THE LAST VERMEER
US, 2019, 118 minutes, Colour.
Guy Pearce, Claes Bang, Vicki Krieps, Roland Moeller, August Diehl, Karl Johnson, Adrian Scarborough, Susannah Doyle.
Directed by Dan Friedkin.
This reviewer had not come across the Dutch artist of the 1930s-1940s, Han van Meegeren. Which means that this narrative did not unfold as history with documentary touch but, rather, as something of a thriller.
It opens atmospherically, a secret tunnel in Austria, weeks after the death of Hitler, Allied forces discovering a train carriage full of the art treasures stolen by Herman Goering. And, among them, a Vermeer painting of Christ and the Adultress.
The action then moves to an investigator into art collaboration with the Nazis in Holland, an officer, former resistance activist, Jewish background, Joseph Pilar. He is played with some authority by the rather imposing Danish actor, Claes Bang. There is an atmosphere of post-war relief in Amsterdam as well as vindictiveness against collaborators with the Nazis, their being executed in the streets.
Joe Pilar, with the help of a resistance friend, Dekker (Roland Moeller), begin investigations on Goering’s art which lead them to the broker for the sale, Van Megeeren. And, a highlight of the film, he is played with supreme insouciance, more than a touch of the narcissistic, long hair and clothing style, by Guy Pearce.
Van Mergeeren claims that his sale to Goering was not collaboration but, rather, to fleece him of over 1 million guilders which could be used by the Dutch resistance. The authorities do not agree. In fact, local Dutch investigators, led by De Klerks (a cold August Diehl), pursue their target, to defy Joe who is able to quickly abduct the artist and install him in an attic, coming to believe that he was telling the truth.
And, not only that. Audiences who know the story of Van Megeeren will be interested in this expose about his forgeries, six paintings, gospel themes, painted in the style of Vermeer. Those who don’t know the story will be more than intrigued.
The second part of the film is a court case, Van Megeeren sitting on the platform, seemingly supremely indifferent and sometimes intervening with devil-may-care remarks. He is defended in court by Joe, with the help of an elderly licensed lawyer, Karl Johnson. And, there are ups and downs in the fortunes of the artist in the court, some information he neglected to let Joe know, testimony from his ex-wife and mistress, but interesting explanations of how he forged the paintings, with some flabbergasted responses by experts in the courtroom.
Whether it happened that way or not, the judges bringing down their verdict of guilty, Dekker creating a violent scuffle in the courtroom, Joe dramatically acting to prove the painting a forgery, it is highly entertaining as a climax – with the dismay of the judges, the prosecutor, the experts!
Biographical information is given at the end of the film, Van Megeeren dying not long after the case, De Klerks giving Joe a copy of Van Megeeren’s book, gift to Hitler with an incriminating inscription (which Van Megeeren and is able to laugh off with great ease).
And the information as to how the authorities inform Goering about the forgery and his reaction is a dramatic highlight.
1. Audience knowledge of Han Van Meegeren? As artist? His reputation as the greatest forger ever? In Dutch society before the war? War activities? The revelation of him as forger? And the story of Goering and the painting? And the finding of Goering’s are treasures in the Austrian tunnel? The painting returned to Holland? Rejoicing? Leading to the accusations against Van Megeeren?
2. May 1945, the investigations during 1944, into 1946, the court case, Han’s death?
3. The historical basis for the film? The timeline, Han’s activities, paintings, during the war, the investigations, court case? The dramatisation of characters and creation of characters?
4. The Dutch settings, 1945, atmosphere of the period, the end of the war, costumes and decor and atmosphere? Crowds in the street? People in the courts? The art world? The visuals of the Amsterdam streets, views of homes and buildings? The musical score? Classical score?
5. The film in three parts: Joe and his investigation of Han? Then the court sequences? Then the postscript about home, his gift to Hitler, his death?
6. The background of the human and personal story, Joe, Dutch, Jewish background, marriage and son, joining the resistance, leaving his wife and her consorting with the Nazis, the tension by the end of the war? During his investigations? His wife’s suspicions about his relationship with his assistant? The ending of the film and his return to his wife and family? As background to the main thrust of the story and narrative, or something of an emotional distraction?
7. Joe, age, military, the Allied task, to investigate Han, the painting, sold to Goering? His presumption of guilt with Han collaborating with the Nazis? The seriousness of in his investigation, interviews and interrogations? His assistant and her supplying information? The encounter with Decker, Dekker’s past, Joe getting him to collaborate, in uniform, tough presence, stand over tactics?
8. The opposition of the Dutch government, the antagonism with De Klerks, his associates and strongmen, his confronting Joe, Joe outwitting him and the chase through the prison, the further encounters, in court? His visiting Joe at the end, giving him the book dedicated to Hitler?
9. The situation with the Allied forces, the transition after the war, Dutch authorities wanting to be independent of the Allied forces? Jurisdictions? Detectors in investigations? Collaborators?
10. The Dutch people, gathering in the squares, the execution of collaborators? The expert in the art gallery, interrogated by Joe, his attempted suicide? His execution?
11. Guy Pearce as Van Meegeren, his foppish manner, the accusation that he was narcissistic, his place in Dutch society, the flashbacks, artist, parties, his wife, sexual encounters, his mistress? Drinking? His appearance, the hair, gait, Lord of the Manor style?
12. His character, before the war, his more modern style painting, rejection by the critics and authorities? Art agent? His dealing with Goering, selling him the painting, the exorbitant price? Tensions with his wife, separations, her going to France, his leaving his money and properties to her?
13. The issue of the painting, Jesus and the Adultress, its being verified? Dirk Haneema? His hostility towards Han? Snobbery?
14. Han, in his house, lavish, painting, possessions? Being taken into custody? His taunting of Joe? Flip in style? Yet self-possessed? Wanting his paints? Wanting whiskey? His mistress and her visits?
15. Han and his claim that the painting was a forgery? Joe and his response, allowing Han to paint, incorporating Decker and Joe?
16. De Klerks, his taking over the case, Joe and his appeal to the authorities, his having to back out? His family going to his wife’s father? His taking on manual work? The approach about the forgeries?
17. His going to Bakker, old and retired, yet licensed as a lawyer, the preparation of the case, interviews, refusal of contact with Han?
18. The court sequences, the crowds, hostile outside the court? Everybody present in the court? Han, seated on the platform, arrogant, surveying everything, the manner of his replies? Joe speaking on the lawyer’s behalf? The prosecutor and his attacks? The reaction of the judge?
19. The to and fro of the court case, the claim about the forgeries, the experts and their being horrified, Dirk Haneema and his testimony? No proof, Han’s collaborator found to have died? The presentation of the paintings, the further six paintings claimed to be forgeries, and their being present in galleries including Washington DC? The experts and their testimonies? The argument about alcohol testing the oils? The revelation about the Bakelite? The testimony of Han’s wife?
20. Disbelief about the forgeries? Comparisons with Han’s own paintings? Derision about him? The judges and the unanimous of the verdict against him?
21. Dekker creating the fight atmosphere in the court, Joe putting the acid on the paintings? The revealing of Han’s initials? The experts and their dismay?
22. Han, released, back to his life of luxury, his mistress, atmosphere of defiance? Joe, the book for Hitler, confronting him, Han’s and his offhand reply? Joe leaving, and burning the book?
