quiet, intelligent and well-acted. Olivia Hetreed's dialogue is plain and inoffensive in an old-fashioned schools-broadcasting manner. What most people will be impressed by, and carry away in their mind's eye, is the film's appearance. French cinematographer Eduardo Serra and his Dutch collaborators, the production designer Ben van Os and the costume designer Dien van Straalen, have given the movie a self-conscious beauty. The landscapes are out of Hobbema. The stern, black-dressed mother-in-law looks as if she has posed for Rembrandt or Hals. The interiors and exteriors of Delft resemble paintings by Vermeer, Pieter de Hooch and their contemporaries brought to life. Van Meegeren the forger never came near this.

Thanks Maria for the Southwest Trains interview;-) Good to hear him say nice things about Winchester; it's a gorgeous city. (Where you get off to go to Chawton, JA's home; she's buried at the Winchcester cathedral)) Just a short while ago he referred to it as "the sticks".

Just a short while ago he referred to it as "the sticks". He wasn't wrong IMHO! It may look nice in parts but thereis not much going on there. They did not have a cinema until about 6 years ago :-(

FYI: Ebert will mention GWAPE again next weekend, when they do a program on "Most Overlooked Films of 2003."

And Cosmo has spoken, from the Sunday Times: His dark interiors Girl with a Pearl Earring is impeccably tasteful yet strangely anaemic, says Cosmo Landesman Last week, we had Scarlett Johansson in a film, Lost n Translation, about a younger woman's relationship with an older man (Bill Murray). This week we have Scarlett Johansson in a film, Girl With a Pearl Earring, about a younger woman's relationship with an older man (Colin Firth). What could a film set in contemporary Japan and a film set in 17th-century Holland possibly have in common, other than Scarlett Johansson and older men? Answer: repression. At a time when an older generation of film-makers--Brian De Palma, Paul Verhoeven, William Friedkin--can be heard complaining that the puritanism of the George W Bush era is pushing sex out of films [Ed note: Aren't you glad I posted that article on O&E? ], we have two films by younger directors who seem to be saying: no sex, please, we're American art movies. Both are works that revel in restraint. Watching Girl with a Pearl Earring, I realised I hadn't seen so much drama beneath the surface since the final act of James Cameron's Titanic. Based on Tracy Chevalier's hit novel, it purports to tell the story behind the creation of Johannes Vermeer's painting of that name. I hate to be a party-pooper, but nobody knows who the girl in the painting really was, so what we are watching is an illusion. This film is the biography of a masterpiece based on pure speculation--and nobody seems to mind. When Hollywood does this sort of thing, everyone groans about distorting the truth; but when it's a conspicuously artful work like this, it's called poetic truth (ie, a lie with classy cinematography). Anyway, this is the story of how Griet (Johansson), an uneducated but beautiful 17-year-old servant girl, came to play a part in the creation of Vermeer's masterpiece. Her blind father is sick, and to support her family, Griet must leave her quiet Protestant home to work as a servant for the noisy, Catholic Vermeer family. Life with the Vermeers is a cold, harsh and crowded affair, full of bawling babies, petulant kids and scheming adults. Her jealous mistress, Catharina (Essie Davis), is a headache, and the house is ruled by the Machiavellian mother-in-law, Maria (Judy Parfitt). And there's the great man himself (Firth), who spends his days locked away in his studio, scowling. The world of the Vermeers is full of dark interiors where people creep around in the shadows, spying on each other. Most of Griet's time is spent shopping, scrubbing, boiling and fetching. We see her soft white hands slowly turn into red lumps of scarred meat. But her beauty, which is kept tightly under wraps, soon attracts the eye of her master, Vermeer. A relationship develops based on her interest in art, and soon she is cleaning his studio before graduating to mixing his paints. Her elevation from maid to muse is made explicit when we see Vermeer watching her wash his studio windows--this provides the inspiration for another famous Vermeer painting, Woman with a Water Jug. Griet is taken into the private world of his creative life like a mistress to his bed. Soon, they begin an illicit affair of the art--for, behind his jealous wife's back, Griet sits for Vermeer in the painting that is to become Girl with a Pearl Earring. On paper, this story is the stuff of melodrama, a young-servant-girl-in-peril story. Griet faces the sexual attentions of her master and the even more explicit erotic longing of Vermeer's manipulative patron, the lecherous Master van Ruijven (Tom Wilkinson). But the director, Peter Webber, is more keen to create a mellow drama than a melodrama. The dominant tone is understatement. What interests him are those little events--the brush of a hand, the licking of lips, the letting down of Griet's hair--that carry such an erotic charge. But the film is a little too restrained for my taste; the central drama is left looking too anaemic to make an impact. Johansson is perfect as Griet; such is her luminosity that she seems to be lit from beneath her skin. But Colin Firth has reacted against the film tradition of portraying painters as larger-than-life figures and ends up with a character who can't fill the screen. This is one of those films you feel obliged to admire because it's so self-consciously artistic. The cinematographer, Eduardo Serra, has framed his frames with the simple use of light and composition that comes straight from Vermeer paintings. It's done with such impeccable good taste that real life seems to be smothered beneath its sumptuous style. By the end, you feel as if you've seen a wonderful exhibition of Vermeer, but where's the drama? Girl with a Pearl Earring, 12A, 100 mins, one star

(Cosmo) one star Pox on Cosmo. As I've always said ...with a name like that he's always on the offensive. (Allison)It may look nice in parts but there is not much going on there... LOL. C'mon Allison, you make it sound like a hamlet in the Cotswolds;-)

Very good review by Jenny McCartney in the Sunday Telegraph. "Painterly, beautifully understated gem"...."Firth, temporarily liberated from the rigours of romantic comedy, none the less looks his most romantic here. The straggling locks of an Old Master suit him. His performance emphasises Vermeer's overwhelming selfish obsession with the craft of painting - although other considerations - kindness, desire, the increasingly urgent need to earn money - can be seen drifting in and out of his consciousness." Definitely a difference in male/female perspective! Doesn't the ghastly Cosmo use a different rating system - no star, one star, two. Doesn't go any further?

http://www.bbc.co.uk/films/sundance/ A good BBCInteractive site - you can email the reporter and ask her to report back on particular movies (or maybe questions for cast/director?). "Trauma" is on her list of films to see.

Bethan - Great link for Sundance info. Thanks.

Thank you for the reviews and all the links. Maria I especially liked the Telegraph's Olivia H. interview. Chevalier thought for a second about writing it herself. I spoke with her last night and she said that her agent quickly talked her out of it by saying she didn't know how to write a screen play and that she should stick to books. Her Vermeer she says was quite ruthless and the reason he made Griet pierce her other ear was because esthetically, she didn't look right wearing only one. She had to have them both on. The film was "reussi" and Scarlett was perfect and although she doesn't look like Griet, she became her at the end.

You can listen to Ebert & Roeper's reviews of GWAPE, and also check out their memo to the Academy list with CF. http://tvplex.go.com/buenavista/ebertandroeper/today.html

(Moon) The film was "reussi" Translate, pl. (author via Moon) Her Vermeer she says was quite ruthless.. Hmmmm.Wonder if she told Colin that. To me in the book Vermeer came across as a predator. Thankfully, Colin didn't play him that way.

(Bethan) Doesn't the ghastly Cosmo use a different rating system - no star, one star, two. Doesn't go any further? Is that right? One wonders why he even bothers with stars. Would be easier to say: No, OK, and yes. (Moon) The film was "reussi" Translate, pl. Precipitous. ;-)

Speaking of precipitous...... Spoke to someone in Press Office, conveniently 20 ft away at the moment..... We were told definite shows were Marc Evans and Mena Suvari, with Colin and Brenda Fricker as TBD-but unlikely. :-( Well here's hoping. They didn't say a definite "No." Will check for updated list tomorrow. Later!

Thanks Dorine for the update. Can't believe that (mumble mumble) won't be there.

is this still news ? i'm not sure, but here goes : a flood of gwape publicity pix up on french sites (movie opening here in march) : here's one i hadn't seen yet (hello there, hand lovers) : also, they changed tack in terms of poster and went straight for the recreation of the painting : very nice imo... check it out @ alt poster thanks for the news everyone.

Merci, sophie! (Moon) The film was "reussi" (Evelyn), Translate, pl. Succeeded. All the goals were attained. (Karen), Precipitous. ;-) ?????

GWAPE did well again this weekend, with an excellent $9,215 per screen average: Girl with a Pearl Earring $470,000 +48.4% 51 +10 $9,215 $1,873,000

(Mari)GWAPE did well again this weekend, with an excellent $9,215 per screen average Now if they would just get it to a theater near me I can assure you it will do even better;-)

GWAPE is coming to South Africa 'tentatively' on 9 April. Can't wait. Thanks for all the reviews - they make the wait durable.

10 Bafta nominations for GWAPE - see BBC Entertainment site

For those who don't go to O&E, Emma was kind enough to type the BAFTA nominations and list them on #178.

Go to www.tribute.ca and then go to Tribute TV to see an interview from Toronto with Colin and SJ. This was supposed to have been on TV here on Saturday but was pre-empted by skating, so I'm happy as a happy girl :-)

Here's a direct link to the video: http://www.tribute.ca/multimedia/interview.asp?m_id=7883&firstin=1

And we're happy that you brought it to us. Thanks Brenda. She has improved her interview skills tremendously since Toronto. Obviously a fun shoot. Their compatibility paid off.

Thanks Brenda and Karen for the direct link. I get an error and am unable to watch the SJ and CF video but there is a seven minute video of just Colin if you go to star chat and click on clipstream...(And yes, I gave up on being good at work...:-))

Thanks Maria for the additional info. I believe Brenda had posted transcribed text before, which is also on the site: http://www.tribute.ca/newsletter/121/starchat_01.html This link takes you directly to the StarChat page: http://www.tribute.ca/newsletter/starchats/index.asp

The star chat video stream is almost the same as the audio except you get to see his hands a lot and pulling on his nose;-) Sounds as if it was SJ who set the tone on the set. Her enthusiasm and vitality was infectious.

I had missed the longer clip! Thanks for that link. I wouldn't have gone back to the chat page. Very nice clip! Makes me think they may have read my emails begging for more Colin :-D

Thanks, everyone. Interviews, chats, and BAFTA noms...now that is my kind of Monday. (Maria)...(And yes, I gave up on being good at work...:-)) I'm pleased to hear it;-)

News Release Monday 19 January 2004, 12:46 GMT Monday 19 January 2004 FILM AWARD Pathe Distribution British film GIRL WITH A PEARL EARRING scores 10 BAFTA nominations LONDON, January 19 /PRNewswire/ -- Path� Pictures' GIRL WITH A PEARL EARRING, released on Friday 16th January and starring Colin Firth and Scarlett Johansson received 10 BAFTA nominations today. THE ALEXANDER KORDA AWARD FOR OUTSTANDING BRITISH FILM OF THE YEAR Andy Paterson, Anand Tucker, Peter Webber THE CARL FOREMAN AWARD FOR SPECIAL ACHIEVEMENT BY A BRITISH DIRECTOR/PRODUCER OR WRITER IN THEIR FIRST FEATURE FILM Peter Webber BEST ADAPTED SCREENPLAY Olivia Hetreed BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Scarlett Johansson BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Judy Parfitt THE ANTHONY ASQUITH AWARD FOR ACHIEVEMENT IN FILM MUSIC Alexandre Desplat BEST CINEMATOGRAPHY Eduardo Serra AFC, ASC BEST PRODUCTION DESIGN Ben Van Os BEST COSTUME DESIGN Dien Van Straalen BEST MAKE UP AND HAIR Jenny Shircore GIRL WITH A PEARL EARRING unravels the mystery behind one of Dutch Master artist Johannes Vermeer's greatest and most enigmatic paintings. Seventeen year-old Griet (Johansson) is forced by family tragedy to become a maid for the Vermeer family. As intimacy grows between master and servant, disruption and jealousy spread within the ordered household and beyond, fuelling a scandal which threatens to ruin them all. The screenplay for GIRL WITH A PEARL EARRING was adapted by Olivia Hetreed from Tracy Chevalier's best-selling novel and the film marks the feature film debut of director Peter Webber. Andy Paterson and Anand Tucker produce for Archer Street on behalf of Inside Track; Jimmy de Brabant is co-producer for Luxembourg's Delux Productions. The film opened on Friday 16th January to excellent reviews: "Vermeer's masterpiece is brought vividly to life...brilliant cinematography" - Philip French - The Observer - Film of the Week "Stunning...hauntingly beautiful" - Peter Bradshaw - The Guardian - Film of the Week "A magical film...it will leave you spellbound. Scarlett Johansson gives a stunning performance" - Allan Hunter - Daily Express - 5 Stars All images available on www.image.net. Note to Editors: Director Peter Webber and Producer Andy Paterson are available for interviews. Distributed by PR Newswire on behalf of Pathe Distribution http://www.prnewswire.co.uk/cgi/news/release?id=115403

I completely agree with this description of Colin in GWAPE: http://www.iofilm.co.uk/fm/g/girl_with_a_pearl_earring_2003.shtml Vermeer is shown as a weak man, prone to outbursts of temper, but essentially trapped in a loveless marriage, controlled by a harridan and disliked by his children, whom he ignores. Firth gives one of his brooding, unshaven, devilishly attractive performances, borrowed from romantic fiction, in which the look in his eye and the movement of his hands speaks poetry.

Portrait pics of Mena Suvari (and her husband) and Marc Evans: http://www.wireimage.com/GalleryListing.asp?navtyp=gls====48141&evntI=594 Trauma premiere: http://www.wireimage.com/GalleryListing.asp?navtyp=gls====48092&evntI=594

FILM REVIEW: Webber's artistic 'Pearl' is a slow-moving, subtle gem By Meaghan Chambers The Hoya (Georgetown U.) 01/19/2004 (U-WIRE) WASHINGTON -- Among the films released this holiday season, "Girl with the Pearl Earring" is perhaps the most subdued -- in acclaim, in attention and in tone. Unlike the practically animated "Big Fish" or adventurous "Lord of the Rings," "Girl with the Pearl Earring"'s aim is much more low-key. Readers of Tracy Chevalier's novel of the same name, however, should understand that the transition to film is no simple undertaking, making this quite an accomplished film. Like the novel, the film is not driven by its plot, but rather by character development. It is not fast paced, but through the embedded character study, it manages to come off as charming and artistic. "Girl with the Pearl Earring" tells the fictionalized story of the creation of a painting by Johannes Vermeer in 1665 Netherlands. The teenage protagonist of the film, Griet (Scarlett Johansson), works as a maid in the house of Vermeer (Colin Firth). The painter's home is a foreign but strangely intriguing world to Griet; her mother warns her to stay away from their Catholic prayers and cover her Protestant ears if she hears them. During her work, she quickly befriends the other maid and quickly irritates Cornelia (Alakina Mann), one of Vermeer's children. Vermeer's wife Catharina (an astonishing Essie Davis) also dislikes Griet and remains wary of her throughout the film. Vermeer himself is mysterious -- he works alone in his studio and rarely crosses Griet's path in the beginning of her time at his house. Griet views Vermeer's studio as a sacred space and is always very careful when she works there. As Griet slowly becomes more visible to Vermeer, he begins to see something special in her -- an interest in art. They develop a friendship in which he teaches her about art and she blossoms with the responsibilities entrusted to her. Scarlett Johansson is perhaps Hollywood's most promising young actress. From her acclaimed performance in "Ghostworld" to this year's "Lost in Translation," she rarely gives audiences anything other than a stellar performance. As Griet, she possesses great poise and delivers a performance that is shy and uncertain, but done with a streak of confidence. Upon first meeting the Vermeer's butcher, she sends back the meat he gives her and asks for the freshest cut. Her manner is slow, deliberate and open. But in the presence of her master she becomes slightly awkward, almost paralyzed with admiration. Colin Firth's naturally enigmatic expressions are appropriate for Vermeer. He has long, untamed hair and lurks around his house and studio like a madman (or some might say, a genius). The interactions between Firth and Johansson are extremely touching. At one point, Vermeer introduces Griet to the camera obscura -- a basic camera -- in what is one of the film's most intimate and honest exchanges. Griet catches the eye of -- and befriends -- the butcher's son, Pieter. She also attracts Vermeer's patron Van Ruijven (Tom Wilkinson), a lecherous, wealthy man with a history of impregnating maids. Wilkinson's performance is a great combination of jovial exuberance and sexual innuendo. But it is clearly the relationship between Griet and Vermeer that is at the heart of the film. It is unclear whether Vermeer is actually attracted to Griet or if he sees in her only great artistic inspiration. Whatever the case, the tension between them is beautiful and strong. Director Peter Webber chose wisely to avoid changing the novel's plot and inventing a Hollywood romance. The mise-en-scene wonderfully illustrates the atmosphere of the city, Delft, and of Griet's situation. Drab blues, white, grays and yellows depict the winter scenes of the Netherlands and the clouds that Vermeer brings to Griet's attention. Each camera shot seems like a painting of its own. As the film begins and ends, Griet is shown looking lost and without direction as she walks across a compass made of tiles in a town square. This mural of colors and shapes may be the most beautiful shot of all. The long-lasting close-ups on Griet while she poses for a painting highlight the importance of the moment and the similarities between the actress and the actual painting. Webber does an exemplary job with images in the film, greatly compensating for the lack of narration. Johansson is also largely responsible for these expressive images; her nonverbal expressions speak volumes. These moments include the adrenaline rush she has when she influences Vermeer's art and the fear of a painting of a dying Jesus in her sleeping quarters. "Girl with a Pearl Earring" is a beautiful cinematic translation of a wonderfully illustrative and imagined novel. As a film about painting, it takes the artistic aspect of filmmaking very seriously and turns out an artistic success. The film resists all melodramatic urges and instead draws interest from its authentic, beautiful and realistic characters and settings.

Remember, reviews, reports, general audience reaction type stuff here. Spoilers about the film (details) on Spoilers. From the BBC's Sundance site: (Stella) it's a discomfiting watch - as the title suggests. Firth's performance is certainly a departure from the soft-centred roles we're used to seeing him in, but he pulls it off very well. That's very good to hear. In all, Trauma is the kind of high impact movie High impact? Now *that* I love! but rather like a Chinese takeaway, it left me feeling unsatisfied. Nevah heard of her.

From the woman who wrote in the SF Chronicle: "Painstakingly slathering paint on canvas, Firth displays the intensity of a great artist," Ruthe ran to see Trauma too. Wonder why? ;-) She wrote: The emotional effects of the Sept. 11, 2001, terrorist attacks may account for the bad things that unexpectedly befall a parade of characters. Festival director Geoffrey Gilmore believes this year's crop of indie filmmakers--the first since Sept. 11 to have their work come to fruition--are reflecting the subconscious fears of the population. "The kind of self-centered complacency that America was so full of in the '90s has seemed to evaporate. There is much more of a sense of anxiety," Gilmore said. Sundance offerings like "November," "The Machinist," "Trauma" and "One Point O" "deal with people trying to resettle themselves in a world much less assured than it used to be and far more threatening." In "Trauma," it's Colin Firth whose world falls apart after a car crash that kills his wife and leaves him first in a coma and then delusional. "Colin's character is adrift," said director Marc Evans. "He doesn't know where his anchor is, either emotionally or socially. He goes to a shrink, but actually, he gets the truth he is looking for from a medium. It is very true that since 9/11, we are all looking for solace any place we can find it."

Brenda, thanks for the links to the interviews from the Toronto FF! Really enjoyed watching them. Whie we're waiting for the Sundance Kids to wake up . . . (Karen)Portrait pics of Mena Suvari (and her husband) and Marc Evans Awww, no Butch Cassidy. :-( :-( I really figured he'd show, thinking that supporting your director, publicizing the film, possibly enhancing chances of distribution deals and meeting serious film people who just might do you some good would be worthwhile things. Silly me. *Lightbulb* Maybe Mishimoko is Italian for "no more field trips." ;-)

I love this! From Londoner's Diary in today's ES. Some chastening news for pin-up Colin firth. SJ, the precocious 19 year-old New yorker who plays opposite him in the new film, GWAPE, has been teasing him about his "chicken legs". "The characteristic was accentuated by the breeches that Colin wore in the film", says direcor PW. "It's true his legs did look skinny in the old Dutch trousers he wore which finish above the ankle. Maybe Scarlett had a point - the trousers did make him look like he had chicken legs. I only put one shot of his ankles in the whole film, perhaps as a kindness."

Thanks Brenda, Maria and Karen for the video links to the Toronto interviews... Even though we've read transcripts from these interviews it's always a little more telling to see the images. For instance, I very much got a kick out of hearing how the intervewer was just a wea bit flustered when asking those silly questions about his hearthrob status. I liked the way he handled it and shut it down pretty quickly. But then again, I'm not sure I would have been able to do any better. (Allison)... only put one shot of his ankles in the whole film, perhaps as a kindness. Interesting to see that post today. I saw the film again last night and noticed that very shot..it's when he's climbing up the ladder to where the paints are mixed....funny thing is that I had said to myself at the time "Gosh, he really does have skinny legs..."

Brenda, Karen, thank you for the video link, I very much enjoyed the interview! It was funny to watch in the long version as Colin switched from Let's-get-on-with-the-interview mode to I'm-being-interviewed one. I watched his face as he was asked the sex symbol question and wondered if he would keep a straight face or the dimples would appear. I would've grinned in embarrassment at that point, but he is sooo used to that one by now, he didn't bat an eyelash. I loved the dimply smile at the end of that particular topic though.:-) (Allison - PW) "...the trousers did make him look like he had chicken legs. I only put one shot of his ankles in the whole film, perhaps as a kindness." LOL! Be blessed for that Mr. Webber! I think I really like this guy... Scarlett must have had a ball teasing Colin about all his "imperfections". No wonder they had such a great time together. Thank you for all the reviews, links to pics etc. posted ladies.

Since Whatshisname couldn't make Sundance, here's how Reuters is captioning Mena's pics. Sounds like "she's" in every frame. :-( Actress Mean Suvari, star of the drama film 'Trauma' poses during a photo session in Park City, Utah at the Sundance Film Festival, January 19, 2004. Suvari portrays a psychiatrist who takes an interest in a man, her neighbor, who had been her patient after he loses his wife in a car crash. The film is in competition at the festival which is celebrating its 20th anniversary. REUTERS/Fred Prouser

(Karen)..Sounds like "she's" in every frame.. That should teach him not to show...

UK box office stats: GWAPE made $684,406 in its first weekend and was #10 on the charts. On 106 screens, it had a $6,457 per screen avg. Not bad at all, though three other films (LOTR, LIT and Samurai had better per screen avgs). BTW, in its 8th week, LA is in 6th place, making $1,047,531 on 312 screens ($3,357/per screen avg) and has cumed $62,947,365.

Sandi: I want to know about audience reaction to Trauma; anything Marc Evans or Mena said... it can be done here for all (who don't want the movie spoiled) to read.

Ok thanks, They do not have a US distributor for the film yet. They are hoping to find one through the screening in Sundance. During the movie they're were various reactions and much applause at the end. Colin was on screen the whole time, and MS role was smaller than I expected. During the Q&A they asked the screen writer how old he was, because he looked like a BABY, so young! He is only 27, and he was commissioned to do it 2 years ago. There were some squeemish parts, which got an audience reaction, and also some funny bits which got laughs. It was a huge audience, over 1200+ I think, being in the largest venue for the festival. We will let you know how it plays tonight also, I think the theater has about 150 seats. Mena was polite and very very Petite. they only asked her a couple questions, one about "spiders" which she said "they were very professional" to a big laugh. They were asked how long the process took from first page to finish, They stated that the screenplay was commissioned 2 years ago, funding was secured 1 year ago, and they started filming last spring. This role was such a departure from what Colin has done before, I found myself looking for the lighter side of his expressions, which were few and far between. I think the venue was not the best forum for a Q&A, it was much too large. It took a minute to come out with the first question which was uncomfortable, and I think there were only 6 or 7 asked, and they had to keep repeating the question into the mic then answere. ME did say it was a privilage to be back, after his first movie was shown here 2 years ago, He praised everyone, including his 2 leads, who were amazing to work with. He stated that Colin wanted to be there, but he was busy being Mr. Darcy in the BJD sequel, and was here is spirit.

(PWebber) I think a lot of directors are really � self-indulgent bunch of fuckers! Because, the amount of time I leave the cinema with a sore arse� and slightly bored, you think � �If that film had been twenty minutes shorter, it would have been great�. Ha! . .Ain't that the truth . .nice to see a director who sees it too! Also liked his views on directing/ being a director (for me, this type of director is truly ideal to work with): (PWebber) I think if I�ve done nothing else on this film, I�ve hired right. I mean, that�s really, if there�s a �secret,� to what makes a good director � the difference between a good director and a bad director � is the good director knows who to hire. Because if you hire right, then most of the job is done. But it�s not only down to ability, it�s down to personality as well � you need to hire people who can work together. . . .There were particular things I was looking for, but you know, that�s part of the working-through � you�ve had conversations beforehand, you�ve had some kind of rehearsal, and then on the day, you spend, whatever it is, twenty minutes, half an hour, maybe an hour for some scenes, working with the actors, working out the movements� You�re in there, and you�re very very hands-on. But she would understand, in her gut, the emotion of the scene, or get it very quickly, after very few words. So I didn�t have to beat the performance out of her, or anything. She is that talented. They both are � it�s like I said about the hiring, you don�t act for them, you help people do their job. You�re like a conductor � you don�t play the instruments, but you help them understand what they�re playing. . . .Exactly � I can�t play the violin, I can�t act. But I know what I like and I know what I want and I know to try and get it. There�s different ways to skin a cat � some people you have to tell very clearly, very intellectually. Other people you just suggest� Some people you don�t say anything to. Directing is about getting what you want, and as you know, in everyday life, you don�t always get what you want, grabbing them by the shirt, pulling them up, and saying �Oi!� Sometimes you have to do it through manipulation, sometimes� I�m not going to say too much, because it would give it all away. Different ways to skin a cat� One star, Cosmo????? Hmph . . . where are those dog turds that other reviewer was complaining about? . .think I'll set a bag of it alight on Cosmo's doorstep . .:P CF having chicken legs in GWAPE: . .well those blue jeans on the Today show toy drive did make him look awfully lean and lanky . .but that particular poultry correlation never crossed my mind during GWAPE . . .his ankles looked all right to me;) . .but if the camera adds 10lbs . . .

I was just checking out IMDB and it list "The Advocate" as IMDb Movie of the Day on the main page. http://imdb.com/ Copied this bit from IMDB "Firth's bemused courtroom defense of the pig reveals glimpses of his future star power."

(Sandi)He stated that Colin wanted to be there, but he was busy being Mr. Darcy in the BJD sequel . . . Thanks, Sandi, I figured that would be the party line. They could have accommodated him and worked around his TEOR schedule. It's done all the itme. They knew about Sundance a month ago. Whatever. During the movie they're were various reactions and much applause at the end. Great to hear it! Off to read your account on Spoilers. BTW, I hope you Sundance Kids will write glowing reviews for Ain't It Cool News.

Dorine and Tress where also watching the local cable channel last night in Park City and saw me shout WOOOW in the camera at the Eccles theater. We saw them taping some show and decided to ham it up. I pulled my sisters and their friends into the scene, and they said it was very funny. I am a 40+ yr old idiot now! Sandi

Film Comment Magazine's Guilty Pleasures for 2003: Everyone's damaged, but, hey, damage doesn't mean you're totally up shit creek in Love, Actually's world of serial minicatharses. The action barely lets up: Hugh Grant shaking his ass to "Jump (For My Love)," Liam Neeson flexing his jaw through an extended tearjerking widowed stepfather-son bonding session, Alan Rickman doing Alan Rickman, and, if that wasn't enough, Denise Richards and her toothy smile at Heathrow as the credits roll. Classic schlock disguised as post-schlock, it's self-conscious enough to let Laura Linney and Emma Thompson deftly screw themselves (or be screwed) over. Or do I have it backwards? Could this be the darkest film of the year? - ALICE LOVEJOY http://www.filmlinc.com/fcm/1-2-2004/2003guilty.htm

(Sandi)I am a 40+ yr old idiot now! ROTF. You are now officially part of the club, Sandi. We (errr, I mean....)*I* call it getting in touch with our teen-age side;-)

Tress and I would like to say...... Congratulations, Colin!! You've made us proud!! Hope you are, too. :-D

While Dorine and I were sitting at Drool Satellite HQ (Marriott lobby), we noticed Marc Evans in the foyer. Made Dorine jump up and ask question that we didn't have time for at last nights Q&A. Dorine went up and told him she loved the film. I walked up behind her and shook his hand and congratulated him. Dorine asked if he would be at tonight's screening (we have tickets to 7 p.m. show.), Mr. Evans said "no, I did one this morning (Egyptian Theatre)". We sat down in front of fireplace and were surprised when Marc sat down next to my friend Christina (in town skiing). He spoke for several minutes with woman sitting to his left (producer from film who was at premiere and Q&A last night). After a few minutes their conversation stopped for a second and Dorine and I started asking questions (he sat with us for about ten minutes). Marc spoke about premiere. Asked us if we thought the venue was too large. He thought that the sound/film sync was a bit off because of how big the Eccles Theatre is (holds 1270). Asked us if we knew how many Sundance House holds. We told him about 160 and he thought that it might be a better venue for the film. A tighter space may make it feel more closed in (not his exact words, but after seeing film, can understand this logic). He asked if we though it would be full tonight up there, but we told him we really couldn't say as we'd never been up there and knew nothing about the venues or area (it's 60 mins away). We asked a couple of questions pertaining to the film (can't give details as they belong in spoilers). He was very surprised at the nature of questions, I think. He said he didn't intend to make any connections regarding those points! LOL!! I think he even said "Wow. I didn't even think of that!" Told Dorine that that just blows my perception of film discussions. Directors must just sometimes pull this stuff out of their butts and we interpret all sorts of things that aren't even there! We told him film was v. v. dark and we enjoyed it. Dorine told him he "had a great eye" and he laughed...said "Yeah, this one!" and pointed to his right eye. V. v. funny! Producer and Marc asked if we had seen GWAPE. We said yes, we loved it and thought it was stunning. Producer then said she was v. surprised that SJ was not nommed by SAG and we talked about SJ and Lost in Translation for a minute. (Switch to Dorine) Then Marc brought up how he thought Mena was "quite good, don't you think? Quite angelic." We agreed (which we actually did!). Then I said, "Colin was quite good....of course." He lit up and said, "Yeah, he's great!" Then he asked us, "Do you like Colin?" Following a *very* pregnant pause, we said "Yes!" Fortunately Tress's friend didn't out us (whew!!)...just sat there (next to Marc) and rolled her eyes (fortunately not looking at him). I said the movie and his performance reminded me of Apt 0, his favorite performance of mine. He said, "Oh really? I haven't seen it." He said Colin had spoken to him about it and was quite proud of that one, and was sorry that it didn't get better notice and distribution. Then Marc asked if we knew if it was on DVD? (Duh!! ROTF!!!). I said yes, that it just came out recently. Then he asked if we noticed Brenda Fricker as the medium, to which we said yes. He also brought up Tommy Flannigan, mentioned he was a great actor....at this point we were all trying to help Tress's friend remember who he was, running through a bunch of films including Gladiator, Charlie's Angel's, Ratcatcher....but all to no avail. She just sat there blank faced. ;-) She'll see him tonight. Then Marc asked whether we thought the accents were too heavy for Americans. We hesitated, but then said "Yes, possibly", that we did have moments of trouble, but got more used it (although there wasn't that much in the film that was hard to understand, just scenes with TF). He seemed especially concerned with TF's accent, and I mentioned I noticed Colin's accent changed in scenes with TF. He asked if we thought he needed to redo the speech in the scenes. He was really leaning forward in his seat, seemingly very earnest with his questions and wanted an honest answer. He asked if we'd seen Trainspotting and had trouble with that, possibly looking for a reference point. I asked if he was planning to take it to other film fests. He said he wasn't sure, but probably not, as he considered it a genre film rather than festival film....though he did mention possibly taking it to Cannes for Director's Fortnight. He had to leave and we thanked him. And now we have to leave to catch the shuttle to see it again. Intrepid Sundance reporters signing off.....with a bit of a crush, really. ;-)

Fantastic report, ladies, from your satellite location! Am amazed by the length of time you spent with ME and how interested he was in "average" persons' opinions. *snort* Told Dorine that that just blows my perception of film discussions. Directors must just sometimes pull this stuff out of their butts and we interpret all sorts of things that aren't even there! Have gotten the same response from some writers. Never intended such and such... Never thought about it that way... *yadda yadda* Then Marc asked whether we thought the accents were too heavy for Americans. We hesitated, but then said "Yes, possibly", that we did have moments of trouble, but got more used it (although there wasn't that much in the film that was hard to understand, just scenes with TF). He seemed especially concerned with TF's accent, and I mentioned I noticed Colin's accent changed in scenes with TF. He asked if we thought he needed to redo the speech in the scenes. He was really leaning forward in his seat, seemingly very earnest with his questions and wanted an honest answer. He asked if we'd seen Trainspotting and had trouble with that, possibly looking for a reference point. Had you??? Gaah!! If they're anywhere like that, then they'd have to redo...if they have hope of getting it released here.

Thank you for the great Sundance-reports, you lucky girls (Tress, Dorine and Sandi). And for all the material posted lately. Have nothing to contribute, but wanted to say thank you to all the lovely ladies at drool :-) (Tress/Dorine)Then he asked us, "Do you like Colin?" Following a *very* pregnant pause, we said "Yes!" I believe you just passed the ultimate test for "keeping up appearances". You seem to be ready to take on the world at large :-) Am impressed by your private Q&A. So very well done !!!

Question for the Sundance Droolers: How do they determine what gets the audience awards? Is there balloting (which is actually counted) or do they use ticket sales?

(Tress) ...Mr. Evans said "no, I did one this morning (Egyptian Theatre)". We sat down in front of fireplace and were surprised when Marc sat down next to my friend So he was "Marc" when he sat down huh? You all are too good and your reports are wonderful! You'll have to fill in the blanks for us: Airfare to Sundance -- $$ Hotel Rooms -- $$ Personal Q&A with director -- Priceless (No need for numbers, the bottom line is all that matters!)

Tress and Dorine--Bravo!!! Wonderful job, and your very own T Q&A. (T&D)We asked a couple of questions pertaining to the film (can't give details as they belong in spoilers). He was very surprised at the nature of questions LOL, he just didn't know he was talking to the dynamic duo of drool;-)

Tress and Dorine - Amazing, truly amazing. As my ten-year old would say, you guys are AWESOME!

To our Sundance kids: you have outdone yourselves today! Thank you so much for the on-the-scene news, and for the unbelievably detailed reports at Spoilers. I wish we had some idea of when Trauma will be released in the US. I have to confess that if Colin weren't in it I would have no interest in seeing this film. Having said that, I'm really looking forward to seeing it! Thanks to everyone for all the GWAPE reviews and interview clips.

Amazing on the site reporting Sundance Gals! Am awed by your forthright search for new scoops and exclusive interviews! Grand job, really! Shame, though, that Colin wasn't there to show off for this "dramatic turn." Silly that they expect him and RZ to show up and film TEOR instead of promoting current films. ;-)

Thanks all the great reports! But... Could you please move the spoiler to the Spoiler section? It's very hard not to read it inadvertently with it sticking out all by itself. Thanks lots.

Thanks to the Sundance Kids for their mini-interview with ME. Review from Ain't It Cool News. No real Spoilers here. TRAUMA (**�) A dark journey into insanity with all of the uncertainty of reality that accompanies it. Colin Firth plays Ben, a man who wakes up from a coma to discover that his wife was killed in a car accident. Or was she? He thinks he might have also killed a young singer. Or did he? He explains everything to his psychologist. Or does he? He finds solace in the reality of his neighbor (Mena Suvari). Or can he? He's perfectly sane. Or is he? Just as Ben is unable to answer any of these questions with certainty, so is the audience. Screenwriter Richard Smith has constructed a work with so many unanswered questions, it demands that the audience fill in many of the gaps afterward. His challenging and very dark script is aided by gorgeously troubling cinematography and a production design that is almost ominous enough to drive somebody mad. In the screening I attended, as the closing credits began, the audience was just silent; they felt almost like they needed somebody to come out afterward and explain the film to them. Success! This is a mark of true insanity.

BBC's Stella Papamichael's daily postcard from Park City, Utah Mena Suvari was about to tuck into a light lunch of salmon and green beans when I dropped in on her at The Park City Marriot. She chin-nodded me and asked her publicist: "So, am I nibbling?" It looked like she needed the nourishment, and knowing how much a lunch hour means to most people (let alone a Hollywood starlet), I apologised for keeping her from it. Still, she was very accommodating, telling me that she was quite content to eat her salmon in increments. She's sanguine and at the same time reserved, and I could see why horror helmer Marc Evans had cast her as the ethereal earth child opposite a chaotic Colin Firth in the gruesome thriller Trauma. She was predictably effusive about working with Firth, and approving of the laidback mode of British filmmaking - "very calm, very relaxed," she told me - apparently a big departure from Hollywood and its time-is-money ethos. But when I asked whether Trauma had appealed to some previously unseen "darker side", she turned coy, shrugging her shoulders and giving me the cutesy flim-flam: "Who me? Really? I dunno..." Welsh director Marc Evans was an altogether different story. He readily admitted to earning the nickname 'Dark Marc' for his fascination with the macabre. This is the man who brought you the slasher flick My Little Eye and the pitch black House Of America. With the London-based Trauma, he says he wanted to explore the psyche of those people who "sit on the tube" and "live in bedsits". It was also moulded by a long conversation he had with Colin Firth about revisiting the "man in the suit" genre, the kind of Hitchcock thriller that got "beneath the skin and scratched around" (see Vertigo). "NOT YOUR AVERAGE NIHILIST" On the surface, though, Marc doesn't come over like your average nihilist. He has an open and, dare I say it, sunny disposition, and I often felt that his brain ticked faster than his lips could move. The words spilled as if they were beyond his control and I could tell he was already thinking about the next thing. It was certainly an education, but the interview almost never happened. After my half hour with Mena, the publicist was taken aback when I asked for time with the director - as if we hadn't already had this conversation! "Oh, that's right. I forgot," she says. "I'm not used to people asking about the director. There's only you and another London film critic."

Screenwriter Richard Smith has constructed a work with so many unanswered questions, it demands that the audience fill in many of the gaps afterward. His challenging and very dark script I'm still trying to figure out the ending to "The Swimming Pool." ;-) Too many unanswered questions is not a good thing, IMO. Thanks, Mari!

Thanks for your reports Sundance Ladies, it sounds like you all had a good time. Dorine, Tress, congrats on your private interview with ME. Lucky and smart girls! I'd never have your courage, I tend to get tongue tied around famous people. Kudos to you guys! Such excitement for all of us. I Love it! Wish ODB had been there for a private Q&A too. You girls would've handled that brilliantly too. :-) Mari, thanks for the reviews!

Moon!!! How could you? Some people are not reading Spoilers because they don't want the movie spoiled for them...but too late. :-((((((((( (AICN guy) as the closing credits began, the audience was just silent; they felt almost like they needed somebody to come out afterward and explain the film to them. Success! This is a mark of true insanity. Interesting take on audience reaction. Hmmm, depends on whether you like ambiguity. Is apparent that Stella has read up (i.e, read the Dark Mark article) before she left. ;-) Didn't seem to get much more than a regurgitation of it and the bedsit business. Oh well... Thanks Mari!

FYI, even though Stella wrote the 27 Feb release date for Trauma in the UK, it is absolutely not accurate. Have just had that confirmed, but there is nothing else to add as yet.

Another mention: I run to catch the bus back to the condo, grab some lunch, take a 20-minute nap, call my very supportive girlfriend, Aislyn, and run back out the door to catch another movie. The third movie of the day is another psychological thriller, �Trauma,� starring Colin Firth and Mena Suvari. Colin couldn�t make it (he was busy filming �Bridget Jones�s Diary II�). Mena, however, was there and was nice enough to let me take a picture with her. �Trauma� is a British film about Ben (Firth) who wakes from a coma and learns he has been in a car crash that has taken the life of his wife. His whole life goes dark, and he fades into a delusional world where he can�t tell fact from fiction. After the movie, I jump on the bus, grab some pizza and head to work. Tonight we are featuring a movie that I read and was very excited to see. �Saw� stars Cary Elwes, Danny Glover, Monica Potter and Leigh Whannell. Whannell also co-wrote the film with director James Wan. Remember those names! �Saw� is the best movie I have seen here at the Festival so far this year, and I have seen some really good films! It starts with two guys who wake up from unconsciousness in a very dark and dirty basement warehouse. They don�t know how they got there. They just know they are chained to rusty pipes by their ankles and they are on opposite sides of the room. In between them is a body of a man who has apparently shot himself in the head. In their pockets they find a cassette tape with instructions they must solve to stay alive. I don�t want to give anything away, just know that it is a horror-suspense movie, and worth seeing if you can handle it. �Saw� has been sold and should be in theaters sometime in the futur . This blew the other two suspense movies out of the water and could be my favorite movie of all three years in the festival. Did I mention how good it was? Oh well, that's one guy's opinion, but from the looks of him, he's right in the target market. Trauma isn't being made for the "faithful flock" :-( http://news.statesmanjournal.com/article.cfm?i=74039

Hurrah to the reporters of Drool current events . .our girls down at Sundance . . Tress, Dorine - So happy you were able to have a private Q&A w/ ME who really seemed to enjoy it;) Such a shame ODB wasn't there to benefit from your reporting prowess;) Thanks for all of the great reporting from Sundance . .hope you have a safe flight home! Mari & Karen, as always, thanks for your reviews!

(Kimberley) Such a shame ODB wasn't there to benefit from your reporting prowess;) Such a shame ODB wasn't there to promote his own film. Dorine....did you happen to spot Matthew Mondine or Stanley Tucci;-)

(Evelyn)Dorine....did you happen to spot Matthew Mondine or Stanley Tucci;-) ROTF! Colin's designated stand-ins. Don't want to sound like a broken record, but his presence would have helped the film's Fest profile tremendously. As it is, there's very little so far on it. Ok, he's filming TEOR. Ya think Renee won't show in LA for the Golden Globes this Sunday?? Guess again . . . On a brighter note, GWAPE will expand to 300+ theaters in the US on January 30. And guess where it's finally coming Friday--yippee! Click on the film name, and there's a lengthy description, probably lifted from the press packet. http://www.ritzfilmbill.com/showtimes/index.php?theater_id=4&dow=01/23/04

You're lucky, Mari! Closest it is scheduled to me is 2.5 hours away, and that's not until Feb. I must console myself with all the news from Drool.

Hello all! Just got home from Sundance (Dorine should be home shortly, I imagine). Am tired, but had tons of fun! On the surface, though, Marc doesn't come over like your average nihilist. He has an open and, dare I say it, sunny disposition, and I often felt that his brain ticked faster than his lips could move. The words spilled as if they were beyond his control and I could tell he was already thinking about the next thing. Agree totally! When Dorine and I reported yesterday, we had just enough time to get the bare bones down. I want to add (and I'm sure Dorine will add later tonight as well) that Marc Evans was incredibly pleasant. He seemed to genuinely want to talk to us about his film. We started by asking him questions, but then it turned around and he began to ask us questions. He talked a blue streak (and for those of you who know me, I do the same, so with all of us present, we were tripping all over each other to talk). He appeared eager to get feed back....he was very cute when talking to us. Using his hands and leaning forward in his seat. He seemed friendly and 'excitable'. Will wait for Dorine to get 'home' before talking about our Bridget moment 'pre-interview' (actually it was probably more like a 'two stooges' moment!)

From The Times, Festival report (January 22, 2004) by Dave Calhoun: The most impressive film at the festival so far is undoubtedly The Motorcycle Diaries, Walter Salles�s beautiful interpretation of the journey of Ernesto �Ch� Guevara (Gael Garc�a Bernal) and Alberto Granado (Rodrigo De La Serna) across South America in 1952. Bernal delivers a startling portrayal of Ch� Guevara as a man of brooding, sometimes naive, integrity, and Salles resists the easy pull of Guevara�s iconic fame and instead presents a moving buddy movie with a hard documentary edge..... The only British film with a world premiere at Sundance is Trauma, the Welsh director Marc Evans�s first film since his claustrophobic horror debut My Little Eye. It�s also the scriptwriting debut of a 25-year-old Scot, Richard Smith. Colin Firth sheds his usual safe cocoon to play Ben, a man wrestling with mental illness in a distinctly unfriendly vision of London. Trauma is a mind game of a movie. It�s troubling, intense and puzzling, all of which are bolstered by the visual sense of Evans and his cinematographer John Mathieson (Love is the Devil), who allow Ben�s fragility to seep into the very core of the film through oppressive camerawork. On Saturday, the festival will announce its award winners. For giving smaller filmmakers the chance to have their work seen on such a well-publicised and heavily scrutinised stage, Sundance remains important, whatever its faults.

2004 SUNDANCE FILM FESTIVAL � Day 8 On a Mena streak by Kevin Williamson Calgary Sun PARK CITY, Utah � Assembly-line press interviews can be traumatic for both scribe and subject. 2004 SUNDANCE FILM FESTIVAL � Day 8 On a Mena streak by Kevin Williamson Calgary Sun PARK CITY, Utah � Assembly-line press interviews can be traumatic for both scribe and subject. (I will skip to the part we care about) Trauma, filmed in London and starring Colin Firth (Love, Actually), concerns a man whose reality may be crumbling. Suvari plays Firth�s next-door neighbour. �I couldn�t have lucked out any better working with Colin. He was so passionate about the project and so eager to give his insight into what he wanted. But in the same breath, he�d ask me what I wanted and if I was OK with things. I really appreciated it. It�s something I�ve never really had before.� http://www.fyicalgary.com/perl-bin/niveau2.cgi?s=films&p=81329.html&a=1

Hi everybody, I don't know if it was mentioned here before. Colin won 3rd place in Hello! Magazine's "Most attractive man 2003". Winner is Orlando Bloom, second John Bon Jovi.

(Calgary Sun, MS)"He[CF] was so passionate about the project and so eager to give his insight into what he wanted. But in the same breath, he?d ask me what I wanted ..." One is left to wonder what the director wanted.

(Evelyn) One is left to wonder what the director wanted. LOL Evelyn! Colin is "bigger" than the director, so maybe what he wants is of no consequence. ;-) I wish he'd ask what WE want. I'd like to see a good bedroom scene. One that would leave me breathless like the end of BJD. I know he'd done a few of those back "before the earth's crust cooled", but I prefer the older, more seasoned, more manly Colin to the young one. Maybe TEOR will indulge me... Thanks for the reviews ladies!

That's maybe what YOU want; personally, I'd rather have a scene that got me all sweaty. OK Ildi! You're now going to have to remove that W key from your keyboard and send it to me for safekeeping. ;-)

Thanks, Karen and Maria, for the latest bits on Trauma. Sounds like Mena really loved working with CF. *I'd* love it if our Sundance Kids could write brief reviews/opinions about Trauma for Ain't It Cool News, which has been posting a number of reader reviews of Sundance films. There has been virtually nothing written about the film in the media.

Oh, I'm a badly misunderstood woman. Or I'm very bad at expressing myself.*banging head against the wall*. Yes, that's what I want. That's what I wrote. "I wish he'd ask what WE want" means I wish he'd ask us fans, and we could all express our individual wish just like you and I just did. I wasn't trying to speak for all. Jumping to conclusions quickly, aren't we? ;-) No, I will not give you my W. It's mine. I learned the "W" lesson, trust me. :-)

(Ildi) I wish he'd ask us fans Well, one fan wrote me that she wished he wouldn't appear in movies with women who showed their "cleavage." Wish I could remember the other recommendations she had. ;-)

(Karen) Well, one fan wrote me that she wished he wouldn't appear in movies with women who showed their "cleavage." Oh...that means no P&P. Don't think I'd like that at all! Must have Lizzy in that white dress...I like the idea that Mr. Darcy may be trying to take a peek down that frock. (Mari) *I'd* love it if our Sundance Kids could write brief reviews/opinions about Trauma for Ain't It Cool News, which has been posting a number of reader reviews of Sundance films. There has been virtually nothing written about the film in the media. Ummmm....you must mean Dorine. You all know I can't string a sentence together to save my life (but many on AICN are the same I suppose ;-) BTW, Mari, just wanted to say "thank you".....that you were my inspiration! Your "precipitious mini-interview" gave me courage to speak up (and Dorine being there was a big help....she's not as "shy" as I am!) ;-)

(Mari)*I'd* love it if our Sundance Kids could write brief reviews/opinions about Trauma for Ain't It Cool News, which has been posting a number of reader reviews of Sundance films. There has been virtually nothing written about the film in the media It would be very cool if the Sundancers would get the ball rolling on this--T needs all the help it can get for US distribution. Ihate to be pushy, I know you guys are tired, but it would really be cool if you could;-)

I can at least start one with Tress....going away again Sat morning for 8 days with, most likely, little internet access. And will be busy beforehand.

I was just reading an interview with Gwyneth Paltrow in the 2/04 issue of Vanity Fair. In it she talks about what she'll wear to a screening of her film, Sylvia (an indie film). She says she'll "overdress slightly, for sure...because if you're in a nice pretty dress it helps the movie. And this is a movie I am dying for people to see." Now, there's an actress who *gets it*. I don't know what the mitigating circumstances were, but IMO ODB really should have been at Sundance. If the movie is as good as the buzz we've heard, I think it could be very helpful in moving his career along. Films, especially indies, usually need to be pushed to get noticed. And besides, Tress, Dorine, and Sandi went out of their way to be there. It's the least he could have done...

A GWAP write-up from the 'Oxford Student'. Nothing new but perhaps a few interesting takes... http://www.oxfordstudent.com/2004-01-22/features/7 Passion, Painting and a Pearl A delicate portrayal of obsession, eroticism and thwarted desires? Or yet another excuse to watch a brooding Colin Firth in an open-necked shirt? Katherine Lim decides. Katherine Lim Remember Pride and Prejudice? (The BBC television adaptation that is, not the book.) If not, consider yourself lucky: you've missed out on Darcy Mania, otherwise known as Firth Fever. In 1995 Colin Firth's Mr Darcy strode purposefully out of the lake at Pemberley wearing nothing but a wet shirt and a pair of equally soaked breeches. The nation watched transfixed. Lizzie's bosom heaved and hearts were set aflutter from Surrey to Shropshire as Firth galloped, fenced, and smouldered his way to prominence. If it's smouldering looks and furtive glances you're after, look no further than Girl With a Pearl Earring, the adaptation of Tracy Chevalier's novel about the Vermeer painting of the same name. Firth plays Jan Vermeer, a Dutch artist plagued by financial worries and slow work methods. His situation is not helped by the three generations of women in his household: with a wife given to fits of temper, a spoilt brat of a daughter, and a fearsome chain-smoking mother-in-law, it's little wonder that Vermeer locks himself up in his studio, isolated from the domestic chaos below. Enter Griet, a young maid-servant who leaves her blind father to work for the Vermeer family. It is not long before she is ordered to clean the studio, where she encounters a strange realm bordering fantasy and reality, where a box (a camera obscura) contains the images of paintings, and the colours of clothes and clouds are not what they seem. Scarlett Johanssen portrays Griet's curiosity in the world around her with wide eyes. Her face, often shot in close-up, reveals a wide range of emotions that change with the flick of an eyelid or the tilt of her head. This innocence and expressiveness attract the attention of Vermeer, who finds inspiration for his art in her. Cleaning windows and mixing pigments might sound like dull work, but it's par for the course that leads to artistic immortality. In an atmosphere charged with eroticism, thwarted desires, and intrigue - brilliantly lighted by Eduardo Serra -- the unlikely pair of master and maid grow closer. Soon, however, Griet unwittingly excites the passions of the mercurial nobleman Van Ruijven (Tom Wilkinson). The intensity of her own experiences with the painter similarly fuel her need to find release, as seen in her relationship with butcher boy Pieter, which she attempts to substitute for the pleasures forbidden to her with the married-with-six-children Vermeer. In these scenes, the film tableaux suggest the subtle tones of Vermeer's paintings, capturing the understated elegance of his canvases. Elsewhere, Dutch landscapes are invoked, from the severed heads of pigs in the market to the tree-lined paths that Griet and Pieter stroll down. Genre scenes find their way in whimsical portrayals of children blowing bubbles by canalside houses. But beyond repressed desires and tender moments - the most poignant of which takes place when Vermeer pierces Griet's ear to put his wife's pearl earring on her, holding her head in his hands to stem the pain - the plot is thin. The characters skulk about, hiding in doorways and peering through windows. This occurs a bit too often for comfort, such that one can predict that someone is watching every time Griet is alone in a room. Director Peter Webber reveals that he took particular pains to capture the spirit of Vermeer: "The film is reminiscent of painterly style," he says, "And Vermeer is at the heart of it. His paintings are open to interpretation - and I'm a big fan of enigma." But pretty pictures and clever lighting do not an exciting story make. There is Griet scrubbing the floors clean, Griet stirring the copper pot of laundry, Griet hanging up the washing, Griet going to the apothecary. Ultimately, Girl With a Pearl Earring is eye candy masquerading as high art. For those who like their scenes laid out in the neat manner in which Griet arranges vegetables on a plate, the film will appeal. But if you want satisfying endings and plot resolutions, you won't find them here. Try looking at Rembrandt's 'The Night Watch' instead - there's more action in the captain's little finger than in the 99 minutes of this movie.

there's more action in the captain's little finger than in the 99 minutes of this movie. OUCH! (Memo to self: dig out old art history textbook and look at finger.) consider yourself lucky: you've missed out on Darcy Mania I'd consider such a person very UNlucky, indeed. I have a finger wave of my own for Mz. Lim. (v.v. bad)

From THR: Trauma By Duane Byrge Sundance Film Festival PARK CITY -- "Trauma" is the poor man's "Memento." It is a spiraling, flash-cut visualization of one man's meltdown following a car crash in which his wife was killed. Starring Colin Firth as Ben, the driver who wakes up in a hospital ward to find that his beloved wife is dead, "Trauma" is a mega-reality brain tease. Memory, delusion, obsession and, of course, the trauma from the accident itself all are part of this very disturbing story. What is real and what is in the mind's eye of Ben are always in doubt. And the question eventually arises: Did he kill his wife before the accident? . Although "Trauma" is a dazzler, it's also a snoozer. Once the quick cuts and flashy cinematic flourishes subside, the story dissolves into a protracted muddle. Although we're mesmerized by director Marc Evans' visual pyrotechnics and hard-noir stylistics, it's difficult to keep up interest when we're indifferent to Ben, who emerges as an obsessive lout. Screenwriter Richard Smith shows ample gifts, combining intrigue with the horror-of-personality genre. Yet, his character construction is overtly clinical: Ben's mental turmoil and how it connects to the death of his wife never satisfyingly congeals. Admittedly, the story is well-wired, but it nonetheless short-circuits because of the essential crudity of the characters, including dogged investigators, weird neighbors and other generic types. Not to mention bugs, which are all over the place. Such excessive imagery comes across as anthropological/psychological wanking. Fortunately, "Trauma" recovers from its character deficiencies on the technical front. Cinematographer John Mathieson's dazzling noir scopings revive our eye even when our brain has turned off to the story. Editor Mags Arnold flexes a surgeon's precision in connecting the cinematic synapses of this hypervisual drama, while production designer Crispian Sallis shows us the character's conflicted mind-sets much more succinctly than the story does. Compounding "Trauma's" narrative fractures, it's also hard to understand the Queen's English, especially when snarled by Firth. Supporting players are similarly bludgeoned by the writing, namely Mena Suvari as Ben's spacey neighbor and Brenda Fricker as a clairvoyant. Both come across as character pawns rather than flesh and blood -- the lack of which is fatal with this "Trauma

Thanks Ada.... What is real and what is in the mind's eye of Ben are always in doubt. And the question eventually arises: Did he kill his wife before the accident? Um...that's not right...he's not being questioned about his wife.... Although "Trauma" is a dazzler, it's also a snoozer. Once the quick cuts and flashy cinematic flourishes subside, the story dissolves into a protracted muddle. The muddle is in Ben's head and things are seen as he sees them...you have to keep up....and a second viewing is recommended (I saw/heard more things the second time around that helped me make sense of what was going on)...I still have a few questions, but I think the film was left open, in a few matters, for the viewer to interpret. Both come across as character pawns rather than flesh and blood -- the lack of which is fatal with this "Trauma I thought both MS and BF did a good job....I didn't think they appeared pawnish, but we are seeing them through Ben's eyes and he's such a mess we can never tell what's real and what's not (even this reviewer mentioned that). Compounding "Trauma's" narrative fractures, it's also hard to understand the Queen's English, especially when snarled by Firth. Only when he's with Tommy Flannagan....and this is what Marc Evans was talking about with us.

(Tress)things are seen as he sees them...you have to keep up....and a second viewing is recommended Hmmmmm. Aside from us, how many people want to plunk down twenty bucks to make sense of a movie. Methinks they're gonna have to work this one over:-((( Thanks Ada.

"Trauma" is the poor man's "Memento." I didn't find Memento any less confusing or muddled and I enjoyed it, too. Although "Trauma" is a dazzler, it's also a snoozer. Once the quick cuts and flashy cinematic flourishes subside, the story dissolves into a protracted muddle. I'm glad they recognize the cinematography...it really was great, but Marc Evans should get more credit for the style of it. And of course, Colin for his performance. I'll be honest, the first time I saw it, I (like Sandi) thought it was getting a bit slow toward the half mark. (I don't think Tress and I ever discussed this point). There was a lot of things going on and almost nothing at all at the same time. Lots of bits and pieces....many of which, that in retrospect and a second viewing, I realized were clues to, or rather indications of Ben's mental state. It was *very* interesting in a purely visual sense. But, it really paid off toward the end for me, when things started to come together...kind of an "OOoooohhhh! I get it! " factor. Many puzzles pieces started to come together...and yes, there were a few things to be confused over and thought about. I didn't think that was a failing, really. Made me more curious to see it again. It's not necessary that stories are wrapped up in neat little packages and tied up with bows for me to enjoy them. Though I admit with GWAPE, that ambiguity with the ending bothered me a bit.....probably because I reference the book in my mind, as much as I try not to. If I try hard to ignore my knowledge of the book, it tends not to bother me so much, and kind of enjoy guessing the various scenarios. Both come across as character pawns rather than flesh and blood -- the lack of which is fatal with this "Trauma Yeah, so BF was there to essentially bring to light an important plot point....what's the big deal? She wasn't much more than a cameo and did more to advance the story than some others. MS's Charlotte had ambiguity about her character in a way, I think, but a pawn? Compounding "Trauma's" narrative fractures, it's also hard to understand the Queen's English, especially when snarled by Firth. (Tress) Only when he's with Tommy Flannagan Yes, noticeably different than with MS or other characters. ;-)

(Evelyn) Aside from us, how many people want to plunk down twenty bucks to make sense of a movie. How many saw The Sixth Sense more than once? Quite a few I've heard and read. And if one doesn't want to, it's mostly unnecessary to pay full price to a movie...at least in more urban areas (beside NY ;-)). There are Entertainment Books (discount books), AAA passes, matinees (though tough to get to sometimes or not as much fun), etc. I've not paid full price for a movie (not associated with BAFTA or my film class) in several years, (excepting less than half a dozen).

(Evelyn) Hmmmmm. Aside from us, how many people want to plunk down twenty bucks to make sense of a movie. I dunno, but my friend who came with us and is not a CF fan (she's not anti-CF, just indifferent) loved this film. Her two friends also came with her and she said today that they all really enjoyed it and spent the entire ride back to Park City talking about it. She said she'd like to see it again, but the first viewing was no disappointment to her. So, although I recommend a second viewing, it isn't necessary (just things said and done earlier in the film may make more sense)....

Was just rereading this.... (Me) There was a lot of things going on Just flog me now over my poor grammar. :-( Hope I was changing something and didn't finish. Typos are one thing, but this.... (I'm fussy with myself about stuff like that.)

Never you mind the grammar, just get moving on that AICN review.;-) That THR one is a real ouch. Maybe Variety's will be better. One comment on The Sixth Sense: people went to see that a second time because they couldn't believe how they got fooled on the first viewing. "I swear I saw Bruce Willis talking to somebody besides the kid!" Other than the circumstances surrounding the final twist, the story is very straightforward, tightly scripted, nothing particularly ambiguous about it. From The Telegraph: Another British film premiered at Sundance � Trauma, from talented Welsh director Marc Evans (My Little Eye). Shot in a fragmented style demanding close attention, it stars Colin Firth as Ben, a delusional husband driven mad by grief. Awaking from a coma, he learns he was in a car crash that killed his wife (Naomie Harris). Now Ben must sort out reality from fiction: for instance, is his helpful new neighbour Charlotte (Mena Suvari) real or imagined? Evans's film is bracing and original, though some in the Sundance audience found it hard to fathom.

Next batch of GWAPE reviews filtering in. This one is a rave from good 'ol Rex Reed in the New York Observer: Dutch Treat Photographed with all the beguiling varnish of the world-renowned painting for which it is named, Girl with a Pearl Earring is director Peter Webber�s scrupulously detailed study of the career and repressed life of 17th-century Dutch master Johannes Vermeer. Adapted from Tracy Chevalier�s best-selling 2000 novel, this opulent film imagines the world of Griet (Scarlett Johansson), a comely maid who will one day sit for the museum piece, and whose chaste flirtation with the great painter (well played by Colin Firth) sets off shock waves that affect every member of his household, while ripping the veil from Vermeer�s cloistered home life in a triumph of composition and light inspired by his work. The film is a sublimely incandescent study of the glorious surfaces and emotional depths of the period. When young Griet arrives in the house, she tries to maintain her equilibrium in a situation where privacy is hard to come by: The lady of the house, Catharina (Essie Davis), is demanding and perennially pregnant, and her mother, Maria (Judy Parfitt, the latest in a line of crusty Brits descending from Dame Edith Evans), is tight-fisted and implacable. Vermeer turns to Griet as a sanctuary from domestic stress, and she responds with an awakening passion for love and art. However, their disparate backgrounds�as well as class, age and religious differences�begin to complicate their developing relationship. Nevertheless, the master asks Griet to pose for one of his canvases, arousing jealousy, resentment and ultimately fury in the internecine plots of his wife, family and even his art patron, Van Ruijven (Tom Wilkinson), who turns out to be greedily and selfishly fixated on what Vermeer can do for him. It can be argued that the real star of Girl with a Pearl Earring is cinematographer Eduardo Serra, who nobly fleshes out director Webber�s glorious vision of the period. The composition of every frame takes the breath away like a visit to the Reijksmuseum in Amsterdam. Drawing on Vermeer�s celebrated practice of painting female subjects peering directly into the eyes of the viewer, Ms. Johansson envelops us in the maidservant�s point of view with her burnished, wide-eyed, nocturnal and full-faced beauty. Colin Firth, in a welcome about-face from his dashing, clean-cut performance in the lowbrow Love Actually, is especially subtle and touching in the forced restraint and quiet insightfulness that mask his tortured psyche. A rare and elegant film bathed in the kind of soft, delicate light that can build unexpectedly to feelings of both anxiety and bliss.

Feh. Tale of painter lacks color Steven Rea Philadelphia Inquirer Published: Friday, January 23, 2004 There are worse things to do in this world than watch Scarlett Johansson mix pigments of paint in a Dutch master's garret, her pale skin illumined by shafts of light, her long locks wrapped in a linen wimple. And, for many filmgoers, too, there are worse things than watching Colin Firth watching the bewimpled Johansson mixing those fine pigments. His stares are intense. His chin is dimpled. His frown is manly. Nevertheless, even diehard fans of the handsome Brit will have to admit that his wig, in Girl With a Pearl Earring, is a bit much. A film based on Tracy Chevalier's best-seller about Johannes Vermeer and the poor teenage servant who posed for one of his most famous paintings, Girl With a Pearl Earring is a lovely-looking speculative period piece about, hmm - what exactly is it about? One could argue that the film is a meditation on inspiration, on erotic longing and the life of the artist and his muse. But first-time director Peter Webber's stab at all that doesn't quite fly. Girl With a Pearl Earring is really about watching paint dry. Slowly. Yes, it's beautiful paint. Those globs of lapis lazuli that Johansson's character, Griet, grinds and slaps onto her boss' pallet are almost electrically charged, bluer than blue. And in the drab surroundings of Vermeer's studio in Delft, Holland, circa 1665, that vibrant chunk of color can go a long way. But not quite long enough to hide the almost self-parodic ludicrousness of this breathless exercise in Masterpiece Theater artsiness. Firth's Vermeer comes off as brooding and brattish, a family man whose portraits are much in demand among high-society types of 17th-century Holland. Johansson's Griet (a creation of novelist Chevalier - no one knows who the real model was for the famous painting) hails from a poor family, and goes to work for the Vermeers scrubbing, dusting, and sleeping under a staircase in the darkest corner of the cellar. And then the master of the house and the young wench make eye contact. If they had air-raid sirens back then in tulip-and-canal country, they surely would have blared. Such is the urgency of the couple's attraction, or, at least, that's what the filmmakers would have us believe. In truth, the chemistry between Firth and Johansson - who comports herself in an altogether un-21st-century manner, and makes it look natural - isn't all that charged. And the fussy way the artist and the maid go about their amorous pas de deux is, well, fussy. Sillier still is the presence of Van Ruijven (Tom Wilkinson), the painter's patron, and a horny old chap was he. Van Ruijven practically drools when he spies the lush-lipped Griet, who is at a loss as to what to do, how to behave, and how to get the lascivious paws of this wealthy lech off her. Griet must also deal - more happily - with the impassioned advances of a butcher's son (28 Days Later bike messenger Cillian Murphy), a handsome working chap who squires her on long walks in the woods and such. Meanwhile, Vermeer's mother-in-law (Judy Parfitt), wife (Essie Davis), and eldest daughter (Alakina Mann) gaze on with disdain, jealousy and what's-Daddy-up-to-now scorn as the artist spends more and more time up there in his studio with that girl. And then the mother-in-law, the wife and the daughter gaze some more. Girl With a Pearl Earring is a virtual ricochet-fest of eyeball action. Those looks, those glares, those gapes, those gawks!

(Karen) Well, one fan wrote me that she wished he wouldn't appear in movies with women who showed their "cleavage." The front or the rear one? ;-) (Tress) I like the idea that Mr. Darcy may be trying to take a peek down that frock. I bet that happened during the shooting of P&P, after all no hot blooded male would be able to resist such a sight. I wonder what happened to those outtakes... Mari, thanks for the "more reviews"! Where on earth are you digging all this stuff up from, and how do you remember which ones haven't been posted yet? You're putting good old Sherlock Holmes to shame. :-)

Thank you for all the reviews, reports and what have you :-) from todays Times Online: http://www.timesonline.co.uk/article/0,,7943-971964,00.html The only British film with a world premiere at Sundance is Trauma, the Welsh director Marc Evans�s first film since his claustrophobic horror debut My Little Eye. It�s also the scriptwriting debut of a 25-year-old Scot, Richard Smith. Colin Firth sheds his usual safe cocoon to play Ben, a man wrestling with mental illness in a distinctly unfriendly vision of London. Trauma is a mind game of a movie. It�s troubling, intense and puzzling, all of which are bolstered by the visual sense of Evans and his cinematographer John Mathieson (Love is the Devil), who allow Ben�s fragility to seep into the very core of the film through oppressive camerawork. Do and Tress, doesn't this fit your impressions from seeing the film?? It�s troubling, intense and puzzling, all of which are bolstered by the visual sense of Evans and his cinematographer John Mathieson (Love is the Devil), who allow Ben�s fragility to seep into the very core of the film through oppressive camerawork.

Always did like prisms..:-) STANLEY KAUFFMANN ON FILMS Major Mysteries The subject of genius worries the film world--artistic genius especially. Some geniuses had such romance-novel lives that they seem to beg for dramatization. But difficulties arise. First, the biographical facts were not arranged by the fine fingers of art but by the coarse hands of life. Re-arrangements are bothersome. Second, even tougher, how do you show genius? Writers are poor subjects. The writer labors at a desk--he could be scribbling a laundry list--then says, "At last it's finished! Crime and Punishment!" It is even harder with performing artists, where it is necessary actually to display genius. Edwin Booth, Isadora Duncan, and Vaslav Nijinsky have all been embodied on film, alas. Their places in history are still secure. Composers have a somewhat better chance: at least we can hear, after externalized scenes of Promethean inner struggle, a snatch of Beethoven. But painters are the best film subjects. Rembrandt or Van Gogh add strokes to a canvas, and, in this visual medium, we can see the finish d work whole and at once. All this does not mean that Girl with a Pearl Earring explicates the mystery of Johannes Vermeer's genius, but it does mean that the process of painting in the film is not ludicrous. A story has been contrived, in a novel by Tracy Chevalier adapted by Olivia Hetreed, that provides a pleasant enough raison d'�tre for the pearl painting. In 1665 a maid named Griet comes to work in the Vermeer household in Delft, not a strikingly beautiful girl, but one with a modest glow, servile yet with dignity. In the course of time she ends up on the canvas--wearing one of Mrs. Vermeer's pearl earrings, her ear having been pierced by Vermeer himself. I'm not getting ahead of the story: there isn't much story to get ahead of. Vermeer's life is not one of those flamboyances that cry for film. This perhaps is another reason to admire this picture's relatively quiet adventure. Vermeer lives with his wife and mother-in-law and a few visible children. (He actually had eleven.) After Griet's arrival, a rich patron of the artist, who collects women as well as paintings, fancies her and commissions a portrait of her. This only heats Mrs. Vermeer's dislike of Griet and leads to complications for which Griet is as innocent as an attractive girl can be in such a situation. Anyway, although there are troubles along the way, we sigh with relief when the great work is finished, unharmed. This is a first film by Peter Webber, an English director whose previous work was in television (and included programs about Schubert and Wagner). Webber has the sense to keep the story tight, domestic--no rumblings about a peak in the world history of art. There is little excitement in the film, yet neatness, discretion, intelligence mark every moment. Webber's cast is perfect. Scarlett Johansson, lately seen in Lost in Translation, discloses a great deal more than she got the chance to show in that film. With ease and understanding, she realizes the qualities that spark the painter's interest. He is played by Colin Firth, an actor who keeps holding us because he keeps turning his talent like a prism, displaying different facets of credibility. He was recently a reluctant romantic in Love Actually, somewhat comic; here he is an artist who takes himself just seriously enough--no mad-genius antics. The acting that will probably be least appreciated, as is generally the case with unsympathetic characte s, is Essie Davis's reluctantly sullen performance of Vermeer's wife. As we would expect in a film about a painter, a key person was the cinematographer. Eduardo Serra, Portuguese, has had a career too long to detail. I mention only that in 2000 he photographed a masterwork, The Widow of Saint-Pierre, which was as much blessed by Serra's eye and lighting as is this new film. The most enchanting point about his work here is that he hasn't put Vermeer's painting into the film; he has put the film into Vermeer. Every room, every street, every corner has the master's lighting, his arrangement of objects. Some years ago I spent just one day in Delft, and I felt that I was walking through the Vermeer View of Delft that Proust adored. Serra's work gives us the same embrace. http://www.tnr.com/doc.mhtml?i=20040202&s=kauffmann020204

(Rex) Colin Firth, in a welcome about-face from his dashing, clean-cut performance in the lowbrow Love Actually, is especially subtle and touching in the forced restraint and quiet insightfulness that mask his tortured psyche. Low brow! *snort* (Rea) Nevertheless, even diehard fans of the handsome Brit will have to admit that his wig, in Girl With a Pearl Earring, is a bit much. Gimme a break. What *is* it with these people? There's nothing wrong with the wig/hair. Sheesh! I'm getting really sick of this and how it is supposed to pass for film criticism. :-( ~~~~~~~ Portrait pics from Sundance are up here: http://us.imdb.com/Special/GalleryFeatures/sundance2004/traumapor-1.html

Ildi, if you watch carefully the scene at Rosings when he Darcy is standing at the piano you will see him drop his eyes to Lizzie's cleavage. It is just for a second and easy to miss.

I had E! News on earlier this evening and heard a GWAPE commercial airing; didn't see it as I was in another room and couldn't get there fast enough! This is a first to my knowledge and the film's been here for about a month.

Aaa-ha! Now I'll have to go put in the DVD and check that out. Such hardship... but I gotta see it. Thanks Lucie! Well, whaddaya know, GWAPE finally arrived at my doorstep, it's playing a mere 20 minutes from me. Yes!!! I'll have to go see it this weekend. The film is also among the Toronto Sun's top 5 picks, which pleases me a great deal. Ah, life is good... (Ada-From THR) What is real and what is in the mind's eye of Ben are always in doubt. And the question eventually arises: Did he kill his wife before the accident? This sounds an awful lot like David Lynch's Lost Highway. For those who like these puzzle type psychological thrillers I strongly recommend that one. It takes a long time to figure it out - if ever, but what an experience!

(Karen) I had E! News on earlier this evening and heard a GWAPE commercial airing; I saw one on E! last night. I've seen another one, maybe this week, but can't remember where exactly. If it wasn't another E!, it was one of the late night shows...Letterman, Leno, or Conan. May have been one of those as I have a sense I remember thinking it was an odd place and time to have a GWAPE ad.

I just saw a GWAPE commercial on E! and one last night on Style. Now, if the film would just show up I'd be quite pleased;-)

I saw the commercial too, and Colin was once again the forgotten man. His picture showed, but the ad was all Scarlett. On the one I saw his name was not mentioned in the voice over.

So they have a GWAPE commercial now? I guess that's why they've reduced the newspaper ads to miniscule size, to pay for the TV spots. I'm hoping to see it later today before the next wave of snow. (Ildi)Where on earth are you digging all this stuff up from, and how do you remember which ones haven't been posted yet? You're putting good old Sherlock Holmes to shame. :-) No, that would be Maria, bless her!:-) I just go by the list I got from Lion's Gate to see where it's opening, then look up the local newspapers to see if they're online. Major expansion set for next Friday, 350+ screens, so I will be very busy and important then.;-) Tress, I'm glad I could offer some inspiration, but I'm sure Marc Evans was only too happy to speak with such bright, friendly, and attractive fans such as you Sundance Kids!:-) I always figure celebs are more nervous than we are, and welcome the chance to have the ice broken. So, you see, we actually did Colin a favor at the LA premiere.;-) ;-) (Karen)Low brow! *snort* Don't you love Rex? He's either effusive in his praise or bitchily dismissive in his criticsm. Never a middle ground.

(Mari). Major expansion set for next Friday, 350+ screens,... Big bonanza for GWAPE if SJ wins tomorrow night. I hope they show GWAPE trailer when they introduce her nom and not LIT.

From our other daily, Philadelphia Daily News: Johannson a pearl in artistic 'Girl' By GARY THOMPSON thompsg@phillynews.com "Girl with a Pearl Earring" does for painting what Fred and Ginger did for dancing. Which is to say that it uses painting as a stand-in for sex. Paint preparation is foreplay, the brushstroke is akin to fondling, and the capturing of a subject's soul on canvas is a very dirty business indeed. There would seem to be little need for such metaphorical innuendo today, of course, when "daring" artists have managed to make explicit sexual content commonplace and frequently boring. "Pearl Earring," though, wants to re-create 17th-century Holland, when people lived under rigid standards of behavior established by a sort of Protestant Taliban, and even the hint of attraction between a married man and a servant girl was scandalous and potentially ruinous. The movie stars Scarlett Johansson as Griet, a girl from a Calvinist home who goes to work as a domestic in the Catholic household of celebrated painter Johannes Vermeer (Colin Firth). Let us pause here to note that Vermeer died at age 43, possibly due to "stress," the kind that anyone would encounter living in a home run by his wealth-obsessed mother-in-law, as Vermeer's was. Vermeer labors to produce paintings and children, and while his wife is pregnant, he finds himself, uh, inspired by the ripening Griet, and they begin a subtle flirtation - first she's allowed to clean the inner sanctum of his studio, then to help him mix paints. Eventually she poses for him in secret, and the whole thing culminates when Vermeer asks the trembling young model to "wet her lips." It's not exactly NC-17, but in its own slow-burn way it has more sexual energy than the dreary, self-serving show-off explicitness of, say, Britney and Madonna. And we get the real sense that Vermeer's attraction to the girl pushes the entire household on the edge of catastrophe. His wife senses what is happening and is insanely jealous. His bourgeoisie mother-in-law, on the other hand, is aware of the situation and tolerant of it, knowing it is likely to produce a fantastic and fantastically valuable painting. Casting is a huge aid to "Girl with a Pearl." Scarlett Johansson is just the right age and has the pouty-lipped innocence, and she seems unaware of the ideas that men get when they evaluate her voluptuous features. Plus, her name is Johansson, and she looks like the kind of girl you'd expect to see wearing wooden shoes, or plugging a dike. If the movie has a flaw, it's that it does rather too good a job recreating 17th century Holland, in wintertime, a city decked out in various shades of frozen mud. Also, the movie makes a gimmick of staging scenes as painterly compositions in the style of Vermeer masterpieces. It's clever, but it makes the movie static, and often calls attention to itself in a way that further slows the movie. Also, the final shot of Griet's portrait, morphed from a close-up of Johansson, would have had much more impact had the trick not been performed a dozen times previous.

(Evelyn)Big bonanza for GWAPE if SJ wins tomorrow night. Sure would be, and an even bigger one if SJ can nab an Oscar Nomination come Tuesday.

Hurah . .new home computer in place . .Drool withdrawl soon to end as soon as I catch up! (Ildi)I'd like to see a good bedroom scene. One that would leave me breathless like the end of BJD. I know he'd done a few of those back "before the earth's crust cooled", but I prefer the older, more seasoned, more manly Colin to the young one. Ahh . .a woman after my own heart . .I'm seconding that request;) (Philadelphia Inquirer) Nevertheless, even diehard fans of the handsome Brit will have to admit that his wig, in Girl With a Pearl Earring, is a bit much. *Sigh* . .enough with the wig already . . . (Karen)I had E! News on earlier this evening and heard a GWAPE commercial airing; Karen . .just caught it! . .fabulous . .mentioned the golden globe nominations . .SJ (for acting)and AD (for score) . .mentioned ES for spectacular cinematography . .nice clips . .mentioned "now playing in select theaters". .NO mention of Colin's performance . .grrr, bad oversight by ad agency . . but FINALLY . .nice to see a commercial for it again . .

Sorry for double post . . .forgot to say I caught the GWAPE on TLC a few minutes ago . .

GWAPE commercial I mean . . .

GWAPE had another good weekend. From Variety: "Lions Gate's period drama "Girl with a Pearl Earring" added 21 engagements for a total 72 and grossed $520,000, an ample $7,222 per playdate with a $2.6 million cume." Scalett gave Colin a nice mention last night on the Globes' red carpet.

(Mari) Scalett gave Colin a nice mention last night on the Globes' red carpet. E! reran the Red Carpet stuff this a.m. and I caught Scarlett's comment this time. v. nice

Ooo, weekend actuals are better than estimated: Girl with a Pearl Earring Lions $540,954 up 19.9% 72 +21 $7,513 $2,629,489 They've upped the screencount for January 30, will be 400+. Oscar nom for SJ tomorrow would really help. Fingers crossed.

And GWAPE has moved up one position to #9 on the UK charts, taking in $657,685 on 107 screens ($6,147 per) for a two-week cume of $1,924,750.

Variety: By DAVID ROONEY Following his resourceful low-budget chiller "My Little Eye," Brit director Marc Evans revisits similar genre territory but this time stumbles with "Trauma." Visually stylish and distinguished by its hallucinatory atmosphere of dread, the psychological thriller about a coma patient who emerges into an increasingly delusional world is hampered by narrative incoherence, sluggish pacing and emotionally remote characters. Strongest shot will be as a DVD title for this first feature from Anglo-Irish production outfit Little Bird's new horror label, Ministry of Fear. Waking up in a hospital after being in a coma for a week, Ben (Colin Firth) learns the car he was driving crashed and his wife Elisa (Naomie Harris) was killed. His disorientation and guilt-ridden state is further aggravated by the media frenzy gripping London after the murder of a pop star. Ben visits the same shrink he saw following a childhood trauma, and moves into a creepy former hospital. There, he becomes friendly with neighbor Charlotte (Mena Suvari), whose spiritual bent gives her a view into his tortured soul. Charlotte takes Ben to a medium (Brenda Fricker), who further destabilizes him by telling him Elisa is alive. When a cop (Ken Cranham) begins questioning Ben about the pop star killing, he becomes increasingly unable to distinguish reality from morbid fantasy. Working with accomplished d.p. John Mathieson and editor Mags Arnold, Evans creates a darkly textured world of fragmented images and disturbing visions that recalls the charged visual atmosphere of Hong Kong thrillers like "The Eye." However, Richard Smith's original screenplay fails to lay a concrete foundation in reality or to provide sufficient access to the characters, resulting in an unsatisfyingly, uninvolving abstract chiller. Even when the puzzle comes together in the final reel, the pieces remain an imperfect fit. Like so many recent films in which stylistic flourishes take precedence over plot construction, too many factors -- Ben's home in a blue-lit, other-worldly building with an abandoned morgue in the basement and seemingly no other residents aside from Charlotte; his ant farm and entomology interest -- seem like arbitrarily creepy components with no logical bearing on the story beyond their visual function. Stuck with a distancing character, Firth contributes a brooding, troubled turn that's become his stock in trade, while Suvari lacks the gravitas to make much of an impression in an enigmatic role. Pic screened at Sundance without end credits. Camera (color), John Mathieson; editor, Mags Arnold; music, Alex Heffes; production designer, Crispian Sallis; art director, Paul Ghirardini; set decorator, Careen Hertzog; costume designer, Ffion Elinor; assistant director, Matthew Penry-Davey; casting, Jina Jay. Reviewed at Sundance Film Festival (Premieres), Jan. 19, 2004. Running time: 88 MIN.

Strongest shot will be as a DVD title Wow! That should make lots of folks happy, right? They'll get to buy it and watch it at home over and over again. Like so many recent films in which stylistic flourishes take precedence over plot construction seem like arbitrarily creepy components with no logical bearing on the story beyond their visual function. All style, no substance. :-( Ben's home in a blue-lit Ah, DQ flashbacks again.

... his ant farm and entomology interest -- seem like arbitrarily creepy components with no logical bearing on the story beyond their visual function. Disagree there. Reviewer obviously didn't see our screening or didn't pay attention to the ant discussion afterwards. And the entomology interest had an obvious link to Ben's past. It was quite stylish, flashback sequences, use of double images with mirrors, reflection. The way it opened and finished was great too (more 'reflection')...but I also liked the story. Knew it woudln't be everyone's cuppa, but it certainly was interesting!

Just had a few words w/ the man I temp for here at Showtime who had attended Sundance and saw Trauma on my recommendation. He thought it was excellent . .very disturbing. He enjoys more thinking/psychlogical dramas. He loved the fact that that you really couldn't tell if Ben was insane or not. He saw and liked the CW correlation you were talking about Tress, throughout the film as well . . Thought MS was very tiny;) . .he went to the premiere . . . he doubts whether or not it will be picked up for distribution b/c of how disturbing it was . .some of those who went with him did not like it b/c of that fact. As Tress mentioned . .it certainly won't be a film for everyone . . .

There are plenty of small films that are picked up even though they are "disturbing."

(Karen)There are plenty of small films that are picked up even though they are "disturbing." Oh I understand . .I certainly hope this is one of them . . I want to see it distrutbing or not . . .was just passing along what he told me . . .

(Variety)"....psychological thriller about a coma patient who emerges into an increasingly delusional world is hampered by narrative incoherence, sluggish pacing and emotionally remote characters." Uh-oh...ME will have to do a lot of tweaking to fix this one...sounds ominous:-((( (Variety)..." his ant farm and entomology interest -- seem like arbitrarily creepy components with no logical bearing on the story beyond their visual function." Wot? Even Sandi and Tress caught on to this one. Thanks Mari.

Posted 1/21 by a Box Office Prophet who hasn't seen the movie: Director Marc Evans had a minor hit last year in the U.K. with a stylish reality show-themed horror movie called My Little Eye. The film has still not seen release in the U.S., even on video. His next film, Trauma, will be released in February in the U.K. by Warner Bros, but there is currently no distributor in the U.S. Perhaps Warner Bros will pick it up for its new indie division when it plays at Sundance. The film stars Colin Firth as a man who has been in a coma as a result of an auto accident. When he awakens to learn that his wife died in that accident, he retreats into his delusions, seeing his wife everywhere. To try to make sense of the situation, he turns to his psychiatrist, his neighbor, and even a psychic. The people involved give me faith that this will be a solid thriller and not just another "I see dead people" retread. (If we ever get to see it.) [Ed note: Quite a bit was made in the trades about WB's new indie division's first purchases at Sundance.]

Tress and Dorine, just curious: what were the elements of Trauma that you perceived but which Marc Evans said were unintentional? 3 noms for GWAPE, but unfortunately for the B.O., not for SJ. Can't wait to see the ads: (in big type generally reserved for declarations of war): 3 OSCAR NOMINATIONS! (in teensy type): for stuff you don't care about ;-)

(Mari) Tress and Dorine, just curious: what were the elements of Trauma that you perceived but which Marc Evans said were unintentional? I'll take it to spoilers. I was asked via e-mail to explain myself too! Sorry. Still catching up. Sundance...then home...with company...so I've fallen behind a bit!

Interesting interview with Peter Webber with questions about Colin: http://www.rottentomatoes.com/click/movie-1128236/reviews.php?critic=approved&sortby=date&page=1&rid=1243791 Question: We must have a word about Colin Firth. Women love him, but for anguish and torment�why did you go with him? Webber: Because he's a great actor. Listen, I didn't really know that he was such a heartthrob until afterwards, to tell you the truth. I have discovered [that] because every time I go to a Q&A, I stand up, and I get two questions for me, and then the third question is [in a high-pitched voice], �Where's Colin? Where's Colin?� (edit: you droolers know who you are) So, I understand that people want to see him rather than me, and I don't blame them. He's a great actor. He understands reserve. He's very good to work with. He's not got movie star [attitude] at all. He's very straight up. He brings a tenderness to the role. That's an important thing, because it's important that Vermeer sees something special in this girl, and falls for her because of that. Rather than he just sees her, and thinks, �Schwing!� and that's it. I think Colin's one of the few actors who is convincing in that way. I think that's one of the reasons that women like him so much. He's not just this incredibly hunky character�it seems like he cares. He seems like he understands. I think that's what it's about. Question: He's introspective, and it comes through on the screen. Webber: I think he can do mystery as well. He's not scared about doing less. That's a good thing.

Thanks for the PW interview,Katty. Couldn't have said it any better. Was hoping that Trauma would help the 'wider world' appreciate his talents beyond heartthrob but given what I've been reading here lately, I fear us DD's might be the only ones that'll see it.

Thanks Katty! (Katty)Interesting interview with Peter Webber with questions about Colin: Reference is made to just that in this interview as well... http://www.londonart.co.uk/editorial/mag_home.asp

Vogue.com: BRIDGET JONES' TOPSHOP AS if TopShop needed further celebrity endorsement, it has landed a cameo appearance in the forthcoming Bridget Jones sequel, The Edge Of Reason. Word has it that Bridget Jones herself, aka Ren�e Zellweger, is so enamoured with the high street superpower that she has arranged an entire scene to be filmed at its Oxford Circus flagship. During a typically ditzy moment, Ms Jones is saved from a fashion disaster by popping into the store at the last minute before a particularly important date. TopShop, Oxford Circus will be closed on February 13 to make its big screen debut. (January 27 2004, AM) http://www.vogue.co.uk/vogue_daily/story/story.asp?stid=14978

"TopShop, Oxford Circus will be closed on February 13 to make its big screen debut" Sounds as if they'll be filming there that day.

(Evelyn) Wot? Even Sandi and Tress caught on to this one. Um......hi! ;-)

(PW) I get two questions for me That would be me. ;-) (Bad DD! Where *are* my priorities?) Sorry, Tress to leave you picking up Trauma slack. Damn job of mine! ;-) I know I've said little about it, but Sandi and Tress have done very thorough job. Will have a bunch more of my impressions by early next week,if not before, if needed. (Evelyn) Uh-oh...ME will have to do a lot of tweaking to fix this one... Can't see how to "tweak." Except redubbing the unintelligible accents.

Dead quiet on the news front...I think I am in the minority of those that have not seen GWAPE (and am unlikely to have the opportunity prior to DVD release:-()but these reviews and all of your comments are all I have to go on...Actually, the first two are very complimentary and the last one just made me laugh... http://www.detnews.com/2004/entertainment/0401/16/e03-37008.htm http://promontoryartists.org/lookingcloser/movie%20reviews/A-G/girlwithapearlearring.htm http://www.eclipsemagazine.com/modules/news/article.php?storyid=855

(eclipse)Colin Firth plays Vermeer a little bit like Gomez Aadams with no joie de vivre and incredibly bad hair; he�s moody, he�s eccentric, and boy, does he enunciate. He strides around and glares. He insists with a hint of petulance. He�s obsessed with the perfection of his craft. Did we mention that no one understands him? Thanks for the articles Maria . . hmmm he's been described as Fabio, a member of Iron Maiden . .but Gomes Aadams?? . .that's a new one for you;)

Hartelijk dank for the new reviews, Maria! (Lorelei from Eclipse)there simply must be more to a character than a lot of stomping, wild hair, and menacing pronunciation LOL! I never noticed any unnecessary enunciation (all enunciation was vital, IMHO). Interesting comparison to th T review several days ago that accused Colin of "snarling the Queen's English"? Can he do nothing right? ;-)

(promo)Fortunately, they have found an actor who can bring the same amount of gravity to the screen in order to portray the painter. I never would have thought of Colin Firth for the portrayal of a contemplative, passionate painter, but he finds in Johannes Vermeer material for what may indeed be his best performance. Surprise, surprise.

Just caught another GWAPE commercial . .newer - mentioned oscar nominations (though not specifically which ones) . . odd choice of music for the commerical . .would have thought they would have chose a snippet from the score . .instead they chose a very snappy, modern bit of music . .rather incongruous with the subject of the film and the images . .made me look twice, though . .;)

.rather incongruous with the subject of the film and the images . .made me look twice, though . .;) Was it from that odd video?

I just saw the new commercial too, and really odd music. I do not recall it being like the video, guitar strumming, drumming and piano. I saw it on HGTV and it almost sounded like it was their music that comes on in-between programs! 4 stars from Roger Ebert.

(Bee)Was it from that odd video? Can't say . .didn't see the video . .I caught it on TLC (am obsessed with the show Clean Sweep/Trading Spaces and What Not to Wear!)but it kind of was like as sandi said . .the music sounded like something that would be played between programs . .not suited to the subject of the commercial . . Of course there's a car commercial out there right now. .I think BMW? . .w/ music I swear swiped from the GWAPE score . .had me run to the TV only to be disappointed:(

(Peter Webber)Listen, I didn't really know that he was such a heartthrob until afterwards, to tell you the truth. I have discovered [that] because every time I go to a Q&A, I stand up, and I get two questions for me, and then the third question is [in a high-pitched voice], �Where's Colin? Where's Colin?� And here he is 30 seconds before that first infamous Q&A! Hee! Hee! I did ask him two other questions but as it turns out, I asked "Where's Colin?" first.:-0 This is outside of the second showing of GWAPE. Peter is holding a white coffee cup and speaking to two "young" guys and a girl. Andy Patterson is taller and behind him with a cup and speaking to a lady in black. Peter's wife has her back to the camera but you can still check out her fashion choices for Telluride. She is in a dress with a denim jacket. She reminded me of Bridge going on her mini-break though perhaps ever so slightly more elegant!:-)

MOVIE REVIEW- Brush with Greitness: Nobody home at the Vermeers' Published January 29, 2004, in issue #0304 of the Hook Subtlety can be a virtue in movies, especially since it's such a rare commodity in Hollywood. But like anything else in cinema, it can be overused. Girl with a Pearl Earring is about people who lived in subtler times, and despite director Peter Webber's attempt to immerse us in their world, "What's the big deal?" would be an appropriate response from a modern viewer. On a purely visual level, the film is more successful. They've done a magnificent job of recreating Delft, Holland, in 1665, and Eduardo Serra has photographed it with a painterly eye; but as they haven't spared themselves in creating this world, they spare none of our time showing it off. The plot is so simple there's plenty of time to fill with atmosphere. Scarlett Johansson plays 17-year-old Griet, who-- to help her family with expenses-- takes a job as a maid in the household of painter Johannes Vermeer (Colin Firth). It's as dysfunctional a family as you could ask for. Catharina (Essie Davis) turns out babies as regularly as Vermeer does paintings and has all the mood swings associated with pregnancy. Her mother, Maria Thins (Judy Parfitt), really runs things, doing whatever it takes to keep her son-in-law productive. The oldest child, Cornelia (Alakina Mann of The Others), 12, takes an instant dislike to Griet; and as her father shows an interest in the new maid, the other women of the house follow the child's lead, including head housekeeper Tanneke (Joanna Scanlan). Griet catches the eye of the butcher's son, Pieter (Cillian Murphy of 28 Days Later), because she's the only maid in town with a nose for rotten meat. She impresses her master because, though illiterate, she has an innate sense for things artistic. When told to clean the windows in his studio, she hesitates because it will change the light. Later she moves a chair to improve the composition of a painting. Also impressed with Griet is Vermeer's patron, Van Ruijven (Tom Wilkinson), who commissions a painting of her, apparently out of prurient interest. The artist is said to have gotten a previous maid pregnant when he painted her, so the stage is set for some steamy action. It's much ado about nothing. He's strictly hands-off while painting the fully clothed Griet, albeit with a certain amount of heavy breathing. The most scandalous thing he does is to borrow his wife's earrings for her to wear in the painting. Apparently there's little enough known about Vermeer's life that this speculative fiction, created by Tracy Chevalier in the source novel, fits the known facts. The international cast manage a reasonable cohesiveness and do what they can to pretend something is really happening. Johansson is a curious but wise choice to play Griet. Known for contemporary roles (Ghost World, Lost in Translation) she has less trouble fitting in a period setting than, say, Keanu Reeves. Girl with a Pearl Earring gives you a tour of a fabulous house, but there's nobody home. http://www.readthehook.com/stories/2004/01/29/movieReviewBrushWithGreitn.html

Heard a rumor somewhere about Colin and possibly a certain "Nanny". Will check it out and let you know! :)

(Hola) Heard a rumor somewhere about Colin and possibly a certain "Nanny". Will check it out and let you know! :) Oh...now...I'm gonna overload...what am I to make of that?? I'm thinking Mary Poppins, Nanny and the Professor, I'm thinking The Nanny Diaries, I'm thinking Fran Drescher...??? LOL.....GAAAAHAHHHHHH!!! ;-) Always good to hear from you Hola! How ya doing??

(Hola)Heard a rumor somewhere about Colin and possibly a certain "Nanny". Will check it out and let you know! :) You really know how to get a gals attention! I'm on overload with Tress now. What could it be, what could it be? Hope all's well with your own new production;-))

ARGGGGGGGGGGG Nanny I thought Fran! Hola...am drowning here, you must send a line! Hope you are well!

I'm joining in with the others here! Nanny??? Rumor??? Please tell!! Also, hope you are well and thriving!

Hola!!!!!!! HI! . .Hope you are doing well. . .you and yours:) Hmmm . . .Colin and a Nanny! . .don't think it's Fran . .Nanny Diaries would be interesting . . that was a great book . . I have to laugh though . .been piddling around with ideas for a screen play . .had started one with a father of three young kids . .wife up and left him . .and well . .he hires a new nanny to help him out as an interim person while his housekeeper/nanny is away for the summer . .of course I was basing the father on ODB;) . . . guess my story idea is going to be old news . . I'm going to love seeing what your lead is going to turn out to be;) . . let us know as soon as you can . .I'm dying to know now!

Let's just hope it isn't a remake of this *gem* http://www.imdb.com/title/tt0107612/ :-D

Wasn't it on these boards I saw something saying Emma Thompson was slated to play a magical nanny ? What do you think ?

Isn't ODB supposed to be filming "Dead Wait" around now? Has anyone heard anything about that project? I'd love to see him work with Emma Thompson, but am not so enthused about the idea of him being in a movie with a magical nanny... Personally, I'd prefer something a bit more sophisticated. But Nanny Diaries could be fun... The only male I can recall is the husband... not a big role. Can't wait to hear more... He certainly has been keeping busy!

Let's just hope it isn't a remake of this *gem* LOL! I was coming in to say that I bet Livia will make sure the nanny is being played by a man ;-) And Sandy posted that. A wrestler would be just right:D

Don't think this has been posted yet. Not too great a review for GWAPE. http://www.pittsburghlive.com/x/tribune-review/entertainment/movies/reviews/s_177023.html 'Girl With a Pearl Earring' looks good on surface Scarlett Johansson and Colin Firth star in 'Girl With a Pearl Earring' By Jolie Williamson TRIBUNE-REVIEW Friday, January 30, 2004 "Girl with a Pearl Earring" desperately wants to be a significant piece of cinema. It presents a screenplay that spares no unnecessary word, cinematography that begs to be described as "painterly" and understated acting dependent to an extraordinary degree on facial expressions and body language. Despite this meticulous preparation, the film arrives with a thud. A good-looking, understated thud, but nonetheless, one that makes its short 95-minute running time feel like a three-hour epic that doesn't know when to wrap it up and go home. The film is based on a novel of the same name that tells the imagined story of Dutch artist Johannes Vermeer's 1665 painting, also with the same name. The film has the poor, quiet-yet-perceptive 16-year-old Griet (Scarlett Johansson) arrive at Vermeer's well-to-do Delft household to do servant's work. Vermeer (Colin Firth) becomes obsessed with the girl, much to the dismay of his ferociously jealous wife. From the first manly glower to the final minor bloodletting -- when Vermeer pierces Griet's ear as he prepares to paint her portrait -- we're fully aware of his intense fascination with his lowly maid. It's not entirely sexual -- Griet seems to be the only one interested in the process of Vermeer's art, how he chooses his methods and what influences the final appearance of his paintings. Her interest in him as an artist and not just a breadwinner brings what can possibly be described as a primitive sort of nonsexual joy to the painter. Maybe it's because the actors are so good at conveying their characters' feelings that we can see where this is headed before the film barely gets rolling. But there is a significant difference in a restrained film that nevertheless challenges our perceptions and keeps us enthralled, and one that simply bores us with its predictability -- no matter how well photographed or acted. As if in recognition of this, the film's score contains a horribly cloying piano motif that chimes in every so often to signal us that Something Important is happening. One begins to wonder how many more times the same few maddening notes of music must be endured before escape is possible.

(Tress) ...I'm thinking Fran Drescher...??? LOL! Good heavens! Can you imagine that donkey laugh with Colin's rich, velvety voice? *shudders* I'd have to wear ear plugs watching that one. The type that blocks only Fran's voice of course. ;-) Colin and Emma Thompson? YES!!! I like that combination. She is terrific. I've been very fond of her ever since I've seen Much Ado About Nothing.

Emma and Colin . .great combo! Here is a blurb about Emma's New "Nanny project" from the Emma Thompson Sacntuary Website Main site Address: http://www.muldermedia.com/emma/ From the Roles page:http://www.muldermedia.com/emma/background/roles.html Nanny McPhee Emma wrote the screenplay based on the Nurse Matilda books by Christianna Brand. She will play a governess who uses magic to turn around a bunch of naughty kids. Status: Pre-production.

Ooh . .sorry about 2nd post Boss . .but looks like Emma's going to work on a Nick Hornby film: Fast Forward . .Nick and Colin are friends. .that would be a neat project for them to work together on . .perhaps

Hi Hola!!! Happy New Year and hope all is well with you. See what a one-liner can do around here? Nanny, as in??? co-starring with??? While I'd love to see ODB paired with ET, I'm not so sure about a Nurse Matilda... Still, I love the speculation, ladies. (Meg)Isn't ODB supposed to be filming "Dead Wait" around now? I e-mailed Beyond Films before the holiday. Got a strange response back saying TDW wasn't based on a play and it hadn't been cast, yet. I think some intern(no offense to interns) must have been given the task of answering the mail. I'll try again. YES!!!! The 400+ expansion of GWAPE has brought it to Princeton. I'm hoping it didn't have anything to do with the 7,000 phone calls I made to the theater. If you don't hear from me in the next few weeks-I can be contacted at my little office in the theater;-) 555-GWAPE.

USA Today on Oscar nominated films on DVD and the big screen: Girl With a Pearl Earring. The tale of artist Vermeer and his young female muse is up for three Oscars; it goes into 300 theaters today. The DVD is due in May.

(Mary) The DVD is due in May. YESSS!!! *pumping fists in the air* I was hoping we wouldn't have to wait for too long for it. Oh,I feel like hugging somebody. Thank you Mary! Happy GWAPE watching Linda!

(meg)The only male I can recall is the husband... not a big role. I just read a review of the book. Apparently there's a HH who lives upstairs. - Sounds a better prospect! Re Dead Wait. Seem to remember reading a while back that production wasn't certain to be going ahead.

Hurrah! GWAPE opens here today-I'll be at the first showing @ 2:00. Finally, I can view this treasure and read the spoilers,at long last!!!! Then I get to go back and see it again and again and again......you get the picture!

(Janet) Apparently there's a HH who lives upstairs. - Sounds a better prospect! Sorry, HH was a college student. Hi, Hola from not-so-sunny-at-the-moment Florida!! Hope you're well! Thanks, as always, for the cryptic note! ;-D

From my hometown paper in this week's Weekend (TGIF) section..... I have rarely agreed with this guy and was surprised to see a favorable review. He gave it an A-. 'Pearl' is a gem of a picture By Hap Erstein, Palm Beach Post Film Writer Friday, January 30, 2004 Little is known of the model or the motive behind 17th-century Dutch painter Johannes Vermeer's haunting portrait, Girl With A Pearl Earring, a void that was imaginatively filled by the conjecture of writer Tracy Chevalier in her novel of the same name. That exercise in historical fiction has now made it to the screen, in a slow-paced but visually exquisite and engrossing film that turns the entire city of Delft into a Vermeer canvas. Production designer Ben van Os meticulously re-creates 1665 Holland, but it is cinematographer Eduardo Serra who bathes it in contrasting pools of light and shadow, capturing the vivid textures of Vermeer. First-time director Peter Webber makes the film a window to the past and a view of the creative process, but more than either of those, each frame is a painterly work of art. We see Vermeer's world through the eyes of an uneducated, teenaged serving girl named Griet (Scarlett Johansson of Lost in Translation), daughter of a recently blinded tile painter, who is begrudgingly taken into the Vermeer household as a lowly servant. Treated rudely by the painter's perpetually pregnant wife and singled out for mischievous abuse by one of his bratty daughters, she also attracts the lecherous attentions of Vermeer's chief patron, the crude Van Ruijven (Tom Wilkinson), who has an acquisitive nature and roving hands. By a quirk of domestic management, Griet gains the exalted assignment of cleaning Vermeer's studio and is awed by the sight of his work, even in its preliminary stages. It is the conceit of the film, and Olivia Hetreed's taciturn screenplay, that Griet is a natural kindred spirit of Vermeer's, instinctively appreciating art. When she asks his wife, Catharina (Essie Davis), and her mother, the shrewd, mercenary Maria Thins (Judy Parfitt), whether she should clean the studio windows -- for that would affect the light spilling into the room -- they are dumbfounded by the apt question. Before long, Vermeer (Colin Firth of Love Actually) befriends Griet, showing her his prized camera obscura, teaching her to see colors in the clouds, and eventually entrusting her to grind and mix his pigments, the vibrant ruby shellac, gum arabic, malachite, vermilion and other exotic hues. At one point, she boldly removes a chair from a carefully composed scene, claiming that it ruins the balance of a portrait and, soon after, Vermeer deletes the chair from his painting. Eventually, Vermeer has Griet pose for him, but when he decides she must wear his wife's pearl earrings, the implied intimacy ignites Catharina's jealous streak. In fact, artist and model rarely touch, except when he painfully pierces her virgin ears, arguably a symbolic sexual defilement. Johansson (who also appears in this week's The Perfect Score) gives a delicately understated performance, almost expressionless, yet her wide blue-gray eyes suggest Griet's unexpected intelligence. The painting is considered to be a Dutch Mona Lisa, and Johansson radiates an alluring mystery. By comparison, Vermeer is much less interesting a character, though Firth broods well and plays up the tempestuous artistic temperament effectively. Wilkinson is an aptly greasy fat cat, though hampered by the role's one-dimensional nature, and Parfitt steals many a scene as Vermeer's calculating mother-in-law. Ultimately, beyond the characters, Girl with a Pearl Earring is a haunting tale about the creation of a work of art, an entrancing over-the-shoulder portrait and its engrossing, though completely fabricated, back story. And for you South FL Droolers....and lurkers that I'm aware of, here's the list of theaters.... Shadowood 16, Delray 18, Mizner Park, Movies at Boynton Beach, Treasure Coast Mall, Indian River 24, Jupiter 18, PGA Cinema 8.

(meg)Nanny Diaries ... The only male I can recall is the husband... not a big role. It's a nothing role. Weak ineffectual husband. Nurse Matilda books by Christianna Brand. She will play a governess who uses magic to turn around a bunch of naughty kids. Another nothing, presumably. Weak ineffectual father. Lola, whatever happened to those *real* movies you had mentioned? The ones that would require him to do something other than phone in a small supporting role.:-( Fran Drescher is starting to sound good.;-) I'm sure I've posted this before, but since it's come up again . . . at the NY premiere of LA, Colin told me that the status of The Dead Wait was "very precipitous." Translation: don't hold your breath. GWAPE is now playing in 9 theaters throughout my area.

AHHHHHHHHH .......I SAW IT!!!!! Daily Variety Gotham - Friday, January 30th 2004 in the Film PRoduction Chart - Page 16 in "Films in the Future:" section Nanny McPhee Emma Thompson, COLIN FIRTH Prod, Lindsay Doran; DIR, Kirk Jones; SCR, Ema Thompson; DISTRIB, MGM, Working Title 4/04/.UK. It must be true . .they wouldn't print it in Variety otherwise . . .right?

Grrrr!!!!!!!!!!!!!!!! :-( That's right, it would be true. Who the #$%^ is Kirk Jones? Oh, yes, I see he directed Waking Ned Devine.

Sorry hit submit so fast was excited I found it . . . so they are shooting this April in the UK . .Emma wrote the screenplay . . .probvably not high drama . .buit might be something nice family film . .I did enjoy Emma's Sense and Sensibility screenplay . .so I have good hopes;)

OMG! Kimberly! Thanks for finding that!!! Emma (love her) AND Colin in the same film...okay....but a magical nanny?? Hmmmm....okay, keeping open mind and getting excited about seeing ODB with Elinor Dashwood (BTW, I just realized that Elinor's father was Henry Dashwood...so odd)!

Emma has written the screenplay: an adaption of the "Nurse Matilda" governess stories of the 1960s, now out of print. From Ananova Emma Thompson to play magical nanny in new film The director of Waking Ned is set to make a new film with Emma Thompson. Kirk Jones will direct Thompson in Nanny McPhee. The actress has also written the screenplay to the movie. The film is about a nanny who uses magic to make a group of rowdy children in her care behave reports www.variety.com. Filming is expected to begin next year. [article was actually written 16 December 2002]

If it was in today's Variety, then yeah, it's true. Plus it meets all the right criteria: --Passes red nail test (no love scenes) --Can take Tube to work --Filming starts in April, which means it will wrap in time for summer vacation. McPhooey! :-(

Hmmm, maybe I shouldn't have used this for one of Colin's birthday parties a few years ago. :-(

Colin . .my guess is to play father of the children? Will be nice to see him again as paternal figure . .liked him in MLSF, SLOW & even WAGW working with the kids . .GWAPE doesn't count . .was too distant from his brood of kids;)

A link (in German) mentioning Nanny McPhee, Emma and ODB: http://www.hl-fonds143.de/nanny.html Die Rolle der Nanny soll Emma Thompson �bernehmen, die derzeit mit "Tats�chlich Liebe" ("Love Actually") in den deutschen Kinos zu sehen ist. Aus diesem Film ist auch Colin Firth bekannt, der ebenfalls mit von der Partie sein soll. And Lost in Translation: The role of the Nanny is to take over Emma Thompson, which is to be seen at present with "actually love" ("Love Actually") in the German cinemas. From this film also Colin Firth is well-known, which is to likewise also be from the portion.

Karen - will that pic be the new one for this film's page on colinfirth .com?;) Cheer up it may be a very sweet film . . . (*singing* - "And a spoonful of sugar helps the medicine go down . . ")

Nurse Matilda - "Two clueless upper-class parents, their TWENTY demon children, and the magical nanny who brings them into line without turning a hair."

Also from your link, Tress, in LITese: The budget is calculated at present with approximately USD 44 millions, about which for instance USD 34.5 millions are to be allotted to the turning work). $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ It's freezing here and this little tidbit isn't going to warm the cockles of my heart or my toesies for that matter. Signed, Too Proud to Buy a Ticket to G-Rated Movie

(Kimberly) (*singing* - "And a spoonful of sugar helps the medicine go down . . ") Oh...hope it's not a musical...I was sweating it out yesterday after Hola's tidbit...trying to imagine ODB singing...and dancing (am picturing Henry Dashwood in leather here and not Fitzwilliam in those breeches that cause vibrations). Love ODB dearly, but, IMO, he cannot sing (though I said the same of Antonio Bandaras pre-Evita and now that's nearly all he does). It makes me laugh...which can be a good thing...or bad...depending on what you're going for, I guess.

ROTF......You guys....

(Tress)Love ODB dearly, but, IMO, he cannot sing Oh, he know he can't sing as do those stalwarts who saw TIOBE:-O He was so very cute at it though, IMHO.

(tress)but, IMO, he cannot sing Alas . . .singing ain't his strong point . .am hearing TIOBE song in my head now . . . I'm sure if needed his sister could help him out . .isn't she a voice teacher?:) . .I'll give him singing lessons;P (bethan)TWENTY demon children OK, now getting a bit I'm worried . . . perhaps UK version of "Cheaper By the Dozen" . .Steve Martin film currently out???? Am hoping Emma's screenwriting skills will keep silly bad sight gags at bay . . .

Whoa!!! Before this goes any further, this film is NOT a musical.

(Bee) He was so very cute at it though, IMHO. Agree! He was v. v. cute...but he couldn't carry that tune to save his life!! And I listen to that CD over and over just to hear him butcher that song! Tis funny...and I'm easily amused! (Karen) Signed, Too Proud to Buy a Ticket to G-Rated Movie Oh! But with TWENTY children I'm hoping for at least a PG (and a director's cut of NC-17)!! ;-) Signed, My Glass is Half Full (Today)

(Karen)maybe I shouldn't have used this for one of Colin's birthday parties a few years ago. :-( Didn't Dick Van Dyke turn into a terrible alcoholic after that film was made? No wonder.;-) At least Colin's English accent will be better than DVD's. ;-)

LOL. I love all your responses to the Nanny news. Cheer up, there are other things in the horizon that will help make the sugar go down :) Sorry I have not been around much but its been crazy busy. Award season is very hectic and even more so when you no longer fit through a doorway! :) Will be back soon! take care Huge Lola

Whew, afer reading all this about a Nanny I'm glad its Emma Thompson, cause the only other Nanny I could think of was Mrs. Doubtfire. That could have been scary. Mari --Passes red nail test (no love scenes) --Can take Tube to work Your assessment of the situation would appear to be on the money. Thank you for defining red nail test -- I wondered what was meant by that.

(Kimberly)I did enjoy Emma's Sense and Sensibility screenplay . .so I have good hopes;) Emma did a brilliant job of writing with each actor in view. She wrote HG's role specifically because he was seen as a floppy-haired, stuttering, indecisive guy. But, what does ET think of ODB? Or worse yet, what did she think of him three years ago? (Mari)it fits the criteria LOL! What can we expect of (my fav CF quote):"a refurbished houseboat floating down the Thames"?

Would this have been too much to expect out of the houseboat?

Awwww! "You sir; me sir."

(Hola)Cheer up, there are other things in the horizon that will help make the sugar go down :) LOL. I'm cheered, really I am. Watch out for those doorways! (Caribou) But, what does ET think of ODB? Oh, I think she had her eyes (and ears) opened for her in NY at the LA premiere. "Are you all here for Colin"? I wonder how much say so she had for the casting? ...and how much, if anything, the noise in the tent set her mind to working... LOL, be careful what you wish for...I know I wanted to see him paired with ET for a long time.

(Mari)Didn't Dick Van Dyke turn into a terrible alcoholic after that film was made? No wonder.;-) Yup! And the Dick Van Dyke Center is in the town down the street from me. (Caribou)But, what does ET think of ODB? Or worse yet, what did she think of him three years ago? At LA in NYC I remember her asking us who we were there for and we said Colin Firth and she said *Oh Nice* and smiled. She seemed genuinely pleased for him. You think we had something to do with it?;-) Trying to pick up some more *fan base*;-))

(Bee) At LA in NYC I remember her asking us who we were there for and we said Colin Firth and she said *Oh Nice* and smiled. And I remember her just *gushing* and saying "I'm so thrilled for him"! when we said we were there for Colin...Also have a picture of her at ODB's feet (when he is up at the ET podium), just chatting away with him! They appear to get along quite well.... One of my fav pics from London LA premiere:

Is it egotistical of me to want a pinch of credit for my thought at #1020? All I want is a spoonful of sugar!!!!!!

(Bonnie)Is it egotistical of me to want a pinch of credit for my thought at #1020? Yay for Bonnie! And yay for all the amazing investigative work done by all the industrious and inquisitive Drooleurs!!! And yay to Lola for inciting such excitement!! (Linda)YES!!!! The 400+ expansion of GWAPE has brought it to Princeton. I'm hoping it didn't have anything to do with the 7,000 phone calls I made to the theater. If you don't hear from me in the next few weeks-I can be contacted at my little office in the theater;-) 555-GWAPE. Yay for the expantion of GWAPE!!!! It's now at seven theaters in metro Atlanta (amazingly at a number of mainstream multiplexes). I can now go to a theater that is playing both LA and GWAPE (and LIT and PS if I wanted to see Scarlett 3 times)! (Murphy) The DVD is due in May. Yay! Yay! Yay!!!

(tress)but, IMO, he cannot sing But he does play a mean air guitar;-)

(Linda) But he does play a mean air guitar;-) How true! LOL...and that makes up for it all!! Mean air guitar overrides off key singing (it's like rock, paper, scissors....) ;-) And kudos to Bonnie for calling "magical nanny"!

Bonnie - I'll give you a spoonful of sugar and then some;)!!!! . .your comment made me check ET's website and got the Nanny McPhee info;) . .which actually made me look twice when I picked up Variety at work . .I was groaning at looking at Miss Congeniality 2 (why Sandy, why???) . .and there it was . . a few titles right below! You were the impetus, my dear . .full credit to you!!!!! Must say also YAYAY!!! with Shoshanna for the GWAPE DVD release news! (Thanks Murph!) Tress -I second loving that pic w/ ET, ODB & BN from the LA permiere party . . . .I think the two of them will be great together . .G rating or not . .I spy something nice in the future;) Hola - I can imagine you laughing yourself silly at all of us! Your litle tip certianly spurred on alot of action here today;) Can't wait for hints toward the really big stuff you've warned us about! I still hope . .perhaps after Nanny McPhee . .that ET and ODB work together on that Nick Hornby Film (Fast Forward) I saw on her website;) Can't help it it's in my head now (just for you Bonnie). .and a one . .and a two: "A Spoonful of sugar helps the medicine go down The medicine go down-wown The medicine go down Just a spoonful of sugar helps the medicine go down In a most delightful way . . ."

Kudos to all the DD's....am very impressed with group investigational skills re: the nanny tip. Perhaps Lola can be convinced to spin a group 'Columbo' type script to Hollywood players looking for the next big screen sensation? Have visions of many active fingers on keyboards across the globe scanning internet for obscure clues in search of ultimate truth...ODB playing part of cantankerous police superintendent beseiged by bevy of gorgeous detectives...

I know Moon would've posted this herself, from the Miami Herald: GIRL WITH A PEARL EARRING (PG-13) ** � Period piece is high on art, low on action BY CONNIE OGLE "It's obscene," snarls the fuming, jealous wife of Johannes Vermeer of one of the artist's most famous paintings, the work after which this stately, visually dazzling but imperfect film is named. The painting is not, of course, obscene, but it's not hard to see why an emotional wife might view it that way. The subject's gaze of unadorned hunger is not something most spouses could shrug off lightly. Girl With a Pearl Earring is based on Tracy Chevalier's bestselling fictional account of the origins of Vermeer's classic work, told by the teenage maid who becomes its focus. Chevalier's evocative novel, however, is not just about creation. It is also a coming-of-age tale; a view into the harsh economics of art, specifically in 17th century Holland; a meditation on the desire -- maybe even need -- for beauty in the simplest of lives. Some of these themes find their way into the film seamlessly -- it's clear from the start that the large, rapidly expanding Vermeer family needs its patriarch to paint faster to keep up with the bills -- but others get a bit derailed. The film is primarily concerned with the romance, such as it is, between the man and the maid, not with Griet's growth or understanding of how her life must proceed. But this is a sort of burning-gazes-across-the-room, will-our-hands-ever-touch? romance. The fire is not exactly blazing brightly; some audiences will find developments a bit slow. The toughest loss is the narration by young Griet, whose father's blindness has sealed her fate as a servant. In the novel, we are privy to her thoughts as she leaves her home for the Vermeer household, learning of her loneliness, her homesickness, her fears (most of which center on the Vermeers' exotic Catholic behavior). We begin to sense her intelligence and practicality long before Griet sees such qualities in herself. In the film, though, Griet is almost mute, with no confidants to share her feelings. She is more vulnerable, less assured. Fortunately she is played by the remarkable Scarlett Johansson, as striking here as she was in Lost in Translation. Bringing to mind Holly Hunter's virtuouso and mostly silent performance in The Piano, Johansson works mostly with her eyes and mouth, conveying with only a few flicks of expression turbulent surges of fear, confusion, intelligence, desire. Her face is a canvas, and her artistry is undeniable. One has to think Vermeer would have approved. Colin Firth, with sullen rock-star eyes and hair, is an appropriately remote and arrogant Vermeer. He might take Griet's side in a small household squabble, but in the end his paintings are what matter. It's too bad the film skipped the novel's postscript, in which an older Griet has moved on to what is surely a better life for her. This ending feels incomplete and unsatisfying, as if the filmmakers feared they had to finish up quickly or risk losing the audience's attention. Girl With a Pearl Earring is beautifully constructed and filmed. It's fitting that a movie about art glows with such dynamic richness. The dark chill of the Vermeer home contrasts starkly with the brilliant colors Griet grinds obediently for her master, the deep yellows and the bright blues that will translate light onto canvas. This translation of book into film is not quite so effortless or lovely. Lavish attention to historical detail, the thorough immersion in this unusual world and Johansson's impressive performance make Girl With a Pearl Earring memorable but not a masterpiece.

From today's Times Eye section on latest DVD releases, there is a review of the latest rom-com DVD's. There are pictures from Le Divorce, Down with Love and Hope Springs with CF carrying HG. The bit on HS says: Old-fashioned hearts and flowers are esssential ingredients of a proper rom-com. The gently romantic HS is a film in which the names of two of the main protagonists - Colin and Vera - give you some idea of the target age range.[!] CF plays a gilted painter who arrives in a sleepy New England town and rediscovers life and love with the local booze-hound (HG). Quietly paced but never slow, this is soft-centred fare for a rainy afternoon. On the subject of The Nanny project, have to say that I am in the pro camp. And if it was the choice of LD, then I would not blame her. I feel sorry for her (well - a bit sorry). It is one thing to marry a relatively unknown actor; quite another thing to find yourself hitched to the "world's sexiest man". And in a world full of glamorous seductive women who would regard it as good publicity to add him to their list of conquests. He is just a man after all, not superman. I think most people have to make choices when they work in professions or businesses where in order to reach the very top, family and personal relationships have to take second place. Colin is lucky in that he can, if he chooses wisely, tread a path where he can combine success and personal life. I think he has shown by choosing projects such as Trauma and Conspracy that he would like to do more serious work. I assume that the choice of lighter fare is to pay the mortgage and because higher profile serious drama has not yet been off red to him. IHNSVHO that is ;-)

Weighing in on the "Nanny" situation, I would have to lean towards to Pro side if only for the ET involvement. Take her out of the equation and I might repair to the fainting couch with fingers pressed to a deeply furrowed brow.

Karen - impressive shrine! Is recent news quite this dire? ;-)

Colin Firth, with sullen rock-star eyes and hair, Did I miss something? Did Vermeer play air guitar with one of his brushes, or did Connie see WAGW? (Shoshanna)Karen - impressive shrine!Is recent news quite this dire? Yeah, boss, I'm confused. I thought one lit candles in anticipation of red-less finger nail projects. Are the candles lit with the hope that this nanny stuff was a nightmare ala the Bobby Ewing dream episode of Dallas? Or, are they lit in anticipation of the "horizon" stuff Hola mentioned? GWAPE tonight and tomorrow. Ooh-la-la

adding this little light(s) of mine, I'm gonna let it shine........ I will try to keep a positive outlook and hope that this is perhaps a favor to Emma (and a paycheck) and that it will help keep him as *durable* as he wishes. Now back to the juicy stuff!

Saw GWAPE yesterday here in Tulsa. Good crowd (60) for Fri matinee. *Am taking spoonful of sugar*. Agree with DD who said take ET out of the equation and I take a spoonful of Pepto-Bismol. Working Title not stupid. Those G-rated films take in $$$$$$$$ regardless of the reviews. Another supporting role where he doesn't have to carry the movie:-)) And just for the record, I don't care about his home/family life. ;-/

(Evelyn) And just for the record, I don't care about his home/family life. But I bet he does! ;-) I like ODB because he seems so grounded...as well as being a great actor. If he were sans wife and kids.....a serial dater, with a different woman every couple of months, I don't think the appeal would be as strong for me. That and he seems to have read a few books....or done his Guardian crossword.....we got "precipitious" from ODB....when Dorine and I saw Ashton K on the carpet, we got a thumbs up....big difference! That ODB seems to have some substance makes me all tingly....(add the dimples, the Jon Stewart interviews, that walk and posh voice and I'm a total goner!!)

Sorry to post twice in a row. Local (Portland OR) review. From the The Willamette Week A Rare Beauty Tracy Chevalier�s Novel Girl with a Pearl Earring comes richly to life on the big screen By Lindsay Utz When writer Tracy Chevalier looked at Johannes Vermeer�s striking portrait of a fair-skinned girl wearing a pearl earring, she imaged a world beyond the oil colors and canvas. Building on the few known facts about Vermeer�s life, she created a story about a girl who inspired his most famous painting. Now the film Girl with a Pearl Earring breathes new life into a work of art that is more than 300 years old. The setting is Delft, Holland in 1665, where a proud tile craftsman has been blinded in a terrible accident and can no longer provide for his family. His daughter, Griet (Scarlett Johansson), is forced to go to work at the home of the master painter Johannes Vermeer (Colin Firth). Griet�s days are spent cleaning the artist�s studio, careful not to disturb anything, but curious all the same about what goes on. Vermeer watches her. He recognizes Griet�s innate understanding of light and composition, the artistic potential that dwells beneath the demure surface. Slowly she becomes a part of his mysterious world. Girl with a Pearl Earring is that rate film that feels like a rich literary novel, taking its time to develop characters and establish story lines. To ensure a faithful adaptation, Chevalier and screenwriter Olivia Metreed were in close correspondence during the writing of the script. The result is a film that retains the literary essence from which it drew it�s inspiration, and at the same time pays visual homage to Vermeer and the art of painting. Every scene is carefully lit, composed to create the depth and texture of a painting. The snowy streets and bustling markets of 17th century Delft seem like familiar scenes, right out of an art museum, come to life. Extraordinary performances work with Metreed�s deft script and Peter Weber�s assured direction to add dimension and character to the film. Australian actress Judy Parfitt co-stars as Vermeer�s controlling mother-in-law, English actress Essie Davis is his jealous, possessive wife and prolific actor Tom Wilkinson is Master Van Ruijven, Vermeer�s licentious patron. All create indelible portraits. That teenage actress Johansson can hold her own among such heady company is amazing; she excels in her role as the quiet servant. With little dialogue, the actress conveys the complexity of her character primarily through her facial expressions, conveying a wealth of feeling with her large almond eyes. With subtlety, Johansson brings forth the passion and sexuality stirring inside her as Vermeer approaches and declares, �I will paint you as I first saw you. Not a maid. You.� Firth is the perfect Vermeer: commanding, intense and obsessive. But there is also a vulnerability to his character. The real Vermeer was a perfectionist, often taking months to finish a painting. As the disheveled, introverted artist, Firth has little dialogue, though his piercing stare says it all. At times, the tormented artist looks like he might cry. Alexandre Desplat�s original score is entrancing. In a way, the music becomes a character unto itself, the ethereal presence, haunting and mesmerizing. As the anger of Vermeer�s volatile wife, Catharina, intensifies and the erotic tension between Griet and Vermeer rises, the music builds and winds into a maze of exhilaration, drawing the audience into Vermeer�s passionate world. Thankfully, Hollywood didn�t get its hands on this film. Director Weber, working with a small British production company, has brought Chevalier�s novel to the big screen with a genuine desire to preserve the emotional truth of the book. Like a painting that hypnotizes the viewer, Girl with a Pearl Earring is an enchanting film that holds its audience spellbound.

(Tress)I like ODB because he seems so grounded...as well as being a great actor. I agree completely. With all of your comments. I know his private life shouldn't matter to me, but the simple fact is, it does.

(Willamette Week)Firth is the perfect Vermeer: commanding, intense and obsessive. But there is also a vulnerability to his character. The real Vermeer was a perfectionist, often taking months to finish a painting. As the disheveled, introverted artist, Firth has little dialogue, though his piercing stare says it all. At times, the tormented artist looks like he might cry. Nice nice nice . . very well put. (Willamette Week)With subtlety, Johansson brings forth the passion and sexuality stirring inside her as Vermeer approaches and declares, �I will paint you as I first saw you. Not a maid. You.� OK . .I know after even 4 viewings (the 4th being today) . .did I miss this scene? . .Perhaps this was in the version shown in Toronto? Tress - As with Janet I second and third your comments . .it is just those reasons I do like Colin as an actor and as a human being;) I am pro Nanny film;) . .he's done 2 serious film in a row . .going for a lighter turn w/ TEOR and now NMcP . what a better way to clear his head before his summer holiday with his kids. . . I'm trusting Hola will have great news on upcoming roles . . I feel it! I know, I'm disgustingly optimistic . . .;)

(Kimberly)....(Willamette Week)With subtlety, Johansson brings forth the passion and sexuality stirring inside her as Vermeer approaches and declares, �I will paint you as I first saw you. Not a maid. You.� OK . .I know after even 4 viewings (the 4th being today) . .did I miss this scene? . .Perhaps this was in the version shown in Toronto?... No, this line was not in the film (at least the one we've been seeing here in NY). I do seem to remember it from the book - it was a very pivotal moment. Have been thinking that I need to re-read this novel. Perhaps this is the final impetus to go digging through my bookshelf?

Ooops... forgot to add this to my previous post.. Tress, I completely agree with your summation of ODB and his appeal. It's the complete package that does it for me. Without all the depth, grace, and intellect, he's just another pretty face. I've often thought that beneath all the glossy packaging (which I'm sure *his people* have had a hand in designing), there's a bit of a nerd to be found. I can envision a quiet type, not completely at ease in the world, hiding beneath all that magnetism.

Back to news.... A mention of Trauma in a post-Sundance wrap-up column in the Contra Costa Times, though you don't get any indication of good/bad/indifference, just the recurrent themes or its use of the cinematic gimmick du jour: Festival audiences were shocked by Christian Bale's wasted appearance in "The Machinist," an edgy, existential plunge. Colin Firth's character retreats into a world of delusions following a personal tragedy in the psycho-thriller "Trauma," while Julianne Moore and Matthew Broderick endure -- even cling to -- a deeply dysfunctional relationship in "Marie and Bruce," screenplay by Wallace Shawn. http://www.contracostatimes.com/mld/cctimes/entertainment/7849313.htm

Thanks boss for the ultimate daddies (UD) of them all, Very appropriate, My Three Sons and Father Knows Best;-) (Kimberly)did I miss this scene No, but since I'm leaving in 15 minutes for viewing #4, I'll double check;-)I saw some things last night that I'll carry over to Spoilers, later. ...Thank You, Princeton!

(Leslie) ...there's a bit of a nerd to be found. Oh! Another reason to adore him! Love his 'self proclaimed' nerdishness....there is a slight geekiness to him that is appealing. V. v. appealing! Don't know if some of it is that self deprecation or if he does actually have spillage on cobbles....either way, I love it (and it comes through so wonderfullly in the leather pants dance in WAGW and in his singing in TIOBE and in everything about Edward in MLSF and......you get the idea!).

there is a slight geekiness to him that is appealing. V. v. appealing! Agreed! He must be the first "hunky heart-throb" to study A'level Religious Studies. And for some reason "Colin" is definitely a nerdy name in the UK.

(lizbeth54)And for some reason "Colin" is definitely a nerdy name in the UK. I know the man himself has mentioned this is the past, but in my part of the UK, Scotland, it is fairly unusual and definitely not nerdy! In fact, I chose this very name for my second son. (BTW, he was born long before my interest in ODB!!)

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Have moved Louise's message to Firthology. Remember, this is the News topic (didn't I say that about 6 messages back) and not the reaffirmation topic. ;-D

Lions Gate's "Girl With a Pearl Earring" grossed $1.3 million from 391 theaters, up 319 from the previous weekend. "Pearl" averaged $3,325 per theater and has gleaned an estimated $4.2 million.

For anyone planning to come to London anytime soon: they've produced a LA film location map, which you can get from the Visitor's Centre on Regent Street or download here: http://www.visitlondon.com/whats_on/031120loveactually.html Let's hope they do more of these for some better choices too.

Screendaily: Trauma Colin Brown in Park City 02 February 2004 Dir: Marc Evans. UK. 2003. 93mins Actor Colin Firth goes some way to rescuing his screen persona from being forever enslaved to his romantic alter ego Darcy with his morose presence in Trauma, in which he plays the spooked survivor of a car crash. Dishevelled, disorientated and anything but dashing, Firth�s mental meltdown continues to hold the attention even when the fragmented plotline veers into some murky cul-de-sacs. An ambitious exercise in cinematic atmospherics, the film plays best as a haunting meditation on grief and self-delusion, rather than as the outright boys-horror film one might have expected from the director behind the low-budget My Little Eye. Indeed, Trauma has more in common with Krzysztof Kieslowski�s metaphysical Three Colours: Blue, about a young woman unhinged by the accidental death of her husband and daughter, than it does a conventional chiller. There are creepy moments, for sure, and a culminating death unpleasant enough to register with fans of the macabre � particularly those who suffer from arachnophobia. But the slow-burning mood of ominous portent counts for more here than any storytelling shock and awe. Trauma trades in fear, not fright. The anguish begins in hospital where Ben (Firth) emerges from a coma to learn that his wife (Harris) has been killed in a car accident of his own doing. Or maybe not. In his stricken condition, Ben finds it increasingly difficult to wrestle fact from fiction. Visions of his wife torture him and so too the recent death of a pop superstar that seems eerily close to home. Perhaps he killed her instead? Retreating into an altered state of mental despair, Ben seeks refuge wherever he can � an enigmatic neighbour (Suvari), a psychoanalyst, a clairvoyant (Fricker), even his collection of ants. But each of them succeed only in tormenting him further. By the end, his tenuous grip on sanity has been torn away completely and he lashes out to devastating effect. Marketing this story, which will be released in the UK through Warner Bros, will require ingenuity. Its likeliest audience appeal lies somewhere in the space between Firth�s legion of female groupies and that narrower, predominantly male vein of puzzle addicts who loved being teased by films like Memento. Their common ground might be represented by Don�t Look Now, a seminal film that was steamy enough to be a date movie, but also artful enough to keep the most ardent suspense fans guessing. In the case of Trauma, the question is whether there is enough emotional involvement or cryptic mystery to tempt either constituency into seeing Trauma at theatres, rather than waiting to see it at home. Those that do pay at the box office will at least be rewarded by a UK film whose visual and aural virtuosity sets it apart from the television-influenced social-realist dramas and comedies that have come to typify this country�s output. Dressed in neo-gothic garb, this is a more mythical take on contemporary London than we are used to. Every trick in the cinematic armoury, from elliptical editing to menacing production and sound design, is deployed to create an angst-ridden canvas. But this technical tour de also comes at the expense of audience engagement. In the past, before MTV music videos and Avid digital editing suites changed the filmmaking vocabulary, directors like Don�t Look Now�s Nicolas Roeg could rely on shadows and dark motifs to unsettle viewers. But with even Hitchcockian devices now too hackneyed to truly disturb anymore, the tendency has been towards sensory assault and ever more disjointed narratives in order to keep ahead of viewer anticipation in this kinetic, post-modern age. The problem here is that not every image makes sense, even on a subliminal level; rather that unlock the door to our subconscious fears, this impressionistic barrage of incongruities ends up baffling. This is dislocation to the point of distraction. On the positive side, Welsh filmmaker Marc Evans is nothing if not prescient. My Little Eye, his previous film that took the reality TV concept to horrific extremes, was developed before the Big Brother series had even hit British television. Trauma, his immediate follow-up to that claustrophobic cult favourite, effectively plugs into the emerging zeitgeist of dread and anxiety. Trauma was one of three unnerving Sundance psycho-dramas � along with November and The Machinist - that played tricks with memory and time to the point where fantasy and reality melds into one hallucinatory mindscape. It is not too much of a stretch to see in such films the first signs of a return to the paranoia and unease that marked cinema at the height of the Cold War in the late 1950s.

Thanks, Mari. I find this to be a literate, succint, and accurate review. The first thing I thought of to describe this movie as I was watching it, was it was definitely an exercise in style, which I don't consider a negative thing. I also enjoyed GC's Confessions of a Dangerous Mind for the same reason, in addition to the story. I don't understand why the reviews seem to think MS plays a psychoanalyst of some sort. I'll put further comments about that on Spoilers.

(Screendaily)Marketing this story, which will be released in the UK through Warner Bros, Thanks Mari for this . .here's hoping WB will release it in the US as well . . I just found this facinating: (Screendaily)Those that do pay at the box office will at least be rewarded by a UK film whose visual and aural virtuosity sets it apart from the television-influenced social-realist dramas and comedies that have come to typify this country�s output. Dressed in neo-gothic garb, this is a more mythical take on contemporary London than we are used to. Certainly makes me curious to see it . . .

I just saw a promo of 2004 BAFTAs on BBC America - among all the bits is a flash of CF and wife in their 2003 aisle seats.

A fairly decent review IMO. Made it seem an interesting and worthwhile watch. Screendaily's reviews are often couched in such advisory language, as it is a trade paper and is primarily focused on the business end (box office, marketing and distribution), so those aspects don't bother me. Wasn't too keen on the reference to Firth's legion of female groupies however. :-( However, they will need to get to that *other* group (males) for this film to make it. (Kimberly) here's hoping WB will release it in the US as well . . I think it's pretty clear that WB (US) has passed on it.

(Karen) Girl With a Pearl Earring" .... has gleaned an estimated $4.2 million. Karen, do you know what a film of this type would have to gross overall (approximately) in order to be considered a successful release by the film trade?

(Kimberly) here's hoping WB will release it in the US as well . . (Karen)I think it's pretty clear that WB (US) has passed on it. Oh crap and a half . . .this is one I do want to see in the theaters b/4 the DVD comes out (provided the DVD will be released here in the US)

Dark Horizons is reporting the same NMcP news, though it could just be someone reporting what they've seen here. Hardly an independent confirmation. From the book jacket: Nurse Matilda, "the ugliest person you ever saw in your life," with "a nose like two potatoes," and "one huge front Tooth sticking right out like a tombstone over her lower lip" descends upon the enormous family of outrageously bad Brown children to teach them the error of their ways. Her method is simple, and foolproof: when they are doing something naughty she hangs her magic stick, which causes them to continue doing it endlessly until, of course, all the fun has gone out of it. Each chapter in Nurse Matilda is another episode in this odyssey of naughtiness, beginning with a recital of the children's misdeeds. ("Tora was pouring treacle into the Wellington boots. David was putting glue in the sandwiches, etc.") and ending with the chorus, "And all the other children were doing simply dreadful things too." As their manners improve, she herself grows prettier ("her smile was so lovely that she would have looked like the loveliest person in all the world if only....it hadn't been for that terrible Tooth!") ntil when at last they are (at least temporarily) reformed characters, she leaves. "When my children don't want me, but do need me, then I must stay. When they no longer need me, but they do want me: then I have to go."

"When my children don't want me, but do need me, then I must stay. When they no longer need me, but they do want me: then I have to go." Very Mary Poppins-ish . .was that Nanny based upon this one I wonder . .or vice versa?

According to the introduction, the first Nurse Matilda book was published in 1962 in an anthology called Naughty Children. "The story had been handed down orally in Brand's family from generation to generation and was originally told as far back as the mid-1800s, and it has taken many different forms over the years." "The oral history of the story is readily apparent in repetitive details and lists and in the occasional direct address to the audience. And the predicatability inherent in the episodes, which follow a set pattern, gives listeners a delicious sense of impending doom, as they can easily see what's coming. These qualities of the story that stem from its original oral origin are just the qualities that make 'Nurse Matilda' so suitable for reading aloud." ...I'll type up more of this later, but I thought this more relevant: "The appearance in the 1960s of the story of a Victorian nanny was somewhat uncommon, and this particular nanny could be easily compared to such familiar characters as Mary Poppins and Betty MacDonald's Mrs. Piggle-Wiggle. But there are several qualities of the Nurse Matilda books that set this English nanny distinctly apart from her peers in children's literature. One quality is the outrageously bad behavior of her young charges. They light-heartedly set to the tasks of pouring syrup in their boots, giving the dogs a bath in the cook's stockpot, and shampooing each other's hair with glue. The other quality is the metamorphosis of Nurse Matilda that occurs each time the children improve their behavior...."

Would love to have been a fly on the wall. From Variety: UIP bullish about '04 United Intl. Pictures has set itself an aggressive target of more than $2 billion in theatrical grosses for 2004, up from last year's $1.74 billion. This was the challenge laid down to 90 UIP execs from around the world when they gathered in London a fortnight ago for four days of marketing meetings, intended to rally the troops behind its muscular 2004 slate of pics from Universal, Paramount and DreamWorks. "We believe this is our biggest and best slate ever," boasts one UIP chief, "and we wanted to let the managers know what we expect from them." U carried the burden of the 2003 slate, but this year's product will be more evenly spread across the three studios. Jeffrey Katzenberg flew in to screen a rough cut of "Shrek 2" to UIP managers from the European territories, plus Brazil, Mexico, Australia, Japan and Korea. They also saw the nearly finished "Thunderbirds" from Working Title/Universal ("quite camp with lots of primary colors, great fun," per one territory manager, who predicted it would squarely hit the "Spy Kids" audience). Scott Rudin showed footage from "The Stepford Wives," Emma Thompson highlighted her upcoming "Nanny McPhee," and there were glimpses of "The Bourne Supremacy," "Bridget Jones: The Edge of Reason," "Van Helsing" and "Riddick." Local managers were bullish about the 2004 gross target (stated in constant currencies), but one noted that with the international B.O. no longer growing rapidly overall, UIP must achieve it largely at the expense of rival distribs.

"the ugliest person you ever saw in your life," with "a nose like two potatoes," and "one huge front Tooth sticking right out like a tombstone over her lower lip" descends upon the enormous family of outrageously bad Brown children Well, Emma is a sharp lady, so let's hope she's had sense enough to: --Lose the big nose and tooth and just look like herself. --Make Mr. Brown a lonely widower. --Reduce the number of kids from 20 to 7. --Give them names like, I dunno, Liesl, Kurt, Brigitta, Louisa, Friedrich, Marta, and Gretl. --Let Colin do a cover of "Edelweiss." These are the only circumstances under which McPhooey would be even marginally acceptable to me. ;-)

(Mari)Let Colin do a cover of "Edelweiss." Only if he plays guitar again . .ala Christopher Plummer . . . Am now getting images of Colin in lederhosen;) . . . .

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Emma Thompson highlighted her upcoming "Nanny McPhee," Ooooh! Maybe there's still time for the execs to quash it. Quick, Evelyn, cash a CD and buy one of the collectors' editions of the book for your nightstand. I'll get out my voodoo doll and stick a potato on as a nose. ;-) (Mari)--Give them names like, I dunno, Liesl, Kurt, Brigitta, Louisa, Friedrich, Marta, and Gretl. --Let Colin do a cover of "Edelweiss." LOL! (Mari) These are the only circumstances under which McPhooey would be even marginally acceptable to me. ;-) But I still might Climb Every Mountain to get away from this one. You'll see, his character won't even have a first name, being as insignificant as he'll be. Mr Brown will join the legions of child story parents with no names, like Mr Darling.

(Karen) You'll see, his character won't even have a first name, being as insignificant as he'll be. Mr Brown will join the legions of child story parents with no names, like Mr Darling. Maybe this is his prerequisite movie that his children can see;-)Especially now since he is an Ultimate Dad.

Maybe this is his prerequisite movie that his children can see;-)Especially now since he is an Ultimate Dad. OMG, now his *kids* are picking his movies.

(Mari)--Make Mr. Brown a lonely widower. One can only hope. (Karen)Mr Brown will join the legions of child story parents with no names, like Mr Darling. Does Harry Potter look any better, now?

(Linda )Does Harry Potter look any better, now? *snort* Hey Linda, think the boss will Shangai-us to a Spring topic to discuss Nanny McPhooey;-)

(Kimberly) Am now getting images of Colin in lederhosen;) If he shows up in jollyhose, I might be enticed. ;-)

(Kimberly) Am now getting images of Colin in lederhosen;) (Dorine)If he shows up in jollyhose, I might be enticed. ;-) OK . .how about a jollyhose appearance + another air guitar moment . . . .now I'd pay to see that . . .;) . .A new interpretive dance moment: I shall entitle it . ."Mr. Brown does the laundry" Imagine the animicolin that Rika could make from it;)!!!

I think those would be Sophie's animicolins. :-)

(Dorine re: Trauma review posted by Mari) Thanks, Mari. I find this to be a literate, succint, and accurate review. The first thing I thought of to describe this movie as I was watching it, was it was definitely an exercise in style, which I don't consider a negative thing. Ditto! I enjoyed how this film was shot. Found it confusing at times, but it was intended to be (IMO) so that we could get a feel for what Ben was going through. It all comes together in the end (and why I recommend at least two viewings as things fell into place for me once I realized what was happening). Even to the point of opening and closing with the same 'image'. I thought it was very clever. (Dorine) I don't understand why the reviews seem to think MS plays a psychoanalyst of some sort. Suvari was described as the enigmatic neighbor...then there was a comma....psychoanalyst. And well....that does need to be discussed in spoilers! ;-D

(Evelyn) Hey Linda, think the boss will Shangai-us to a Spring topic to discuss Nanny McPhooey;-) Don't laugh. I've been thinking about it - a topic I can "forget." (Please note: no winkies)

(Dorine)I think those would be Sophie's animicolins. :-) Erp . .sorry Sophie! . . Was talking to Ada about I think it was Rika keeping a b'day list . .I always associate the appearance of the animicolins w/ someone's b'day on Drool:) . .free association . .

Other Firth Father roles: Do long time fans remember when he was rumored to be doing "Seven Little Australians?" I even bought the paperback. He would have played the father, Captain Woolcot, a real martinet.

(Murph)Do long time fans remember when he was rumored to be doing "Seven Little Australians?" I even bought the paperback. Missed that one on my night table. Like your new Hall of Dads pic boss....dare you to put it on firth.com so he and his agent can see it;-/

(Evelyn) Hey Linda, think the boss will Shangai-us to a Spring topic to discuss Nanny McPhooey;-) I can see it now Topic -000 of 190 (drool): Bednobs, Broomsticks, and Nightstand Nightmares;-)

OK, here are some updates (though not finished yet)... The Chiswick pics are now clearer and clickable: http://www.firth.com/gal/gal_03jw.html And there's a whole new page of LA NY premiere pics; have given placement of honor to one pic in particular: http://www.firth.com/love_gal_nyprem4.html

Thanks for the great pics Karen - both here and the TEOR topic . . OK . .who are the lucky Droolers in the top LA pic?:) . . This one w/ ET and Colin is also darling . .

Thank you, Karen. The abundance of pics today has been a welcome reprieve from this cold, dreary day. And yes, pray tell, do we know any of those lucky fans in the LA premiere photo?

Here's a very negative review of Trauma. Reviewer seems fair, not blaming Colin, who he seems to respect. Doesn't look like this film will go very far. http://hollywoodbitchslap.com/review.php?movie=8520&reviewer=128 Excerpts: ...Basically, 'Trauma' was at the top of my Must See list for much of the fest...and guess what? The flick kinda stinks!... Trauma is a movie that you'll want to throttle after thirty minutes as you spit the following from between your gritted teeth: Get...on...with...IT...ALREADY!... Colin Firth, the ever-watchable and workmanlike performer, does the best with what he's given (which is lots of flashbacks, wide-eyed staring, sequences of sweaty angst, etc.) but there's barely enough meat here to support a whole movie, let alone a standout acting performance... 'Trauma' is not exactly a 'poor' or 'inept' piece of moviemaking, but if this movie had a pulse...it must have petered out within the first 15 minutes.

Thanks for finding (?) this review, although if you look at what this clown as reviewed in the past (pretty much nothing anyone could pay me to see) I find it as meaningless as most online reviews. http://hollywoodbitchslap.com/hbs.cgi?reviewer=128 Some new GWAPE LA premiere pics: http://www.firth.com/gwape_premgal8.html

Thanks, Katty for pointing out the review. I can't totally dismiss a bit of his criticism. I did address the slowness before. I wasn't annoyed about it as he was. But, I have to say that anyone who rates Indiana Jones and the Temple of Doom with 4 stars, I take with a grain of salt. (That goes for the 4 star rating for Zoolander, too). Thanks, Karen for the pics. Love the pics of ET with Colin. She looks as proud of him as we sounded. ;-D And what's with the expression in this pic? :-0 (Linda) I can see it now Topic -000 of 190 (drool): Bednobs, Broomsticks, and Nightstand Nightmares;-) Too funny!

(Linda) I can see it now Topic -000 of 190 (drool): Bednobs, Broomsticks, and Nightstand Nightmares;-) Thanks for the title. Now, everyone get on the stick and buy the blasted book so it won't be made. Sticking more pins in my doll and reaching for the Vicodin. OK, the last four were put up at the NY Earnest premiere: http://www.firth.com/p_eye3.html Like the one where he was waving goodbye to Lora. ;-)

Katty, thanks for the review site. This guy was looking for Horror movies. He went to see (from what I gather from the spoilers) a psycho-drama, suspense movie -- could be why he was disappointed.

Sticking more pins in my doll and reaching for the Vicodin. Ahem, please make that Percocet. ;-) (Gail) This guy was looking for Horror movies. He went to see (from what I gather from the spoilers) a psycho-drama, suspense movie -- could be why he was disappointed. My thoughts exactly.

(Dorine) Ahem, please make that Percocet. ;-) Only if you send me over some samples. ;-) (Gail) This guy was looking for Horror movies. He went to see (from what I gather from the spoilers) a psycho-drama, suspense movie -- could be why he was disappointed. (Dorine) My thoughts exactly. The only problem *is* that this is exactly the group they need to sell this movie to.

(Karen)And there's a whole new page of LA NY premiere pics; have given placement of honor to one pic in particular: Many, many thanks for that top placement. I am humbled. Funny you should mention Lora's pictures from the Earnest premiere. At the time, (May 13, 2002) I never thought it would happen to me;-) (Dorine)And what's with the expression in this pic? :-0 ...should I do another drama, or go with the Nanny business?

(Leslie) And yes, pray tell, do we know any of those lucky fans in the LA premiere photo? I recognize a few folks! ;-) That's my pen and poster...and my face is obscured by Kathy's book....I'll let everyone else identify themselves if they wish... (Dorine) And what's with the expression in this pic? :-0 Maybe a cell call from the missus saying they're out of nappies and there is an 'emergency'...he's thinking of fastest route to Sainsbury's and where wipes are located?! ;-D

(I'm behind a vertically held camera - didn't notice that before!)

Oops, Didn't identify myself...I'm standing next to Tress with that goofy expression on my face. (hey what can I say, breathing his air was intoxicating), or was that the Chardonney from across the street? I'm holding a copy of Speaking With the Angel.

So much fun to get to know everyone's faces. But the next logical question to follow is...okay, did HE know who YOU were?

(Leslie) But the next logical question to follow is...okay, did HE know who YOU were? LOL...noooooo! Thank goodness....don't want to be remembered as the loo girl. Besides, I'm not sure that he would acknowledge remembering a fan...

(Tress) don't want to be remembered as the loo girl. LOL! Nor me as the monkey in the "potted palm." ;-) Though standing on the light pole at The Metropolitan Club may have caused flashbacks. :-D

(Dorine) And what's with the expression in this pic? Don't know, but I thought he had a *blahh* face on in quite a few of the Chiswick photos. A bad day, perhaps?? A falling out with the missus?? Beter yet, thinking about his upcoming role in 'Nanny McPhooey'??

(Tress) I recognize a few folks! ;-) That's my pen and poster...and my face is obscured by Kathy's book....I'll let everyone else identify themselves if they wish... I apologize wholeheartedly for obscuring your face with my book! Very bad timing on my part. Since I opted to sit perched on the barricade thing behind us in order to get a better view, I'm behind everyone and I never appear with CF except in one tiny pic on TM where my head is about the size of a pencil eraser. Please avoid the making obvious comments I just set myself up for. ;-)

(Kathy) I never appear with CF But you are in a number of clips shown on Talking Movies, as I recall.

So how long am *I* going to have to do penance and look at those Dad's of my youth when I come here for some Drool juice? Mercy!

(Beedee) So how long am *I* going to have to do penance and look at those Dad's of my youth when I come here for some Drool juice? Mercy! At least until after I get back from Betty Ford and I'm pointing fingers!!

(KathyF) I apologize wholeheartedly for obscuring your face with my book! Very bad timing on my part. Oooohhhhhh no! I thank you for that! I'm sure I have a dumbfounded/awed/stupid look on my face that needed to be hidden at all costs! ;-)

(Karen)Thanks for the title. Now, everyone get on the stick and buy the blasted book so it won't be made. Sticking more pins in my doll and reaching for the Vicodin. (Dorine)(Dorine) Ahem, please make that Percocet. ;-) Ooh me! Me too! I'll take the drugs, but not sure the movie has anything to do with it ;-)... At least I know B,B&NN would release here so folks could take the grandkids.. Thanks all for the news and Karen for new galleries here and at TEOR. Oh, and line up the arrows on that childproof lid... Feb. 04, 2004 Father's day for Firth on 'Nanny' pic Colin Firth is in negotiations to star opposite Emma Thompson in the family comedy "Nanny McPhee" for director Kirk Jones. Shooting starts in April around London, with Working Title toppers Tim Bevan and Eric Fellner producing along with Three Strange Angels topper Lindsay Doran. Thompson also wrote the screenplay, adapted from the "Nurse Matilda" book series by Christianna Brand. The stories follow a magical nanny and the seven worst children in the world. Firth would play the father of the children. Doran has been shepherding the project since 1997, when she was head of MGM specialty unit United Artists. When she stepped down for a production deal at the studio, she took the project with her. Working Title recently signed on to produce with her. Bevan and Fellner have a previous relationship with Firth, having worked with him on "Bridget Jones's Diary." He is in front of the cameras opposite Renee Zellweger on the sequel "Bridget Jones: The Edge of Reason." Firth is repped by ICM. (Chris Gardner) http://www.hollywoodreporter.com/thr/film/brief_display.jsp?vnu_content_id=2082929

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Firth would play the father of the children. What happened to wanting to being a fat character actor? ;-)

(Me) What happened to wanting to being a fat character actor? ;-) That would be....wanting to be a fat character actor? Not usually up so early and distracted by prep for phone interview. :-(

(Maria/THR)The stories follow a magical nanny and the seven worst children in the world. Alrighty, one of my five requirements from #1104 above has been met: --Reduce the number of kids from 20 to 7. Four to go. "You look happy to me, t'me." ;-) (Dorine)What happened to wanting to being a fat character actor? ;-) Or a masturbatory village pervert? *Sigh* those were the days. ;-) Love the new LA premiere pics! Fan base, start thinking about what we do for an encore for the TEOR premiere!

From Variety: Multi-nation adaptation A&E execs talk early and often to U.K. for classic co-productions By SHALINI DORE With titles such as "Pride and Prejudice," "Horatio Hornblower" and "Shackleton" as evidence, A&E's success with its Brit co-productions is due to careful, time-consuming preparation. Delia Fine, A&E's VP of film, drama and performing arts, oversees many of these projects with her five-person department, and talks to her U.K. counterparts, be they at the BBC, Granada or Channel Four, early on. Discussions continue during development before A&E signs on. Fine also has her say on writers, cast and other talent. "If you don't have a shared vision, it can all end in tears," says the net's 15-year vet. Jane Tranter, head of drama at the BBC, has worked with A&E for five years, beginning with "Lorna Doone." Partnering with A&E has been crucial to the re-emergence of classic adaptations and not just for the financing that raises production values, she notes. "We've been able to make them (classic adaptations) to a certain standard. It's critical to engage audiences. There is the shared desire of BBC and A&E to make classics accessible to audiences, books that most people wouldn't think of taking off shelves and reading." Michele Block, controller of drama at ITV's London Weekend Television, has worked with A&E for five years on projects including the "Horatio Hornblower" series and Agatha Christie mysteries. "It's not like we take American money and run away," she says about the partnership. "During production we talk every week about casting, about rushes." The series Block greenlights are not necessarily with an eye toward the U.S. "Co-productions have to benefit both sides, have to serve both masters and not feel grafted on," Block says. The amount of coin each company contributes to the project differs, but Fine won't go into specifics. Fine takes pride in the net's role in raising the profile of thesps such as Colin Firth ("Pride and Prejudice"), Kate Beckinsale and Samantha Morton ("Emma"). However, not all their co-productions are what Tranter calls "bonnets and bows." The upcoming "Pride," from the BBC, is a coming-of-age tale by Simon Nye about lions in Africa. Docu, directed by John Downer, includes the voices of Sean Bean, Helen Mirren and Kate Winslet. "The Last King" ("Charles II" in the U.K.) is based in the 17th century, a turbulent period in British history. Fine says A&E rarely imposes casting choices based on American preferences, although they did suggest Peter Falk for the role of the Rev. Theo Kerr in "Lost World." "You just can't force that," Fine says of the casting process. "You don't want to violate the integrity of the project." While most of these projects are co-productions, BBC's "MI-5" started out as a pickup for the American net. " 'MI-5' was on our radar," Fine says, but the Beeb had only ordered six episodes. Once viewers responded, the Brits ordered 10 episodes and A&E stepped in as a co-producer. Tranter says the project, called "Spooks" in the U.K., happened very quickly. "I read the script and commissioned it in hours. We didn't search for a partner. A&E looked at it and decided to come in, but it was already in the can." Date in print: Mon., Feb. 2, 2004,

Fan base, start thinking about what we do for an encore for the TEOR premiere! And start saving those pennies! If there's a NY Premiere in Dec, it'll cost ya extra for hotels. Prime tourist season. Unfortunately there doesn't seem to be a huge lead time to know when it is to make reservations ahead.

(Mari)Or a masturbatory village pervert? Wasn't he that in MoM? ;-))) (and a v.v. cute MVP he was)

(Mari) --Reduce the number of kids from 20 to 7. LOL! I started reading the book last night, and in the first five chapters, I've already noted 24 children's names). This is pathetic stuff, unless you're a four-year-old. :-( The parents, thus far, are completely on the periphery and, as Bethan said "clueless." For the mother, Glynnis John comes to mind. At the end of each chapter, NM tells them the kids have learned a lesson and that's about it.

Does anyone remember a CHEERS episode where ET played, I believe, Frasier's first wife who was a children's program TV hostess who showed up wearing a hat that sprouted a daisy or am I completely bonkers? (Or more precisely: Am I bonkers on this recollection?) If I am not, if certainly conjures up an image suspisciously "Nannyesque."

According to the IMDB, it was 1982, the character was Nanny Gee/Nannette Goolsmann, in an episode entitled "Fraiser Crane's First Wife." There is a collage at this ET website: http://www.muldermedia.com/emma/gallery/stills/cheers1.html

Seems that wasn't the episode title. More info here: http://s9000.furman.edu/~ejorgens/cheers/episodes/235.html

Okay, just a beanie no daisy - am clearly confusing her character with Mary Poppins. Ergo, only partially bonkers (a condition that has already been diagnosed;)

From IndieWire's article about the indie boxoffice results from the weekend: "The increase in 'Girl' screens was not a result of, but rather it was timed to, the Oscar noms," said Lions Gate chief Tom Ortenberg via email responding to iW questions on the film's larger roll out. "We were confident of 'Girl''s playability in art houses, and we knew were a contender in several categories for the Academy Awards, so we decided to use the week of the nominations as our springboard into commercial theatres."

we decided to use the week of the nominations as our springboard into commercial theatres." Saw it twice over the weekend in an art house and commercial theater-both sold out. I'm also surprised at the number of times a day it's playing as well-even through the weekdays. More of the same: Firth Joining Thompson in Nanny McPhee Source: The Hollywood Reporter Tuesday, February 3, 2004 http://comingsoon.net/news.php?id=3289

and another from Zap2it: Firth Fingered for 'Nanny's' Father Figure Wed, Feb 04, 2004, 08:02 AM PT LOS ANGELES (Zap2it.com) - Colin Firth fans who love to see the strait-laced actor distressed and slightly rumpled will practically drool over his newest role. Firth, 43, will play the harried father of the seven worst children in the world in "Nanny McPhee," according to The Hollywood Reporter.. Adapted from the "Nurse Matilda" book series by Christianna Brand, "Nanny" stars Emma Thompson as the magical nanny to the misbehaving rug rats. Thompson also wrote the screenplay. The film marks a reunion for Firth and Thompson, who co-starred in 2003's holiday romantic comedy "Love Actually." Kirk Jones will direct the project, which will begin shooting in April around London. Firth currently stars opposite Scarlett Johansson in "Girl with a Pearl Earring" and is reprising his role as Mark Darcy in "Bridget Jones: The Edge of Reason," which is scheduled for release in November. http://www.zap2it.com/movies/news/story/0,1259,---20354,00.html

Hmmm . .back to Trauma for a minute. Don't think this was posted. Has US relase dated January 19th . .they meant Sundance . .but a UK release of Feb. 27th? http://www.thefilmasylum.com/database/t/trauma/trauma.htm And saw this: http://www.thezreview.co.uk/comingsoon/t/trauma.htm Tress, Dorine, Sandi . .curious . .was reading the 7/29/03 update on this page . .was that scene in the film?

I asked ME to confirm the UK release date....it is not correct, no new date given. I got the impression he wasn't sure. No, that scene wasn't in it. That question popped up at Spoilers, I think.

I got the impression he wasn't sure. That is....he wasn't sure when the release date is. Maybe it hasn't been rescheduled yet.

That is....he wasn't sure when the release date is. Maybe it hasn't been rescheduled yet. Thanks for the clarification, Dorine;) . ..

Oh! That has nice big pics....you can see the necklace he wears in Traaauuuuma is different than the one he wears now (this one is made of, what looks like, wooden beads, about an inch long):

(Dorine) Maybe it hasn't been rescheduled yet. It hasn't (direct from the lips of the distributor); that was the old date.

Colin's in the new Hollywood issue of Vanity Fair. Didn't make th cover (as SJ did) but... http://www.firth.com/articles/04vanfair_march.html

Oh, yes, LA has won three Empire awards: Best British Actress for Emma Thompson, Best BritishFilm, and Martine McCutcheon took Best Newcomer (open to all nationalities apparently). http://www.ananova.com/entertainment/story/sm_862676.html?menu=

Coming Soon announcing April 27th as US DVD release for Love Actually in both full and wide screen.

(Emma) News about old things: any one else in the UK seen the ads on channel 4 for Regency House Party? Oh! Wish we got it here!!! We had Manor House and I was addicted to that show....this one looks to be v. v. amusing! Thanks Emma! And Most Wanted Man indeed! Thanks Karen!!! Love the casual, no fuss way he lounges about......(I know...probably took three hours to get that pic.....but.....he still looks positively slackerly, even in the nice suit. YUM!)

(Tress)he still looks positively slackerly, even in the nice suit. YUM!) Ditto. Where's the location? Lampshade needs replacing. Suit reminiscent of "Tales from Hollywood Hills"

Have moved Emma's to O&E (Evelyn) Where's the location? Says London on November 14

(Tress)he still looks positively slackerly, even in the nice suit. YUM!) (Ev)Ditto. Dayyyyo! Yum indeed. What a lovely eyeopener;-) Thanks Karen

(Evelyn) Where's the location? (Karen) Says London on November 14 Just a few days after we saw him.....seems we took the wind out of his sails! ;-D

Vanity Fair pictures are lovely and made for a nice breakfast treat, but...what is it with photographing ODB in tatty chairs? (thinking: I've got a *very* tatty chair he could pose in) Great suit BTW.

(Eithne) (thinking: I've got a *very* tatty chair he could pose in) LOL....Oh! I'm liking the 'tatty chair' pics (I'd be willing to rip the stuffing out of one of my good chairs to have him sit in in that is what he prefers!).....gives me college day flashbacks....but the boys I knew didn't look that hot! ;-) Like how in this one we get the cool nekky lamp too! (Eithne) Great suit BTW. Agree....not a big fan of white suits in general (too Saturday Night Fever if they aren't the right material)...but a linen suit!? YES!!! Nice....v. v. nice!

I think the setting is charming, full of fabulous antiques. And the model ain't half bad either. ;-)

(Bee)Dayyyyo! Yum indeed. What a lovely eyeopener;-) Thanks Karen Mmmmm... thanks for the lovely morning pickup, boss!!!

Julian Broad does shoot some very nice pics of ODB...InStyle last year and now this. Ditto on the Mmmmm...thank you Karen!

OMG...the Vanity Fair pic....hottest image to come along in a while IMO. Loved the setting, the look, everything (even the striped linen, albeit white suit. Can't afford to be this distracted today...far too many things that need to get done. Thanks (I think), Karen.

Karen . .thanks for the article . . nice nice nice pic! Am liking suit v. much . . . hope more pics from this photo shoot surface somewhere on the internet. . .;) Tress- don't own a tatty chair myself . .but would be willing to purchase one if same such model would be included in the deal;)

Julian Broad does shoot some very nice pics of ODB...InStyle last year and now this. Ditto on the Mmmmm...thank you Karen!

(Eithne) (thinking: I've got a *very* tatty chair he could pose in) (Tress)I'd be willing to rip the stuffing out of one of my good chairs to have him sit in if that is what he prefers!)..... (Kimberly)don't own a tatty chair myself . .but would be willing to purchase one if same such model would be included in the deal;) LOL! Do you think a very large and comfortable but slightly tatty sofa would fit qualifications?

(Karen)I think the setting is charming, full of fabulous antiques. And the model ain't half bad either. ;-) Ditto! But what's the statue of Janet Jackson doing next to him?;-) Thanks, K. That Hollywood issue is Vanity Fair's most popular of the year; great placement for him. BTW, Region 1 DVD of Love Actually will be out April 27.

Yes indeed, LA on DVD! I can drool over that nubbly cardy to my heart's content, and just in time for my birthday (well, two days after). Do you suppose that's how they decided on the release date? ;-)

Eithne . .do you mean this one?;) Karen . .I have to say had a good laugh checking the update page on your site . . .the, um pic you chose for the NMcP news . .shall I be correct to assume that the pic is of the Titanic?;)

(lesliep_Loved the setting, the look, everything (even the striped linen, albeit white suit. Nothing more to add except thanks to the boss. I know the UD's are on the Spring page, but I'll take this daddy, anytime. I know we're a week early, but what a lovley pre-Valentine treat. Thanks for the LA DVD news (Tress)....but the boys I knew didn't look that hot! ;-) Hot, yes, but sizzling sums it up for me;-)

Sorry to double post, but that isn't a sinking ship is it? Could it just be lisitng a bit? New birthday theme emerging... I feel it in my fingers, I feel it in my toes.

(Kimberly) shall I be correct to assume that the pic is of the Titanic?;) Someone emailed me to say I should stencil S.S. Colin's Career on the bow. ;-) Our CF birthday theme two years ago was "Turn the Boat [S.S. Si Cara] Around." Evidently, he doesn't retain things for long. (Linda) New birthday theme emerging... I feel it in my fingers, I feel it in my toes. Do you now? The Birthday Steering (LOL!) Committee will accept ideas at anytime.

(Mari) Ditto! But what's the statue of Janet Jackson doing next to him?;-) LOL!! Thanks, K. That Hollywood issue is Vanity Fair's most popular of the year; great placement for him. Was saying to someone either he has a big fan at VF or he did get a good PR person. ;-)

(Karen) Someone emailed me to say I should stencil S.S. Colin's Career on the bow. ;-) ROTF!!! Oh, that's a shame. :-P

Maria is currently internet deprived, but found this review from The Calgary Sun. I'm passing it on...thanks Maria!!! Film minimalism by Louis B. Hobson Calgary Sun British filmmaker Peter Webber feels there is a time and place for heaving teenage bosoms. It�s just not in the 17th century Holland he explores in his romantic drama Girl With a Pearl Earring. Based on the best-selling novel by Tracy Chevalier, Pearl Earring is a fictional account of how Dutch painter Johannes Vermeer was inspired to create his famous portrait of a young woman with a pearl earring. �Courtesy of such people as Britney Spears and Christina Aguilera and their imitators, we are being bombarded with acres of naked teenage flesh,� says Webber in a phone interview from his home in London. �We are embracing this phenomenon of young women selling sex as part of their music or films. Sexuality is so open. There is no subtlety. �It would have been so wrong to introduce this kind of sexuality into Vermeer�s world.� Vermeer (Colin Firth) becomes fascinated with Griet (Scarlett Johannson) the new teenage serving girl in his household. Through their love of art, Vermeer and Griet fall in love. They fear as much as they long to consummate their passion. �I think the way Colin and Scarlett express the emotions of their characters is far more powerful. They let us know exactly how these people are feeling and what they are thinking using minimal dialogue and without overt sexuality.� Earring is being praised for its minimalist approach but the fact it reaches audiences with very little dialogue does not surprise Webber. �Cinema used to be silent. With no dialogue at all, early filmmakers told huge, complex stories. �Vermeer�s paintings are serene and transcendent. You would do this story a huge injustice if you turned it into a big, noisy film.� Webber inherited the film from Mike Newell, the director of such movies as Four Weddings and a Funeral, Donnie Brasco and Mona Lisa Smile. �When Mike had the film, it was supposed to be Ralph Fiennes and Kate Hudson.� Webber didn�t know the film was in limbo when he went to visit producers Andy Patterson and Olivia Hetreed about another project. �I saw the poster in their office. I was an art history major. I was telling someone outside their office how much I liked Vermeer�s paintings when Andy brought the script out to me and asked if I�d be interested in directing this movie for them.� Hudson had already left for another movie and, within months, so did Fiennes. �The fact I had to start over completely with the casting was the best thing that could have happened. As a director, you have to need to make it your own film.� Webber says he went to Firth with an offer because �there is always a tenderness in Colin that�s essential to Vermeer. There�s no vanity in Colin so I was sure he would risk the challenge of making Vermeer mysterious. �He is essentially a presence that lurks around the edge of the screen for so much of the film.� The moment Johansson read the part, Webber says everyone present knew �there was no one else for the role of Griet. With our picture and Lost in Translation, Scarlett is having an incredible and much-deserved year. She is a very special actor.� Webber is also having an incredible year � Girl With a Pearl Earring received 10 BAFTA nominations. �My phone is starting to ring. It�s amazing the impact even a nomination can have,� says Webber who has signed to direct an episode of HBO�s Six Feet Under before he begins work on a new feature film. 2004-01-31 http://www.fyicalgary.com/perl-bin/niveau2.cgi?s=films&p=81608.html&a=1

Another from Maria.... SPOILT SCARLETT JOHANSSON American actress SCARLETT JOHANSSON had to be taught how to scrub floors for her role in new movie GIRL WITH A PEARL EARRING - because she's never cleaned before. Co-star COLIN FIRTH was stunned the 19-year-old was so ill-prepared for her part as a maid who becomes artist VERMEER's model in the film, based on TRACY CHEVALIER's book. Firth says, "She never read it. However, being a New York teenager, she had never cleaned before and didn't have a clue. In fact, she needed lessons to teach her how to scrub a floor." http://www.contactmusic.com/new/xmlfeed.nsf/0/FE0610D0C997EB1880256E23004DDF0B!opendocument

(Firth) However, being a New York teenager, she had never cleaned before and didn't have a clue. In fact, she needed lessons to teach her how to scrub a floor." LOL! But I'd need lessons in how to do wash clothing in the 17th century too. Where's the ON button? No Swiffers? Thanks Maria-channeled-through Tress

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Karen, the Titanic is an absolute hoot! Definitely needed the Windex on that one. (lindak) Hot, yes, but sizzling sums it up for me;-) Ditto.

Firth says, "She never read it. However, being a New York teenager, she had never cleaned before and didn't have a clue. In fact, she needed lessons to teach her how to scrub a floor." New York teenagers don't clean? OMG...I knew I should have grown up there! ;-) Makes it sound as if those of growing up, in say, Arizona, did learn to clean 17th century style....down on hands and knees with big ol' brush, buckets of water taken from the CAP...scarves on our heads...LOL...I think I'd need lessons too, otherwise I'd be asking for the Windex and the Pinesol...

That would be it, Kimberly. My one and only keep. I've been looking for a pattern for a plain zipped cardy that I could knit up to duplicate/imitate that sweater. I have legitimate need for a sweater as I am moving from sunny Florida to frozen (to me, anyway) Maryland the end of February, so it may as well be something I can cuddle up with. ;-)

Tress - Please thank Maria for those fab articles! Eithne - What a keep! . .can imagine nice nights snuggled up in that with memories of you know who dancing about in your head;) I'll keep an eye out for a knitting pattern for you . .I just started to knit myself . .and am in the process of making a very sad looking scarf. Told leslie once I get the hang of it I just may knit myself a red/white one like my keep from FP! (Although my DH did get me one from the UK for xmas . .it'd be nice to see if I could make one with my own hands;) Hope your move up north goes well!!!

I believe there is a Crafts Conference at Spring or you might want to try email for personal discussions.

One more thing. No need to take up a message for apologies, etc. Here's the link to preorder the Region 1 Love Actually DVD: http://www.amazon.com/exec/obidos/ASIN/B00005JMFQ/spring-20

Cheer up, Karen! According to today's Times, CF is merely "mulling over the chance to join ET in the comedy Nanny McPhee". Maybe a last minute appeal will make him change his mind ;-) Or perhaps he is just holding out for lots of ������� & $$$$$$$$.

(Karen)Here's the link to preorder the Region 1 Love Actually DVD: Thanks Karen, I put it on my wish list for now but having gone there to check it out I have to ask, what's the deal with *Hope Springs* costing so much?

(Karen)Here's the link to preorder the Region 1 Love Actually DVD: A question on pre-orders, Karen.. I know if we purchase through the link, Spring gets some sort of commission. But do we get a better price by pre-ordering as opposed to waiting until the actual release?

(Allison) According to today's Times, CF is merely "mulling over the chance to join ET in the comedy Nanny McPhee". "the chance to join ET"???? Gaaah! This guy should be mulling over the "chance of working" with important directors, not her. No offense to Emma. OK, I've crossed all my fingers and toes and set the horrid little book on my nightstand. Am sticking extra pins in my Nanny McPhooey doll. Candles are lit. What else can I do? Thanks for the little bit of hope. (Leslie) But do we get a better price by pre-ordering as opposed to waiting until the actual release? No. It goes by the price. As long as you use the link, Spring will get 5%, which is the max on tapes/DVDs.

Published Friday, February 6, 2004 'Pearl' ain't no Vermeer Film JEFFREY YOHALEM Watching Peter Webber's new film "Girl with a Pearl Earring" is like trying to look at a masterful painting while listening to a crying baby: the noise just keeps getting in the way. At first glance the production looks remarkably promising, combining veteran actors such as Tom Wilkinson and Colin Firth with up-and-comers like Scarlett Johansson. Unfortunately the film fails to deliver any surprises, journeying so far into familiar territory as to be boring. Webber's tale of a misunderstood artist and the woman who loves him joins the burgeoning ranks of a sub-genre of the period piece: the tragic genius film. While many of the other members of this category contributed something to cinema, unfortunately all "Girl with a Pearl Earring" proves is that enigma does not protect against melodrama. The enigma in this case is the painter Johannes Vermeer, who was born in the 1600s, worked in Delft and was arguably Holland's greatest artist. With only a few official papers that contain his name in the hands of historians, his life remains sparsely detailed at best. This lack of documentation allowed Tracy Chevalier to write a fairly decent novel in 2001 centered around Vermeer's most famous painting, "Girl with a Pearl Earring." The film follows the same story, spinning the tale of a young peasant girl named Griet (Scarlett Johansson) who is sent by her family to work as a maid in the house of Vermeer (Colin Firth). The two women of the house who lord it over Griet, Vermeer's wife Catharina and his mother-in-law, are both tough and practical, and their only care for painting is the money it brings. Griet, however, loves looking at Vermeer's canvasses and he in turn loves looking at Griet. To him, she is the only one who truthfully takes an interest in his work. All of this is melodramatic enough without Olivia Hetreed's tepid screen adaptation which pushes the film into the realm of soap opera. Line after line paints ulterior motives onto the characters that either don't make sense or are overdone, and would have benefited from more subtly. Hetreed even goes so far as to use cliches without any spin to make them original: "We are all caught in his web" is one of her worst. Not once is it possible to believe the level of intrigue easily worthy of Queen Elizabeth surrounding Griet and Vermeer. Worse, Hetreed stays on the surface, writing "Girl with a Pearl Earring" as if it were a cheap thriller. The problem may partially lie in Chevalier's material: there just isn't enough there for a gripping story line. Yet Hetreed said about the book, "The domestic setting is deceptive. I saw it as a cinematic thriller from the start." Perhaps a repeat visit to the Amsterdam Rijksmuseum or a dunk in the canal outside would have been wise. Luckily, the acting manages to partially rise above the mediocre script. In an interesting if not altogether convincing character choice, Firth's Vermeer is timid and quiet. His personality seems so entirely demagnetized that it is hard to imagine that such emotional paintings could come from his brush. He spends most of the film cowering in his studio like a caged animal, leaving the bravery and most of the acting to Griet. Johansson is up to the task, fighting gallantly with the inflated script to add some much needed subtlety to the film. Her Griet is tough, hiding her inner light behind an appropriately dumb apathy to protect herself from all of the unpleasantries that surround peasant life. One of these is Vermeer's patron, Master van Ruijven, played lecherously by Tom Wilkinson. In contrast to Johansson's tempered performance, Ruijven's is over the top, as he harangues Vermeer and attacks Griet. The usually brilliant Wilkinson seems far too angry and coarse for a patron of the arts; maybe he sees the uspicious connections between "Girl with a Pearl Earring" and "The Governess," the far superior period film he starred in with Minnie Driver that tells almost exactly the same story. In any case, his mind seems to be disengaged from the performance. Despite its pitiful script and mediocre acting, "Girl with a Pearl Earring" is still a film worth seeing solely for its cinematography. The exciting visual premise of Webber's adaptation, the fact that he can shoot his film in the style of Vermeer, is a triumphant success. Eduardo Serra's cinematography is textured enough to peel off the screen, and his use of color and light rivals Vermeer's himself. To make the cutting of red cabbage look like the blooming of a black rose takes amazing skill, yet Serra accomplishes it in the very first shot. The characters themselves are treated just as intimately. Vermeer's mother-in-law Maria Thins is treated by the camera as if she is right out of a Flemish masterpiece, the wrinkles of her face twisting in the candlelight. Every interior reflects the Dutch fascination with keyhole views through windows and doors. Vermeer's house is full of half-open doorways and windows beckoning in the background. The exteriors are just as expertly crafted, sometimes with pastel city quares and other times with tones of green and orange in a sky that glows against rows of trees. Sadly all this talent only manages to muster the feel of a diorama when paired with the other elements of the film. The story flattens out the visuals, unmaking the reality that Serra painstakingly tries to create. After all the intrigue is finished, after all the money and effort has been expended, the simple, no-frills last shot draws more emotion and attention than all the rest: a long zoom out, starting on the earring of Vermeer's enigmatic painting itself. http://www.yaledailynews.com/article.asp?AID=24899

My issue of Vanity Fair arrived today. (Nearly stepped on and maimed dog and child by hurling myself towards the bundle that came in from the mailbox.) Very, very nice. Always thrilling to see him get a nod from the mainstream press. Kudos to whomever engineered that one.

Dutch Beauty Sandi Chaitram meets Girl With A Pearl Earring director Peter Webber and screenwriter Olivier Hetreed Girl With a Pearl Earring is universally recognized as one of Johannes Vermeer's greatest paintings. It features a beautiful, young girl - wearing a pearl earring - looking over her shoulder. The look on her face isn't quite clear; is she happy, sad? For centuries, art historians worldwide have debated as to the identity of that girl and how she came to be painted by Vermeer. Tracy Chevalier's best-selling novel of the same name is a fictional attempt to unravel that mystery. The artistic vision and sensual awakening of the main character Griet is told through Griet's eyes. Bringing those thoughts - not to mention capturing the awe-inspiring beauty of the painting - to the big screen would seem daunting. But, Screenwriter Olivia Hetreed's words and Director Peter Webber's vision successfully breathes cinematic life into the 'Girl'. Seventeen year old Griet (Johansson) takes up a job as a maid in Vermeer's (Firth) house. Very quickly Vermeer realises that Griet has an appreciation for his work; an appreciation lacking in Vermeer's wife, the forever-pregnant and jealous Catharina (Davis). So, Vermeer arranges clandestine meetings with Griet so that she can assist him. Vermeer's mother-in-law Maria Thins (Parfitt) spots the growing closeness between the two. However she turns a blind eye as she realises that Vermeer - not known for his speed in producing bankable work - inspired by Griet starts working more diligently. Both Griet and Vermeer feel strongly attracted to each other, but keep a professional distance. This however does not stop the gossips; that there is something more sexual between them. Matters are made more complicated when Vermeer's lecherous patron Van Ruijven (Wilkinson) commissions Vermeer to paint Griet for Van Ruijven's own private collection. Griet and Vermeer struggle to keep control of their feelings resulting with them having to confront the jealousies of those closest to them; and Vermeer creating a painting that will fascinate for centuries to come. Firth's Vermeer is a tortured soul who believes that a great work takes time to produce. The same could be said of the making of the film. It's had a pretty tortuous history spanning over four years. Hetreed and her husband (and one of the producers of the film) Andy Paterson had read the manuscript a few months before the book itself was published. Both believed strongly in the film, got the rights and came up with a treatment. Chevalier was concerned that the script did not descend into the Hollywood school of adaptation; that Griet and Vermeer didn't get naked with each other. Hetreed and Paterson fully understood that this was paramount to preserving the erotic power of the story. The book is not a sprawling epic but it's very descriptive. "The voice of the novel is in Griet's head," says Hetreed. "I didn't want to use a voiceover; it felt too modern, too self-conscious, so the challenge was to find a way to bring that inner voice to the screen." That task was made easier when Chevalier gave Hetreed creative license to do what she needed, to capture the essence of Griet. Hetreed was able to bring unique insights into how Griet's self discovery could be demonstrated on film - insight's that the author herself says she wished she'd thought of! "There are things that are only suggested so you have to find another way of showing that," explains Hetreed. "I wanted to explore the excitement that Griet feels when she begins to understand about light and how it works. So I devised the scene where she is outside polishing a silver bowl and she starts to play with the reflection on the wall." Hetreed's screenplay was ready to roll, but the following three years was a filmmaker's nightmare; always getting that close to shooting only for it to all to collapse. Then, Webber happened to be in Paterson's office one day, spots the 'Girl' photo on the wall, and in good old art history grad fashion, starts babbling about the picture. Paterson had found his director! Webber admits that initially he may not have been thought of as the right person for the job. For years he'd worked for Paterson and fellow producer Anand Tucker as an editor and documentary director. His first dramas included the controversial Men Only for Channel Four; a gritty tale that focused on a lads' night out, fuelled by an excess amount of drink and drugs resulting in a horrific gang-rape of a woman. And when he wandered into the office that day, he was working on another gritty drama. Webber hadn't read Chevalier's book but he knew the painting and that period of art intimately. It shows. This is the most gorgeous film visually you're likely to see this year. Every single frame is beautifully crafted with light and colour that captures the atmosphere and mood of the Vermeer paintings themselves. For Webber, this was more by design, than accident. He had a clear idea of how he wanted the film to look, but was aware that he didn't want to reproduce a sanitized, period piece; he wanted a grittier feel, especially in the exterior shots. Webber had seen production designer Ben Van Os's work for Peter Greenaway. His sets in The Cook, The Thief, His Wife, Her Lover and Baby of Macon are highly stylised. Webber wanted the same level of bizarreness without it becoming too distracting. "I wanted our world to look dirtier than the Dutch oil paintings - for example that sense in the market that you could smell the blood." A lot of the scenes take place in Vermeer's house and although the interiors are dark, the lighting allows the colours and textures to appear visibly rich, adding a strong, tactile quality. Such attention to detail required a master cinematographer so Webber enlisted Eduardo Serra ( The Wings of the Dove; What Dreams May Come ). "He's a genius who has been doing this his whole life; it takes a lifetime to learn how to light like that," smiles Webber. "So often in filmmaking how we want it to look and how effective is that look for the story is half the problem. The great thing about Eduardo is that he's always interested in the story than anything." It could be argued that cinematically there isn't much of a story. The dialogue is sparse. "This was a concern, but it was the case that more we pared it back - not just the dialogue, but also the number of extraneous characters, the number of scenes - the stronger the film got," says Webber. "It seemed to get more singular; to become emotionally, a much purer piece." Webber teases his audiences with the imposed silences and no more so than in the scenes between Griet and Vermeer. The grinding of the paint; Vermeer asking her to lick her lips; the piercing of Griet's ear are all highly erotic. The chemistry between the artist and his muse begs you to scream: "Snog her Vermeer!!!", and leaves you totally frustrated when he doesn't. The audience might want a sweaty, writhing consummation on the studio floor. Webber opts for purity. And it works brilliantly. Finding the right cast, especially Griet, was always going to be a problem but Hetreed had a philosophical approach to this. "At the point of casting Scarlett wasn't a huge star, and that presented other difficulties in that the pressure was always to find a name," she says. "But it seemed to me that the nature of the story desperately demanded someone who you'd not seen in other roles. What you'd want to be is in a position to discover her in the way Chevalier's story discovers her. So that by the end you feel you really know her. Conversely with Vermeer, when you see him, he is quintessentially a star, you know he's 'the man'." Webber sits back in his chair and happily munches away on a breadstick. He looks tired, but through it, you can see that this is one very happy man; his first feature film has just been nominated for two Golden Globes and a clutch of BAFTAs! Last year Webber attended the Globes, and could only imagine what it would be like to have that sort of accolade - not to mention the adulation of the press - heaped upon oneself. "Anand and I had managed to get into one of the star-studded parties. I remember peering over the balcony looking at all the famous people down below and said to Anand that they all look like ants," says Webber. 'It's very funny to think that two years later I'm one of those ants, albeit a minor one - a worker ant!' he grins. http://www.close-upfilm.com/GWAPEfeature.htm

Weekend BO Report: GWAPE in 402 Theatres took in $1,070,000 @ $2,661/theatre for a total of $5,790,000. I still haven't gotten it locally. So it's still rolling into new markets.

Australian Drooleurs: GWAPE opens in Oz on 11 March - please email me if you'd like to join up in Sydney for a viewing...

I'm a bit behind, but thank you for the pics and articles ladies. As for the Vanity Fair photo: It's not often that I see a pic of Colin I don't like, but this is definately one of those. It looks soooo posed for. Unnatural (not the best word I know). And he looks miserable on it too. LOL! I wonder what he was thinking at the time. Hating every moment of the photo shoot maybe... Karen, thank you for taking the "USS Colin's Career" off the pic on the main page. I felt sort of bad about that. Much better now. :-)

Got my copy of Vanity Fair and my only quibble is that most of the pics are shot in glorious close-up (many by the genius Annie Leibovitz), whereas Colin's is from a distance and his face is dark. Karen, you did a good job in lightening up the pic and cropping it; wish it looked as good in the mag. Happened to be looking through CF items on e-bay and I see that someone is selling a pic of Colin signing autographs at the NYC premiere of LA. Number of fans in the background, Maria am 99% certain that you're front and center. From the angle it was taken, this was definitely shot by one of the professional photographers. "It's those bloody paparazzi again." ;-)

(Mari) my only quibble is that most of the pics are shot in glorious close-up (many by the genius Annie Leibovitz), whereas Colin's is from a distance and his face is dark. True, the difference in photographers is marked. Julian Broad who shot Colin also took the pic of the two Brazilian directors on the Rio street and I wouldn't have minded one bit to see a close up of Walter Salles. ;-) Actually, my fav of the bunch has to be the black and white of Michael Caine and Jude Law (two Alfies...ooops The Rakes) Number of fans in the background, Maria am 99% certain that you're front and center. From the angle it was taken, this was definitely shot by one of the professional photographers Oh yes, that's Maria, alright! Isn't she computerless right now?

(Mari) my only quibble is that most of the pics are shot in glorious close-up Yes, I quibbled over that, too. I went through the magazine three times before I found it. Much too dark, and thanks, boss for tinkering with it-yours was better.

True, the difference in photographers is marked. Julian Broad who shot Colin also took the pic of the two Brazilian directors on the Rio street and I wouldn't have minded one bit to see a close up of Walter Salles. ;-) LOL, I hear you! All of Broad's shots are full length and you don't see the character in the subject's faces. He did the same thing to the Mills family (Hayley, Juliet, John). Too far away. Contrast with the spectacular pic of Jeff Bridges and his wife and daughter.

(Mari) He did the same thing to the Mills family (Hayley, Juliet, John) That one was too boring for words. I'm really surprised VF chose that one and the one of Cyd Charisse and Tony Martin (and dog). Both lack any artistic sense. However, I wouldn't say the same of Colin's. I like the setting and the lighting, but Colin does get lost in the props...or becomes one of them. :-( In case anyone's interested, in the various credits, styled by Emily Barnes (oh, to have been Emily), Colin is wearing Tom Ford for Yves Saint Laurent Rive Gauche, shirt by Alexandre Savile Row, shoes by Tim Little, hair products by Clinique, grooming products by Creme de la Mer, grooming by Karen Alder for Marco Santucci. Additonal credits: Colin Firth's hair styled with Clinique Hair Care Serum. His face moisturized with Creme de la Mer Daily Moisturizer; also on his face, Laura Mercier Translucent Powder, on his lips, Creme de la Mer Lip Balm.

(Karen)This guy should be mulling over the "chance of working" with important directors, not her. Karen, for the hell of it I checked the Daily Variety Gotham from Friday, Feb 6th. As of Friday, NMcP is still listed w/ Colin's name still attached . . . But will keep my eyes open to see if there are any changes;) (oh, to have been Emily), Now there's a job that would be fun . .stylist will be number two job choice after celebrity wrangler Ummmm . . . Mr. Firth do you mind if I just run my fingers through your hair . .you, um . . need more product . .yeah, more product in it . . .

(Kimberly) Mr. Firth do you mind if I just run my fingers through your hair . .you, um . . need more product I'd like to test the Lip Balm, you know, how soft and supple it really makes the lips and just how long does it last? Thanks for the various credits, Karen. *sigh*

(Mari) Happened to be looking through CF items on e-bay and I see that someone is selling a pic of Colin signing autographs at the NYC premiere of LA. Number of fans in the background, Maria am 99% certain that you're front and center. Too cool! Am perplexed how that is not me standing right next to her considering that's where I was all night draped over and knocking off that sign at one point. Was taken right after he signed mine, I believe. I think I turned to show Rika and maybe that other girl moved in momentarily. Does Maria have any rights if she doesn't want to be sold, as it were? And I recognize a non-Drooler in that pic.

(Dorine) Does Maria have any rights if she doesn't want to be sold, as it were? I think, if you stand next to a celebrity at a public event, you forfeit your rights. They don't need to get a release to use your pic. Besides, the person who is selling the pic isn't even the photog.

Karen, if this is not new, delete --- Driver Slams Sweatshops February 9, 2004 LOS ANGELES (Zap2it.com) - Minnie Driver has seen the light. The statuesque actress, who recently visited garment factories in Thailand and Cambodia, says she was completely ignorant to the conditions that female workers in poor countries endure. "The poorest people with the least are making sacrifices for those of us who have the most," says Driver, 33, who visited Southeast Asia as part of the British charity group Oxfam International's "Make Trade Fair" campaign, according to the AP. Speaking from a fashion show in Phnom Penh on Sunday, Feb. 8, Driver says she wants corporate leaders to carefully consider their buying practices. Garment workers modeled clothes bearing large tags reading "Made in Cambodia ... by us ... US$0.25 per hour." Driver garnered an Oscar nomination in 1998 for her role in "Good Will Hunting." Richard E. Grant, Helen Fielding ("Bridget Jones's Diary"), Colin Firth, Kate Moss, Chris Martin, Bono and REM are also supporters of the Make Trade Fair Campaign. Make Trade Fair aims to change the rules of world trade so that they no longer disadvantage the world's poorest people. Driver will next be seen in "Ella Enchanted" and "The Phantom of the Opera" due in theaters later this year.

(Mari)Happened to be looking through CF items on e-bay and I see that someone is selling a pic of Colin signing autographs at the NYC premiere of LA. Number of fans in the background, Maria am 99% certain that you're front and center. OMG!!Thanks Mari!!!That is me alright, modeling my best "I'm smitten as a kitten" pose!(Dorine, this does not preclude my desire to have him "lean in" for a pic of us at the next premiere!)LOL! Actually, it kind of looks like I would like to eat him for dinner, hope I toned it down a bit when he turned back... (Karen)Oh yes, that's Maria, alright! Isn't she computerless right now? About 80% computerless...Will try and send off my "rainy day links" to other droolers to post here both from work and home... ordered a new home computer as this gray mare ain't what she used to be, and I feel Big Brother's thumb on my head at the office although for some reason today I tiptoed in, just for a second, but the bonus is they are sending me to Budapest in 11 days so I feel I should try and behave, at least until the expense report is done..;-)) (Dorine)Does Maria have any rights if she doesn't want to be sold, as it were? I hope I win, can't imagine anyhone else would want a picture of pure drool in action like this! :-)

(Maria) !(Dorine, this does not preclude my desire to have him "lean in" for a pic of us at the next premiere!) And, I'll elbow any interlopers (non-Droolers) out of the way who get in between! ;-) You should write that seller and ask for a comp copy or a cut of the sale. ;-) Enjoy Budapest! Loved it, though it was 13 years ago.

(Dorine) You should write that seller and ask for a comp copy or a cut of the sale. ;-) Absolutely. You should tell him and get a copy for yourself.

I just realized that's Evelyn right next to Maria with the camera in front of her face peaking out from behind ODB. Am still perplexed on my whereabouts. No matter. Well, Maria, for someone who kept professing her hope for anonymity, I think I've seen you in more still pics and TV clips than anyone. ;-D

I can't find this picture on EBay... How is it named there? Thanks!

RARE COLIN FIRTH ORIGINAL PHOTO http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3384187809&category=200 I had a tough time finding it again.

I couldn't find it either....thanks Dorine. Hmmm looks like me. But I thought I was next to Bee Dee and in front of Shoshanna. You guys were way down at the end....the first ones who saw ODB coming in. LOL I can still remember the screams :"He's here"...."He's here". Magic.

(Maria)That is me alright, modeling my best "I'm smitten as a kitten" pose! It's an adorable pic, Maria. You *must* have it. I wonder what other goodies from that evening this guy might have in his stash? (Evelyn)LOL I can still remember the screams :"He's here"...."He's here". Magic. It really was. I remember turning to the entrance and since he towers above most others, seeing that dark hair, big smile and flash of dimples. One of those rare times when we're in the right place at the right time, the stars align and the moon is in the seventh house!;-). And, possibly more premiere magic on the way. The imdb is now showing a November release for TEOR in the US; November 19 for UK. You know I put little stock in the release info shown on imdb, but it's something to get us through the slow months.;-) Also, they're showing August 27 for Trauma in the UK.

(Mari) Also, they're showing August 27 for Trauma in the UK. Like you, I don't put a whole lot of stock in release dates on the IMDB, but if this is accurate, they're dumping it. :-(

But US release Nov 17 isn't dumping season in the US where it's a better market. Wish it were the other way around. Doesn't sound like it's Oscar stuff anyway. He gets better reviews in the US. They don't keep bringing up the "Mr. Darcy" syndrome.

I was only referring to Trauma (Aug 27); as you'll recall WAGW was dumped in August. TEOR wouldn't be "Oscar" stuff (except perhaps to garner another nom for RZ) and the November/December dates have been used fairly interchangeably. Either is fine by me. Indicates they're shooting for a big holiday box office draw.

(Maria)That is me alright, modeling my best "I'm smitten as a kitten" pose! You certainly look happy Maria!! . .but I must say I recognize the expression . .I KNOW I had that same look plastered over my face at the Today Show Toy Drive . . Also, they're showing August 27 for Trauma in the UK. But no dates for a US release . .besides Sundance?:( Dang it!

closing tag

(Evelyn)LOL I can still remember the screams :"He's here"...."He's here". Magic. (Mari)It really was. I remember turning to the entrance and since he towers above most others, seeing that dark hair, big smile and flash of dimples. One of those rare times when we're in the right place at the right time, the stars align and the moon is in the seventh house!;-). Ahhh, thanks for the memories gals and for lifting me out of my work doldrums..

(Evelyn) LOL I can still remember the screams :"He's here"...."He's here". Magic. (Mari) It really was. I remember turning to the entrance and since he towers above most others, seeing that dark hair, big smile and flash of dimples. One of those rare times when we're in the right place at the right time, the stars align and the moon is in the seventh house!;-). And my first good look at ODB wasn't until he got up to speak to Booker at the ET podium! Some of us were further down the tent and when he got in (initially) everyone was leaning so far forward along the rail (and so many 'handler' types came in) that it was hard to see him, even with his height. It wasn't until he got up to the ET interview that we saw him fully and freaked out...and Booker pointed us out...a kinda "look what you started down there" moment! Bee-uuu-teeee-fulllll! My first good view (thanks to Bee and the boss)!

(Mari)and the moon is in the seventh house!;-). Ok, now I can't get *The Age of Aquarius* out of my mind......

(Tress) It wasn't until he got up to the ET interview that we saw him fully I saw him then too because ET had an elevated stage. But when he was interviewing on the ground, Livia was right in front of me. Grrrrr. One would think.... I mean, she sees him all the time.Right? ;-)

(Evelyn) But when he was interviewing on the ground, Livia was right in front of me. Grrrrr. One would think.... I mean, she sees him all the time.Right? ;-) She was wavering a bit in front of us too...but she was off to one side so I could see her hubby juuuuuust fine, most of the time...once he got out of the interview cul-de-sac, he was alllll ours! Nice views the whole time (even if it was his backside at times...didn't mind that one bit!). I enjoyed having Livia stand there to my right talking to Salman Rushdie...was a bit surreal.

Evelyn)LOL I can still remember the screams :"He's here"...."He's here". Magic (Mari)And, possibly more premiere magic on the way. Oh God, I hope so. This sounds like it was such a *great* time. Can't wait for the opportunity for my first ODB sighting as well as meeting other drooleurs en masse. Was worried when I read a premiere date of 12/24 a while back...Don't know about anyone else but leaving hearth and home on that date in search of ODB would probably be the end of my family's patience for my 'condition'. (Evelyn)Livia was right in front of me. Grrrrr. One would think.... I mean, she sees him all the time.Right? ;-)

Sorry about the double post. Hit 'enter' too quickly...thoughts of *ODB in the flesh* causing irregular body movements. (Evelyn)Livia was right in front of me. Grrrrr. One would think.... I mean, she sees him all the time.Right? ;-) Sheesh!! Of all the nerve...

Wow! So many Colin goodies..... been away too long! Boss, you are my "Angel in America" for sure. Loved all the new pics plus your NY fun. (Evelyn)Livia was right in front of me Grrrrr. What, in two continents honey? ;-))

*Slinking in and whispering..* (Mari) I remember turning to the entrance and since he towers above most others, seeing that dark hair, big smile and flash of dimples. One of those rare times when we're in the right place at the right time, the stars align and the moon is in the seventh house!;-). Amen to that! When I first saw the picture I thought, "So it wasn't just a dream!" It was surreal Tress! I plan on learning how to use a sextant to make sure all those same forces of nature occur for us all when the next opportunity arises and will read "How to charm the unsmiling Vinnie's in your life that keep you from what you want" and will dance naked with trees in on the new moon in damp swamp forests if only we get to do it again!!

(Maria) ...will dance naked with trees in on the new moon in damp swamp forests And now, thanks to ebay, have actually basis for mental picture of Maria in ya-ya sisterhood garb doing dance to dimple gods! (He *did* look amazing in your picture!)

Maria, you took the words right off of my keyboard. Very surreal. Even the memories are surreal. Someone on this board said once that it would be that way and that he is even more amazing in person, and boy were they right. If I didn't have the autograph and the pictures I'd be pretty sure it was just a dream. So I take it there's still no backer for Trauma in the U.S.? I really am in the mood for another NY premier after all this reminiscing... As for the Nanny thing, do you think maybe he's been taking career advice from Michael Cain? If they ask, he does? I'm not thrilled either, but to play devil's advocate, I can understand wanting to work with ET. And since he is a dad, it's not unreasonable to want to do some kid movies. At least it's not all he's doing. Maybe this will be good networking. It really could be worse...

(Leslie) Was worried when I read a premiere date of 12/24 a while back...Don't know about anyone else but leaving hearth and home on that date in search of ODB... That was the original *release* date. The premieres, most times, are 1-2 weeks prior to release. Sometimes just a few days. You wouldn't catch anyone in the industry doing premieres that close to Xmas. (Maria) will read "How to charm the unsmiling Vinnie's in your life that keep you from what you want"will read "How to charm the unsmiling Vinnie's in your life that keep you from what you want" ROTF! And I'll read "101 Direct Questions You Always Wanted to Ask Mike's About Afterparties, Weren't Afraid to Ask, and How to Determine the Veracity of the Answers," or "The Art of the Premiere: From Red Carpet to Afterparty." ;-D Just wanted to point out to those that weren't at the NY LA premiere, it was such a *huge* event, with so many stars and top press, because it was the *World* premiere of a high profile project for one of the top studios. A premiere for Trauma would most likely be a very small affair. Maybe only still photographers and no or just one minor TV outlet. Depends really on who picks it up and how much they want to put behind it. (Meg) Maybe this will be good networking. Sundance = Networking ;-) or an old SAT-type question: Sundance is to networking, As Colin is to _______. A. Filming a big budget movie B. Hanging out with the wife and kids C. Waiting for a great project to fall into his lap or chasing projects with fair potential D. Not E. All of the above ;-)

(Dorine)or an old SAT-type question: You forgot those other choices, B&C, C&D, B&D, or B,C,&D... (Dorine)"The Art of the Premiere: From Red Carpet to Afterparty One can only hope the next Afterparty is in large hotel not pvt. club...makes acting like you're supposed to be there a lot easier, I think;-) (Barb)He *did* look amazing in your picture!) Yes he did, didn't he. Love that backwards glance. Other than what has already been said about the magic of that night,(absolutely wonderful memories) I think the fondest memeory of ODB that I have of our time in the tent is that look of an almost increduluous nature on his face. I truly think he was totally stunned by the whole experience-especially because of number of other "big names" that were there. I love looking at all the wonderful pictures that everyone has shared. Thanks, ladies. I'm hoping with that half-full glass that T isn't being dumped and maybe it will open here, first? Yeah, I know...no buyer no show;-(

Is there any word on whether he's likely to show at the British Academy Awards on Sunday? I think, given the number of nominations that GWAPE received, that he would, but maybe now that TEOR is finished, he's off on his long overdue holiday;-)

(Janet) Is there any word on whether he's likely to show at the British Academy Awards on Sunday? You are talking about the BAFTAs? I heard from a friend in the UK that he would not...don't know where she heard the info though. :-( Pity...he looks so good in a tux, I'm in favor of getting him in one just for the thrill of it, even better if he's at an award show (means I get to see pictures!).

At IMDb *today*! That makes it current, right? I couldn't get the picture of the DVD cover as it was a mzz file, whatever that is. Just glad to see it there:-) IMDb Movie of the Day: Over the past few years, Nick Hornby's novels have suddenly become all the rage in movie land, with filmmakers itching to translate the authenticity of his main characters into popular success. Hornby's first novel-turned-movie, Fever Pitch, centers on a familiarly hapless but lovable guy working to admit changes into his already comfortable life, but somehow never had the commercial luck of its successors. Here, he offers us the story of Paul (Colin Firth) circa 1989, a scattered but basically good guy who makes a living as an English teacher, but whose real passion is a complete and utter devotion to the Arsenal football team. A definite precursor to the stories that would follow, Paul's obsession with football is not all that different than Rob and his music in High Fidelity. Similarly, the flashbacks to Paul's youth, where he first attended matches with his father as a way of bonding after his parents divorced, to the present day scenes where Paul escorts one of his pupils to his first match, feature t e same awkwardly wonderful texture later captured by Will and Marcus in About a Boy. And, like both of those films, the appearance of an interesting woman scrambles Paul's heretofore-content existence completely. When the very grown-up fellow teacher Sarah (Ruth Gemmell) enters Paul's life, the true evolution begins, as he tries to include her in the joy of his football-saturated lifestyle, and she tries to understand exactly why an underachieving team of eleven men kicking a ball around can mean so much to anyone. - Heather Campbell (more) (Movie of the Day Archive)

(Maria)I plan on learning how to use a sextant to make sure all those same forces of nature occur for us all when the next opportunity arises and will read "How to charm the unsmiling Vinnie's in your life that keep you from what you want" and will dance naked with trees in on the new moon in damp swamp forests if only we get to do it again!! Barb)have actually basis for mental picture of Maria in ya-ya sisterhood garb doing dance to dimple gods! Hmm . .besides the dancing . .think we should burn a tatty chair as a sacrifice, you know, to just seal the deal . . Cannot wait till TEOR premiere to see all of you girls . .very excited . .will start stocking up on Chardonnay, Milk Tray and salmon pinwheels ASAP! (Dorine)"The Art of the Premiere: From Red Carpet to Afterparty." Read it? Dorine, admit it . .you wrote the book on getting into Premiere parties;) (Mari)and the moon is in the seventh house!;-). (Bee)Ok, now I can't get *The Age of Aquarius* out of my mind...... And visions of ODB dancing about w/ the GWAPE wig . .there's HAIR for you;) (**singing ".. .harmony and understanding . . . sympathy and trust abounding . .No more falsehood and derisions, golden living dreams of visions, mystic crystal revelations, and the mind's true liberations . . ." Bee - IMDb Movie of the Day! Horray . .FP is my all time fav!:)

Does anybody know if Colin will attend this years bafta's? Is it worth going there ?

back from hell, and ready to go again (vanfair via karen) Additonal credits: Colin Firth's hair styled with Clinique Hair Care Serum. His face moisturized with Creme de la Mer Daily Moisturizer; also on his face, Laura Mercier Translucent Powder, on his lips, Creme de la Mer Lip Balm what about the brand of toilet paper used on set ? come on, vanity fair ! we are missing some crucial bits of info here ! re: the new york 'drool party' business & possible TEOR premieres : enough already !!!! we, hermits in the woods, are not amused (but in fact quite jealous). hey maria ! looking good ! close your mouth though dear, your drooling shows (just kidding)... (in a weird mood : just caught randy newman onstage, ahahaha, love him !)

Village set to steal the scenes in blockbuster By Vince Soodin OSCAR-WINNER Emma Thompson could shoot a British-made blockbuster in one of Chiltern's smallest villages. The acclaimed actress is set to star in the fantasy film Nanny McPhee, shooting the movie in Penn Street, Amersham, while heart-throb Colin Firth could also be cast. Ms Thompson has also adapted the screenplay from the Nurse Mathilda series, written by Christianna Brand. A spokesman for Ms Thompson's agency Hamilton Hodell said she was looking forward to the role. He said: "Ms Thompson is very excited about this she has been working on the script for quite a while." "They are still casting the rest of the film. It will have a largely British cast. The desire is that it will be another successful film with the makers of Love Actually making it." Working Title Films, also behind blockbusters Four Weddings and a Funeral and Notting Hill, is producing the movie and applied to Chiltern District Council to film at Shingle Mere Meadow, opposite Penn House, home of Earl Howe. The plot follows a magical nanny and the seven worst children in the world with Firth rumoured to be in talks to play the father of the children, while the film will be directed by Kirk Jones, who made Waking Ned. A set with up to 20 buildings and a fake road would be constructed if the council give Working Title the green light. The Hamilton Hodell spokesman added: "The proposal is for work to begin in March or April, but as yet nothing is set in stone." Working Title believes the set will take three months to construct with filming set to take another three months. In its application to Chiltern district planning officers the film company says the land will be returned to its former state after filming has finished. The company believes the Penn Houses site "provides an attractive village setting" and will "not adversely affect the appearance or character of the green belt or Area of Outstanding Natural Beauty". http://www.bucksfreepress.co.uk/news/localnews/display.var.458701.0.village_set_to_steal_the_scenes_in_blockbuster.php

For those who might want to check out the set (if Karen's proverbial boat keeps sinking), Amersham is on the end of the Met Line tube (and is a mere 10 or 15 miles from my house, nicely). It's not like it's an inaccessible small town or anything. Thanks for the info Maria, if it comes in handy!

(Tress)I heard from a friend in the UK that he would not I guess I shouldn't be surprised at that, after all GWAPE has only 10 BAFTA noms.;-) Sheesh! You'd think he'd be a presenter, at least?? I hope that info is wrong. He should be there, IMO. Thanks, Maria

Emma- If ODB does choose to pursue this likely dreadful role, there will be some consolation knowing that a fellow drooleurs is in close proximity to act as an 'embedded agent'. Are you game?

Here's a cute tidbit selecting *the* kiss between Bridget and Mark in BJD as #8 of the top 20 screen kisses of all time. http://www.dailyrecord.co.uk/news/content_objectid=13937349_method=full_siteid=89488_headline=-YOU-MUST-REMEMBER-KISS-name_page.html

The April 27th date for the UK release of Trauma has been confirmed as correct, as least for now. (Dorine) A premiere for Trauma would most likely be a very small affair. Maybe only still photographers and no or just one minor TV outlet. Absolutely. Lest anyone forget, the LA premiere for GWAPE was nearly a private affair; no press hoopla at all. The distributor wouldn't even give out the location. Sundance is to networking, As Colin is to _______. LOL! Reminds me of another quiz Mari once did for L'dum. ;-) (Janet) Is there any word on whether he's likely to show at the British Academy Awards on Sunday? Unless you're a publicity-seeking-hound type actor, you don't attend awards shows for which you haven't been nominated. (Hmmm, do I have enough negatives to cancel each out??) Sheesh! Colin doesn't even go to ones he should (Emmys, SAG for best ensemble) "Supporting a film" isn't a consideration nor necessary; the votes are in and why put yourself in a position for people to say "Shame you weren't nominated." (Beedee) At IMDb *today*! That makes it current, right? Wrong. It isn't News about Colin, is it? Thanks for the location info, Maria. Hopefully, it won't be necessary for anyone to have to go the end of the Metropolitan Line.

(Karen) The April 27th date for the UK release of Trauma has been confirmed April or August?

(Karen) Unless you're a publicity-seeking-hound type actor, you don't attend awards shows for which you haven't been nominated. (Hmmm, do I have enough negatives to cancel each out??) Sheesh! Colin doesn't even go to ones he should (Emmys, SAG for best ensemble) "Supporting a film" isn't a consideration nor necessary; Plus, if the producers don't ask you, you don't go. Unless a someone you know is going and they give you an extra ticket. They are looking for ratings drivers. That's why the BAFTA's have had an influx of high profile Hollywood stars in recent years.

Ooops, sorry. I meant the August 27th date.

Ooops, sorry.I meant the August 27th date. You would....I was off to make plane reservations. (Janet) Is there any word on whether he's likely to show at the British Academy Awards on Sunday? If I were he, I wouldn't go. If they didn't have the dignity to nominate him, why should he go for nothin'. Voting is over by then.

**tiptoeing in and whispering** Boss, thought you should know . . .don't get upset, b/c I just saw Hollywood Reporter (Janurary 10 - 16, 2004) A "new" and international listing in the Films in Preperation section Pg. 38, left hand column, top of the page Nanny McPhee (Family/Comedy) (Start April) Shooting in London, England; Working Title (UK)/Three Strange Angels, Oxford House, 76 Oxford Street., London, England, W1N 9FD; Cast Emma Thompson, Colin Firth; Prd., Lindsay Doran, Tim Bevan, Eric Fellner; Dir., Kirk Jones; Scr., Emma Thompson; US Distrb, MGM Now it's in the Hollywood reporter . .these trades keep posting this as fact . . ***runs out, ducking from the flying NMcP voodoo doll***

Thanks, Kimberly, I hadn't checked the online database today (would've been updated yesterday) though I did last week. This is the same info Variety had. Wonder why MGM is the US distrib since Working Title is owned by Universal? In some of the older material about the project (dated what two years ago?), MGM was listed, but there hadn't been any mention of Working Title then. I suppose it could be a joint studio effort: two studios sharing the cost. Plan to put that NMcP voodoo doll under the tires of my car and go back and forth a few times.

Re: MGM connection. Lindsay Doran (McPhooey producer) used to be head of United Artists studio, which is owned by MGM. When MGM spun UA off into an subsidiary, LD stayed with MGM as an independent producer. She also produced Emma's Sense & Sensibility, so they must be buds. Interestingly enough, she also produced Meg T's Leaving Normal. What an incestuous business. I got this from the imdb bio; and look what's showing up as her latest production, with our very own Ozzie Nelson listed as the dad: http://www.imdb.com/name/nm0233386/

(Karen)Plan to put that NMcP voodoo doll under the tires of my car and go back and forth a few times. Save the tires. I don't think it's going to work. Maybe a magic wand would help. Where's HP when you need him;-) (Mari)I got this from the imdb bio; and look what's showing up as her latest production, with our very own Ozzie Nelson listed as the dad Let me guess;-)

IMDB had McPhooey before, but some Firth zealot rushed to submit his name. Wonder if same zealot who jumped the gun with TDW will get it deleted.

There's a big differenc between actors and movie stars. Colin, I believe, considers himself an actor, not a movie star. He'd rather be a character actor than a leading man, and whether he's the supporting actor or the star of the movie is not as important as the quality of the production. It seems to me that Nanny McPhee is going to be a quality production. If he as a supporting actor adds to the quality and the prestige of the production, what's wrong with that? I greatly admired David Tomlinson's contribution as the father in Mary Poppins. I love star and scriptwriter Emma Thompson, who, you may remember, won Oscars for both acting AND writing. Possible director Kirk Jones' Waking Ned Devine was a wonderfully quirky and entertaining film. The producers of Nanny McPhee have a stellar track record. I hardly think the production deserves a sinking ship. I have no qualms about Colin being in Nanny McPhee, and what father wouldn't like to be in a movie that his own kids can cherish? I'm sure he can personally relate to the role with his own experiences with nannies and the naughtiness every child occassionally exhibits. I don't consider such a role as a step down, but a step out. Mixed up with roles in such adult-oriented films as Bridget Jones, GWAPE and Trauma, Nanny McPhee would just add to his versatility as an actor.

(Karen) Plan to put that NMcP voodoo doll under the tires of my car and go back and forth a few times. Ohhhh....that's what we used to do to hackey sacks to get them all broken in and supple.....might backfire on you. Turn voodoo doll into adored poppet. I'm only concerned, now, about Nanny M because I have heard the books are not that good. Wonder if they were something that Emma read as a child and enjoyed and that is why she is adapting them? Surely there are other children's books out there...still, I have faith in her as a screenwriter. She's done well in the past.....but......okay, okay...will just think of Hunk Daddy.....with seven....er....twenty...whatever....kids. Like a nice HD/Johannes blend. Wonder if he can wear the wig and the leather pants? Hmmmm.....better yet, that blue suit and hold a paint brush....mmmmm.......still not feeling well. Will go have a lie down and ponder the possibilities. ;-)

(Katty) I greatly admired David Tomlinson's contribution as the father in Mary Poppins. [....] The producers of Nanny McPhee have a stellar track record. I hardly think the production deserves a sinking ship. But unfortunately there are few who remember who was in Mary Poppins other than Julie Andrews. In fact I'd hazard a guess and say virtually no one. The subsidiary roles in a movie like this are inconsequential and can be played by any actor old enough to be the father of this many kids. It's just not a career move and I think that's the disappointing part of his involvement - if he becomes involved. And as far as the ship goes - well this role will not enhance his career at all and there is no standing still. It's upward and onward or backwards in an acting career at his level.

(dancing happily) I just got my "Vanity Fair" in the mailbox. "He Who Must" has actually made the yearly "Hollywood Issue". You all probably already know all about this, though, so if I'm being my typical redundant self, then please overlook it. (huggles) ~jeanie

(KarenR)Ooops, sorry. I meant the August 27th date. I received this email today from Little Bird: **Hi Janet, I'm afraid no date as of yet has been set for Trauma. Keep an eye on the Internet Movie Data Base - www.imdb.com or our own website www.littlebird.ie , details will be posted on both sites. Best, Jessica Hilliard.** I wish they'd make up their minds:-(((

(Katty) I greatly admired David Tomlinson's contribution as the father in Mary Poppins. Who? (Janet) I wish they'd make up their minds:-((( Little Bird is done with the film; it has nothing to do with distribution in the UK. Warner Bros (UK) says Aug 27th - at least for now - and that's what it is. (Carol) The subsidiary roles in a movie like this are inconsequential and can be played by any actor old enough to be the father of this many kids...And as far as the ship goes - well this role will not enhance his career at all and there is no standing still. It's upward and onward or backwards in an acting career at his level. Exactly. Given his commitments (i.e., needs for time off), I'd prefer he use his allocated work time better. He shows a real pattern: quantity over quality. He doesn't seem to realize that, if he works on higher quality projects (with hot or award-winning directors), his asking price has the potential to go higher, which would enable him to work less. A lot of running in place and going nowhere IMO.

*la-dee-daaaa* anyone needs one of those ????

Sophie - Ouch!!!! . .But I have to say too funny . .but should the doll be of the NMcP character as opposed to our dearest one?;)

(Sophie) anyone needs one of those ???? LOL! Yes, I can't seem to find my usual one. Boy are those teeth ugly! But Kim has a point. The doll should be named "Nanny." *boogga booga*

(Karen) Plan to put that NMcP voodoo doll under the tires of my car and go back and forth a few times. Ah, shades of Mr. Bill and Sluggo. ;-) I've missed them. He doesn't seem to realize that, if he works on higher quality projects (with hot or award-winning directors), his asking price has the potential to go higher, which would enable him to work less. Completely agree with this part....if he works on higher quality projects (with hot or award-winning directors), his asking price has the potential to go higher, which would enable him to work less....I don't believe for a second he doesn't realize that after being in this business 20 yrs. There are a # of credible scenarios here. I'll state the obvious... 1. Said directors don't seek him out (for whatever reason-irrelevant for my purposes). 2. He doesn't seek out said directors/projects (for whatever reason, I won't bother to speculate). 3. He is rejected (for whatever reason), no matter who initiated. 4. He rejects projects considered quality (Sylvia, anyone? Good riddance if he did.) 3. He, himself, indicated poor judgement on his part (at the Burns Q&A). Now, I thought GWAPE and Trauma were very good choices. LA, was good, too, as far as working with Richard Curtis (any director/writer hotter in Britain at the moment?). I don't think TIOBE was an inherently bad choice. I mean it was Oscar Wilde! And an update wasn't out of line, it had potential. It was unfortunate that OP tinkered with it so much. It had it's flaws, but I still enjoyed it for the most part. Granted Trauma may not have (or get) a US distributor, at least imminently, but I still find it a gutsy and worthy choice. I'm sorry there aren't more of you who can weigh in on that subject. Just because a movie gets a distributor, doesn't mean it gets released (look at HS for the most part). Even projects with big and well respected names get sat on (set on?). Was reading an article recently about all the stuff that Miramax buys, then lets languish in a vault for years. (I realize some of you are well aware of this last part. Am speaking to global audience not so familiar, too).

(Dorine) I don't believe for a second he doesn't realize that after being in this business 20 yrs. ...and is unwilling to do anything about it. He's a polyester shirt kind of guy, instead of silk. Sorry, don't have a list. ;-)

(Karen) Sorry, don't have a list. ;-) Oh, you're no fun. ;-D He's a polyester shirt kind of guy Is that with or without socks with sandals? ;-)

More on the Nanny McPhee front. This source states ODB's participation is not a done deal at this point. Perhaps the voodoo doll and incantations (Ooga Booga) are having some effect? http://www.empireonline.co.uk/site/news/newsstory.asp?news_id=15587 Thompson on Trelawney Exclusive: Emma Thompson on Potter, Lemony Snicket and Nanny McPhee 12 February 2004 One of the best things about the Harry Potter franchise is surely the fact that the perfect people have been cast in every role, no matter how much screen time they get. Continuing this tradition, Emma Thompson's role as Divination Professor Sybil Trelawney in Harry Potter and the Prisoner of Azkaban should see the batty seer come to life with all the quirks and neuroses ascribed to her literary counterpart faithfully replicated on screen. " She was so much fun to play," Thompson told us. "I decided that, since she was someone who saw into the future, she had to be someone who couldn�t see anything at all in the present. Like where she was going, her clothing, anything. I decided to dress her slightly differently, and had wonderful co-operation from my director and designer and everything." However, Potter is not the only children�s film on Emma�s slate. She is also playing the title role in Nanny McPhee , her self-penned adaptation of the Nurse Matilda series by Christina Brand. Thompson plays a governess who uses magic to quell seven extremely naughty children, with Colin Firth in talks to play their father. Shooting starts on 1 April in London � surely the perfect date for any film with an element of comedy. Thompson also scotched the rumours connecting her to Lemony Snicket�s A Series of Unfortunate Events . This adaptation of the dreadful adventures of the wretched Baudelaire orphans stars Jim Carrey and Meryl Streep, and should be the sort of children�s film Tim Burton would make if he were a manic depressive. Thompson, however will not be joining that particular children's tale . "They did ask me about the Judge, but I said that I don�t think I can do that, because I�m just doing my own kid�s film. People would get confused because I�ve just done Harry Potter, and children get fed up too."

Who do that voo-doo that you do?! Booga Booga! U.K. pic biz faces coin collapse Industry lobbyists seek transitional funding plan By ADAM DAWTREY Variety BERLIN -- After the British government effectively delivered the death sentence Tuesday to two of the U.K.'s most important film funds, British movie industryites spent Wednesday preparing their case for a stay of execution. Industry lobbyists will meet government officials before the end of this week to plead for transitional arrangements that would allow the Inside Track and First Choice funds to honor their production finance commitments before they are shut. The government's shock announcement of an immediate change in its tax rules has imperiled the financing of a slew of major movies in pre-production. Projects that were expecting to receive a third of their budgets from either Inside Track or First Choice include "The Constant Gardener," directed by Fernando Meirelles for Focus Features; James Ivory's "The White Countess," backed by Sony Pictures Classics; the Miramax/DreamWorks project "Tulip Fever," directed by John Madden; Working Title's "Nanny McPfee," starring Emma Thompson; "The Libertine," featuring Johnny Depp; Nick Willing's "River King," toplining Ed Burns; and Julien Temple's "The Golden Man." Unless the government puts transitional arrangements in place, all of these projects will be forced to scramble for alternative financing and could face postponement or collapse. Inside Track alone has about $200 million worth of productions under negotiation, but talks have been suspended pending clarification of the government's position. However, movies already in production, such as Ridley Scott's "Kingdom of Heaven" and Paul Anderson's "Alien vs. Predator," appear to be protected from the devastating effects of the tax rule change. The Inland Revenue, the government's tax collection arm, has closed the loophole that allowed Ingenious Media's Inside Track fund and Grosvenor Park's First Choice to claim production costs as tax losses. Both funds launched in the last tax year, using generally agreed accounting principles, or GAAP, rather than the U.K.'s film-specific Section 48 tax break. In the past year, Inside Track has co-financed Richard Loncraine's "Wimbledon" for Working Title, Mira Nair's "Vanity Fair" for Focus and Gurinder Chadha's "Bride and Prejudice" and Danny Boyle's "Millions" for Pathe. First Choice has backed smaller indie pics such as Istvan Szabo's "Being Julia," Richard Jobson's "The Purifiers" and the remake of Dutch movie "All Stars." Funds using Section 48 have not been caught by the rule change, although in future they will have to show their investors are actively involved in filmmaking, spending at least 10 hours a week on the business. It's thought the rule change will also cause major problems for the P&A funds recently launched by Invicta and Scotts Atlantic to bankroll the U.S. and U.K. release costs of selected movies from Sony and Warner.

(Mari) Who do that voo-doo that you do?! Booga Booga! Unless the government puts transitional arrangements in place, all of these projects will be forced to scramble for alternative financing and could face postponement or collapse. I guess you do.......;-))

(Karen)He's a polyester shirt kind of guy (Dorine)Is that with or without socks with sandals? ;-) Or short socks....with oxfords. "Unless the government puts transitional arrangements in place, all of these projects will be forced to scramble for alternative financing and could face postponement or collapse. *snort* Perish the thought that private monies fund movies...instead of taxpayers.

(Kimberly) ...but should the doll be of the NMcP character as opposed to our dearest one?;) Right you are, that would be better. Hey, Nanny McPhooey Brigade, cheer up! Try to think Sound of music. That didn't turn out too bad, did it? Actually, Cptn. Von Trapp was the kind of bamboo-stick-lodged-in-his-rear, laugh-and-humourless but-quite-handsome-and-elegant sort of character Colin would've done very well. Who knows, this may not be as bad as it seems. I'm very interested in how this one will turn out. I wasn't here when Colin signed up for WAGW, but I suspect not everyone was happy about that one either. And look what happened, it's a favourite among many fans. Cross your fingers and see what happens. Maybe there's no need for the voodoo doll after all.

(Kimberly) ...but should the doll be of the NMcP character as opposed to our dearest one?;) (Ildi)Right you are, that would be better. Let me tell you . .when playing with the powers that be . .it's best to be very specific ..Don't want to do any damage to Colin . . Personally I'd rather like to make a success doll for him . .pin on The Dead Wait, TEOR . .and other nice stuff dealing with creative growth, career stimulation, etc . . . .or good wishes jar of some sort . . . perhaps will send him Reiki/positive energy, maybe that will help . . (Ildi)Hey, Nanny McPhooey Brigade, cheer up! Must say, I don't mind the NMcP possibility, I just would like to see him in another drama, got just a taste in GWAPE . .want something for him more in the way of a meaty role (leading or supporting, though would prefer leading, of course), like Conspiracy . .which I thought he was fantastic in. . . rom coms/comedies/family films are nice, light fare and hey , don't get me wrong I own and like WAGW. . . .but I guess as an actor as well as a fan, I want to see him in something rather challenging . . .

(Ildi) Try to think Sound of music. That didn't turn out too bad, did it? Unless there's a love affair between Nanny McPhee and Mr Brown (the father), then IMO it's not worth his limited time. As to WAGW, he's a central character and the relationship with his daughter was key. Folks, we're talking Cat in the Hat material here, and Colin's not the cat; he's the parent who leaves his kids at home. Man! All this encouraging news (still hasn't signed) and the dried-up funding is making me giddy. Bring it on!!! ;-)))

(Kimberly) . .but I guess as an actor as well as a fan, I want to see him in something rather challenging . . . LOL. Me too, so no wonder I have no love for BJD and TEOR. Another role he could've phoned in. But it's money, money, money. I understand. (Karen) Folks, we're talking Cat in the Hat material here,... LOL! Please don't make me want to make a voodoo doll too, let me just stick my head in the sand. What I don't know doesn't hurt. ;-) BTW: Is there a love affair between NM and Mr. Brown? Has anyone read the darn thing? (Karen) ...and Colin's not the cat; he's the parent who leaves his kids at home. Too bad, I'd love to hear him purring...;-)

Another interview for GWAPE: http://www.virgin.net/movies/interviews/colinfirth.html Colin Firth interview Love is in the air... Last time we saw Colin Firth he was falling for his Portuguese maid in Love Actually. His latest film, Girl With A Pearl Earring, finds him playing the dutch artist, Johannes Vermeer, who claims he was inspired to paint by a forbidden desire for his naive young housemaid (Scarlett Johansson). We quizzed the British actor on art, life and wigs... VN: What attracted you to the film in the first place? CF: "It was refreshing. It takes itself seriously, which is not a popular position in most films - it is safer to have your tongue in cheek these days. Not a lot big happens on the surface; it's a minimal, finely focused drama that must be made interesting by the characters. It's an exploration of how powerful a relationship can be..." VN: Not much is known about Vermeer. Was it hard putting flesh on his bones? CF: "The secret was in the mystery. Basically what you have in terms of historical understanding is mystery, and what Tracy Chevalier wrote in the original novel was also mystery. I was perpetuating that interpretation; in some ways it was a balancing act between fleshing him out and not revealing too much. We weren't trying to do Amadeus with this character, and I think preserving the enigma of the figure was something that had to be handled quite delicately. I felt that ultimately I was the final frontier in keeping that going, through all the various stages of interpretation." VN: So much of your love for Scarlett's character is left unsaid. Did you ever feel you might be doing too little? CF: "I think I speak for a lot of actors when I say I love doing less. Dialogue is often very limiting, particularly if it's anything other than excellent. Mediocre dialogue is utterly crippling; brilliant dialogue is a free ride; but no dialogue is a very liberating and inspiring thing to do, as long as you've got the confidence that your director will look at what you're doing. There's nothing more dispiriting than having a lot of ideas about what your fantastic performance is going to be when no one's at the other end of the camera." VN: So it was vital you had an understanding with your director, Peter Webber... CF: "I've got this complex view of this woman and I'm going to have to do it all with my eyes; it is entirely mutually dependent and symbiotic. We wouldn't have been able to do any of it if we hadn't known Peter was going after that. There were times when there were only two words being said but the camera would be turning for a very long time, and you were going to have to fill that. It gave us all an added responsibility." VN: It sounds like quite an intense collaboration. CF: "Working with a crew is a huge collaborative effort. Everyone arrives on set in the morning and the challenge of the day is to give life to the written word. But you have to be prepared to change the ideas you brought with you that morning, in order to keep the energy and carry the room. If you are in tune, you can feel that moment - it's palpable." VN: Did you learn to paint for the film? CF: "I've played around, but anything I could do with a paintbrush would be utterly irrelevant to anything that would be useful to Peter or the film. In the end, as long as you can point your paintbrush in a straight line and not look too closely at what you're doing, I think it's perfectly adequate. And besides, even if I had considerable skills, I don't know how long it would take me to apply them towards creating a Vermeer." VN: You have a splendid mane of hair in the film. How did that come about? CF: "When you read a script like this and accept the part, you know a wig awaits you. It was an alarming prospect, and had it been anyone other than [make-up designer] Jenny Shircore, who is fairly well known for being brilliant, it would have been the kiss of death. My fear was that the rest of the world would react to my wig the way that Scarlett did. There I am doing what I think is my best sexy, smouldering look and she's standing there sniggering!" By Neil Smith

(Ildi) BTW: Is there a love affair between NM and Mr. Brown? Has anyone read the darn thing? Let's not start rumors. I was just kidding around. I have read the book. It is dire material unless you are 4 years old. Each chapter is devoted to the children learning a lesson (e.g., saying please, not running away, not to gobble their food, shut doors, won't get up in the morning, etc.). The parents have next to no role in the book. They are the clueless and don't know how to deal with their children; it seems they only know how to make them. Anyway, I digress. ;-) Emma would have to beef up the father's role and the stories themselves. This would definitely be IMO a "phoner-iner." :-(

(Karen) He's a polyester shirt kind of guy (Dorine) Is that with or without socks with sandals? ;-) Am most confused.....I thought ODB was an Armani t-shirt, Chuck Taylor sort of guy...;-) (Ildi) I wasn't here when Colin signed up for WAGW, but I suspect not everyone was happy about that one either. And look what happened, it's a favourite among many fans. Cross your fingers and see what happens. Maybe there's no need for the voodoo doll after all. I have a hard time getting my knickers in a twist before I actually see something. Something that often sounds fantastic on paper (Sylvia) turns to crap and something that is pretty awful sounding (WAGW) turns out to be alright. I'll wait to see it before I freak out completely. Honestly, I was getting a bit nervous about nothing being lined up after TEOR (in the back of my head, I think..."he's working this hard so that he can retire to Umbria and raise more beautiful babies!!", so when I hear that he has a project even lined up, I get a bit excited (nearly died when he said TDW was "precipitious")). I just feel better knowing he's not off to cobble. ;-) (Kimberly) Must say, I don't mind the NMcP possibility, I just would like to see him in another drama, got just a taste in GWAPE . .want something for him more in the way of a meaty role (leading or supporting, though would prefer leading, of course), like Conspiracy . . IMO, ODB is getting the wrong message! Trauma is brilliant. But no one is touching it. It was, as Dorine said earlier, a very bold choice. He is in, pretty much, every frame of that film and not phoning it in. He has some of the most intense scenes I've ever seen him do and yet.....no interest. Yet WAGW, TEOR, LA, BJD all get released and seen. Now he has a potentially high profile project with Nanny (ET won an Oscar for S&S adaptation, that had to have been a draw...as well as working with a friend) which will surely get some press. I can't pretend to know how he choses projects, but I can see reasons for this one.....

Sorry for double post..... (Karen) They are the clueless and don't know how to deal with their children; it seems they only know how to make them. LOL...wait....are we talking about GWAPE or Nanny now? ;-)

(Tress) I'll wait to see it before I freak out completely. If it looks like Cat in the Hat, smells like Cat in the Hat, walks like Cat in the Hat, then... I was getting a bit nervous about nothing being lined up after TEOR (in the back of my head, I think..."he's working this hard so that he can retire to Umbria... Not me. I'd rather he "work smarter." If that means take a break, wait for the good roles, then fine. Trauma is brilliant. But no one is touching it....He is in, pretty much, every frame of that film and not phoning it in. He has some of the most intense scenes I've ever seen him do and yet.....no interest. That's OK. I'd rather he do 10 Traumas than one NMcP (exact ratio not scientifically derived). Someone is bound to eventually notice a high calibre dramatic performance, which could lead to important leading roles, movies about *his* lead character. I'm often reminded of the story that Cate Blanchett was cast in Elizabeth, based on someone seeing her in Oscar & Lucinda, which went nowhere and one that hardly anybody ever saw. Now he has a potentially high profile project with Nanny Eowww! I wouldn't characterize it as such. More like, a little kiddie flick from England. I hope no one is expecting Colin to get any nearer to an Oscar, Inside the Actors Studio or even Charlie Rose, working on films like this. I'm taking names for next time there is carping about "why doesn't Colin get noticed..." ;-) Admin: Please don't get the wrong idea. People are free to like or dislike Colin in any role he chooses. That's what makes this board very different from other Firth group. And people are free to voice their personal opinions, but not attack other Drool participants for expressing those views. (back to me) But frankly, these career/choice discussions seem so pointless. They change no one's opinions.

a little kiddie flick from England. *cough cough* Excuse me boss. Less of this kiddie flick from "the back of beyond!. Some of us regard England as the centre of the Universe ;-)

Whatever. :-( I've stuck a fork in myself. I'm done.

(Tress)I just feel better knowing he's not off to cobble. ;-) Perhaps he should . .start making his own line of oxfords . . .:) Plenty of actors do some sort of merchandising;) (Tress)Trauma is brilliant. Dang, forgot about Trauma . .but I guess since I haven't been lucky enough to see it yet, it slipped my mind . . .though from all that you and Dorine and Sandi have spoken about it, it sounds like a film role I envision him doing . .substantial, you know;)It's just that he's an extremely talented actor and I'd like to see him showcase that talent, whether the film is a blockbuster or not (personally I think a lot of those Hollywood blockbusters are devoid of substance, IMO) . .as Karen mentioned, the more he does that type of work, the more will be offered to him . . if that's what he wants . .and when it all boils down to it, he just has to ask himself, what does he want . . . Just rambling . .sorry . .

Taking your cue from Ricky Gervais' Golden Globe speech there Allison ;-)) And so say all of us ( ' cept we are more than outnumbered here!)

(Dorine)He rejects projects considered quality (Sylvia, anyone? Good riddance if he did.) I'm glad, in hindsight, that he didn't do Sylvia--If it was his choice not to do it. (remember the refusal to read for the part/new director stories) But, IMO, he may have made the right choice for the wrong reasons-I think he took one look at the steamy love scenes in that script and took off faster than a jack rabbit. Didn't GP bring Chris Martin in for a private screening, before the premiere, because she was afraid of his reaction to those scenes? I'd love to say he made a brilliant choice because he knew it would die, but I don't think so. I should also make clear that I don't consider steamy love scenes as wrong or right. If CF is uncomfortable doing them-it's his choice. I'd love to help him change his mind;-)

(Karen) People are free to like or dislike Colin in any role he chooses. But that's where I can't get too worked up.....I can't make up my mind until I actually see it. I just get excited to hear he's working. And, as always, I think to myself....it can't get worse than L'dum (okay, it could, but we are talking Emma Thompson and not Mike Binder in this case). Dorine also mentioned that he said at the Burns Q&A that he admits to making some missteps. I don't think he's that good at choosing parts (his taste in choosing a script is a bit like his taste in music....sorta all over the place with no recurring theme). He's done alright so far, he's 'jobbing' ;-)....

Agree wholeheartedly that I'd love to see more of the intense dramatic Colin now that I've been a fan for a long time and have a better knowledge of his wide range and talent. But let's not disparage the lighter romantic fare completely. It's how many of us were baptised into the 'Church of Colin'. P&P, BJD, and WAGW were the vehicles in which many people first took notice because of his ability to blow the socks off a romantic role. IMO these roles attract a lot of attention initially and are the impetus to delve further into his filmography and see just what he's truly capable of. I think of them as sort of a 'back door approach' to increasing his profile amongst mainstream audiences...to say nothing of 'paying the bills for a jobbing actor. If he doesn't continue to make the films that draw easy attention, I fear he may fall off the radar completely while awaiting those meatier roles. Anybody see Ralph Fiennes or Jeremy Irons recently?? Besides, if Colin made films as infrequently as those two, wha ever would drooleurs have to keep these boards alive with? Case in point...I'm laid up for a few days and can assure you when I'm seeking diversions with which to entertain myself, replaying some of his 'swoon films' will be at the top of my list of choices.

I think Ralph has been doing theater most recently, a noble venture, IMO. Also, he is set to star in John LeCarre's the Constant Gardener for director Fernando Mereilles (Oscar nommed for City of God). He's also set to do a Merchant-Ivory film with Vanessa Redgrave and Natasha R. Then he's on tap to do a film for Neil LaBute. Last year, he had Spider out, which was one of the strongest performances I've seen in recent years. Director was David Cronenberg. No flies on Rafe--his projects are class all the way. The importance of working with first-rate directors cannot be overstated, IMO.

Last summer he was in:"Brand" by Henrik Ibsen. Opened at The Swan Theatre in Stratford and went on to the West End. Recently in Viet-Nam, Rafe is a Good Will Ambassador for UNICEF. Also it was reported that Actor Ralph Fiennes is to be a judge for the prestigious Whitbread Book Prize. Fiennes will join broadcaster Joan Bakewell who will chair the judging panel to find the book of the year. Sorry boss, I know this belongs on Rafe's board#40, but some people don't go there.

I know this belongs on Rafe's board#40, but some people don't go there. And they should, if they are going to try to use him as an example or to try to support their arguments. Back to what this board is for... A Trauma update of litttle or no real value ;-) It is still being screened for potential distributors, but thus far doesn't have a US one.

(Karen) A Trauma update of litttle or no real value ;-) It is still being screened for potential distributors, but thus far doesn't have a US one. Thanks Karen...I guess, it is still being screened, so that is a good thing (they haven't given up).

The Arizona Republic -- The final lines of a review of a new version of Pride and Prejudice produced by the Mormons: "...A better way to combine the church and Jane Austen? Rent the Colin Firth version of Pride and Prejudice and read the Book of Mormon during the slow bits." http://www.azcentral.com/arizonarepublic/preview/articles/0213pride13-CR.html

The Ohio Beacon Journal -- Unlucky in love -- For Valentine's Day and Friday the 13th, 13 unlucky movie lovers: � William Shakespeare (Joseph Fiennes) in Shakespeare in Love -- So let me get this right. Shakespeare has a way with words and whispers them quite ably to Viola (Gwyneth Paltrow), a woman in the queen's court; makes mad, passionate love to her; and watches helplessly as she sails off to the New World with some aristocratic weasel (Colin Firth) who's looking for a woman only to serve as a mommy to his future offspring? Love stinks. More here: http://www.ohio.com/mld/beaconjournal/7944394.htm

Can't recall if this has already been posted . . But the GWAPE soundtrack will be available on Amazon on Feb 17th (you can order it now as an import . .a bit more expensive, if you can't wait . .or order from the offical site . .but of course via Amazon helps out Drool!!!)) http://www.amazon.com/exec/obidos/tg/detail/-/B0001FVEU4/qid=1076725268/sr=1-1/ref=sr_1_1/002-1851586-9552815?v=glance&s=music

If ordered via this kind of link: http://www.amazon.com/exec/obidos/ASIN/B0001FVEU4/spring-20 Thanks, Kimberly, for letting everyone know. I'll update the boutique page.

A place Sophie might want to check out, from today's Times: Mr Gorgeous, sorry I mean Colin Firth, has been spotted at the frightfully posh Hotel Beauvallon at St Maxim on the C�te d�Azur. He relaxed by the pool with his wife Livia Giuggioli, then the couple hopped into a boat at the hotel�s private jetty for the eight-minute journey to St Tropez. A Follow That Star mole said: �He likes it here because no one bothers him. In London people keep asking for autographs.� The Beauvallon is 90 years old in April and has played host to the likes of Colette, F. Scott Fitzgerald (who is rumoured to have written Tender is the Night here) and John F. Kennedy, who liked to drink pink champagne on the hotel�s pink and white marble terrace. http://www.timesonline.co.uk/article/0,,71-999825,00.html

Mr Gorgeous, sorry I mean Colin Firth, has been spotted at the frightfully posh Hotel Beauvallon at St Maxim on the C�te d�Azur. Wow, that was one quick getaway since he was filming in London on Tuesday.

"Abercrombie & Kent (0845 0700612, www.abercrombiekent.co.uk ) is offering Times readers a special birthday break at the Beauvallon for �545pp. The price, based on two sharing, includes three nights in a Mountain Room, flights from London and car hire. Even with the $2./UKP that's a good price for such a frightfully posh hotel. Of course, Mountain Room might be overlooking the garbage dump. Me thinks they have an ocean view. *sigh*

(Linda) Wow, that was one quick getaway since he was filming in London on Tuesday. Sorry! I didn't mean to imply he was there now. This was from the Travel section and several other locations were mentioned in the column.

Not too shabby....

(Evelyn) Not too shabby.... Indeed! Can you just imagine?? Cocktails by the pool!

And looking out on the balcony from your hotel room....after....:-))))))))))))

(Evelyn)And looking out on the balcony from your hotel room....after....:-)))))))))))) After...wot? ***sigh*** did this have to come up on Valentine's Day? Gets in the way of my own fantasies;-) Great view, but the funky slippers have to go.

frightfully posh Hotel Beauvallon at St Maxim on the C�te d�Azur. Sounds wonderfully relaxing and romantic . . . And looks beautiful . .My DH and I have been thinking about going to Europe for a trip . .this may be a weeee bit expensive . . (Tress)Cocktails by the pool! That would be a martini please, shaken not stirred . .mushimoko style;)

(Karen)Sorry! I didn't mean to imply he was there now You're right, he wouldn't have been. They get winter there too, and it was in the '40s there yesterday. Ain't nobody lounging by the pool then. So why isn't he going to the BAFTAs when people who didn't even make a movie last year are going and even presenting! He has two films with noms.

(Mari) So why isn't he going to the BAFTAs when people who didn't even make a movie last year are going and even presenting! I'm sticking to the scary hair theory. Scarlett may not have found a new hairdresser in London yet.....;-)

Nope, doesn't look like she's found one;-).

(Mari) So why isn't he going to the BAFTAs when people who didn't even make a movie last year are going and even presenting! He has two films with noms. The two films have noms but he doesn't, so why would he bother? From what I've seen he doesn't like these award ceremonies much, so if his presence is not 'required' he'll sure give it a pass. It would've surprised me if I heard he was going to be there. I'd remain on vacation if I were him. Having a fun getaway with a gorgeous wife sure beats parading around for the TV cameras. I simply see no reason for him to be there.

(Ildi) The two films have noms but he doesn't, so why would he bother? And why would they want him?

The producers pick who attends (besides the nominees). Either they asked and he said no (possible), or they didn't ask. Perhaps they got all the A-listers they needed and had room for. I don't know how many the venue holds, but after nominees, presenters, sponsors, and BAFTA VIP's plus guests, they may not have had room. I read the Oscars are hard pressed for room now that they moved to the smaller Kodak Theater. All manner of VIP's and names begging for tix they can't get.

(Dorine) Perhaps they got all the A-listers they needed and had room for. When did Judy Parfitt get on the A-list? ;-) Naw, I'd say he declined.

When did Judy Parfitt get on the A-list? ;-) She's a nominee surely? Best supporting actress?

Has there been a list given of who is attending? Or has it been reported in the media he is definitely not making an appearance?

(Karen) When did Judy Parfitt get on the A-list? ;-) (Allison) She's a nominee surely? Best supporting actress? Ding, ding, ding!!! Give this woman a prize! She is indeed nom'd.