REMBRANDT
UK, 1936, 80 minutes, Black and white.
Charles Laughton, Gertrude Lawrence, Elsa Lanchester, Edward Chapman, Roger Livesey.
Directed by Alexander Korda.
The celebrated Dutch artist Rembrandt van Rijn has been the subject of a number of films even from the silent era. A Dutch film was made in 1940 (and another film, Rembrandt Fecit, was made in 1969). Others who have appeared as Rembrandt on screen include Richard Johnson in a 1980s telemovie and Klaus Maria Brandauer appeared as the artist in a film of 1999.
This 1936 film was directed by Alexander Korda who had set up London Films. He had directed Charles Laughton to an Oscar in The Private Life of Henry VIII and was trying to make a film of Robert Graves’ book I Claudius also with Laughton. A documentary about this film, The Epic That Never Was, includes scenes that were filmed from I Claudius.
Charles Laughton had appeared in a number of American films by this time including Island of Lost Souls. However, with his winning the Oscar for The Private Life of Henry VIII, a larger career opened up to him which he was to pursue for thirty years. He soon appeared in the Clark Gable Fletcher Christian Mutiny On The Bounty in 1935. He was memorable in 1939 as Quasimodo in The Hunchback of Notre Dame as well as in Hitchcock’s Jamaica Inn. During his career in Hollywood he often sent himself up, as Abbott and Costello Meet Captain Kidd. However, he also made a number of serious films including David Lean’s Hobson’s Choice with John Mills and Brenda de Banzie in 1954, he directed his only film, the classic The Night of the Hunter with Robert Mitchum and Shelley Winters in 1955. Towards the end of his career he appeared in Spartacus as well as in Advise and Consent.
Laughton portrays Rembrandt at the height of his powers, his wife dying, the effect of the death on his work. The film also features a rare screen appearance of Gertrude Lawrence, better known as a stage star of Noel Coward’s films as well as of musicals, especially in originating The King and I. (Another film she appeared in was a version of Tennessee Williams’ The Glass Menagerie with Kirk Douglas, Arthur Kennedy and Jane Wyman.) Laughton is also supported by his wife Elsa Lanchester with whom he appeared a number of times. She also had been establishing a career, appearing as The Bride of Frankenstein in the previous year. Roger Livesey also appears in the supporting cast.
The film has a brief running time but encapsulates the character of Rembrandt, his genius – with an insight into his work and its background.
1. Entertaining and interesting biography? Previous knowledge of Rembrandt, his life, his art? Rembrandt's reputation? The quality of his work?
2. The contribution of the film to art appreciation? Insight into the artist, his temperament, difficulties. relationships, work? His society? The effect of criticism on him? Lack of appreciation?
3. The qualities of production: black and white photography, use of light and shadow? Visual compositions with reference to Rembrandt's paintings? Tableau? Movement? Musical score?
4. The episodic nature of the film? The passing of years? The brief running time of the film and the cumulative effect of the episodes to give an impression of Rembrandt?
5. The presence of Charles Laughton, his acting skills? His strength of performance? The impression of Rembrandt? Character, vision, his relationships, his praise of woman? His wife, mistress, appreciation of beauty, chastity? The death of his women? The incident of the necklace indicating his appreciation of beauty? His not being at the funeral, people's criticism and reaction? The social situation, his lack of awareness of money, bankruptcy?
6. The screenplay offering insight into Rembrandt's art, style, vision? Shadows, darkness and confusion? Serious art? The reaction of the people at the time? The middle class Dutch burghers and their reaction? 'A decent painter paints decent people!' Rembrandt and his techniques, learning to paint, the variety of his work? Beauty not worldliness? The account of Saul and the painting? Psalm 23?
7. Dutch society, 17th century prosperity, patronage, the self-importance of the patrons, their manner? Rembrandt catching this in his paintings? Their appearance? The unveiling of the painting and the reaction - laughter? The insults? The effect on Rembrandt and his work? Finances and bankruptcy? His agent? The shopkeeper and the supplying of material to Rembrandt?
8. Gertje: wife, relationship, the child, the death? Service? Failing the knight? Mistress? The lamp, tension? Control?
9. The character of the beggar - the 'bad painter'? The old Testament king? Dramatising the story of King Saul - as hero? The long account and the creation by Rembrandt?
10. Hendretje: support. love. inspiring? Death?
11. The portrait of Rembrandt in his old age? His eccentricity of manner, appearance? The visitors and the tavern and the laughing? His theme of vanity of vanities?
12. Information, inspiration, entertainment? The quality of Alexander Korda's film-making in Britain in the '30s?
