NIGHTWATCHING

UK, 2007, 134 minutes, Colour.
Martin Freeman.
Directed by Peter Greenaway.

Night Watching is Peter Greenaway’s interpretation of the career of Rembrandt, focusing on his painting of the Night Watch.

Greenaway, with his artistic and architectural background, came to prominence in the 1980s with The Draughtsman’s Contract. His films were something of an experience and not necessarily a narrative kind of storytelling. The visuals were important, hidden messages in the visuals, particular codes - this was true of The Draughtsman’s Contract, and, especially, of his interpretation of Shakespeare’s The Tempest, with John Gielgud and The Pillow Book.

Having made a name for himself with such films as The Cook, The Thief, His Wife and her Lover and The Baby of Macon, he ventured into more explicit explorations of human nature and sexuality. This was true of The Pillow Book as well as Eight and a Half Women. Greenaway then made the esoteric series of films, the Tulse Luper Suitcases. These were more art house installation films than features. So, it is something of a surprise to see him returning to his old way of making films as well as presenting a narrative.

The film is a visual delight. Many of the scenes are tableaux, imitating the style of Rembrandt’s paintings. Many of the sequences are done on sounds stages in a stylised way with only a few outdoors.

What is also of interest is Martin Freeman’s impersonation of Rembrandt. Martin Freeman is better known as a comedian (The Office, A Hitchhiker’s Guide to the Galaxy) but he brings this comic talent as well as seriousness to the portrayal of the artist. One gets an impression of eccentricity from the artist, his poor background, his clashes with the burghers of Amsterdam, his shrewdness in getting funds. It also shows his love for his wife, Saskia, and their son, Titus. He is distraught by her death, taking up with the widow Geertje and then finally falling in love with Hendricka, the maid in the house.

It is difficult to know how much truth there is in Greenaway’s interpretation. He may be following the leads of his earlier films with secret codes - and the importance of the Da Vinci Code in interpreting the Last Supper and the Mona Lisa.

The film has a lot to say about Dutch society at the time, power, greed, intrigue. The interpretation of the painting is that it is Rembrandt not only painting the significant characters in the story but also giving clues that it is a plot, a murder, as well as a condemnation of the moral values and stances of particular people in the painting. When it is finally exhibited, the fathers of the city take a dim view - but decide that it should hang and that ultimately Rembrandt would destroy his career. The film is graphic in its portrayals of sexuality, in its more contemporary earthy language. However, it is another experience as well as some insight into the life and career of Rembrandt, especially seen in his times.

1.The impact of the film, visual, sound, dramatic, theatrical? Cinematic? An artistic experience?

2.The work of Peter Greenaway, as a visual artist? Film-maker? His mystery, the codes? The interpretation of meanings?

3.The colour photography, the colour itself, light and shadows? Exteriors? The interior staging, the tableau? The style imitating that of Rembrandt and the 17th century? Its effect for the audience? Appreciation of the art and styles? The musical score?

4.Audience knowledge of Rembrandt, his life, his achievement in art, his wife, relationships, family, the authorities in Amsterdam? The background of Holland in the 17th century?

5.His art, his genius, inspiration, form, portraits, meanings? His public art? Reputation?

6.The film’s focus on the painting, Nightwatch? The title of the film, watching? The background story – with the touches of conspiracies like The Da Vinci Code? His contract with the authorities, the money, expectations, the gentlemen for the painting, their clothes, design, colour, postures, expressions? The fittings, the sittings? The expectations from the type of portraiture of the time? Rembrandt changing it? His interpretation of character, inserting the story and the illusions, the militia, the murder, the gun, characters, the young girls? The moral judgments on some of the characters? The authorities’ response, negative, the display, the decision to wait out the scandal, and for Rembrandt to ruin his career?

7.The introduction, Rembrandt’s dream, the attack, his being beaten, stripped? The interpretation? Later, the repetition? Rembrandt experiencing himself as victim?

8.Martin Freeman’s performance, Rembrandt in himself, rough, a success, the patrons, his contacts, his household? His love for Saskia, her money? Her pregnancy, the birth of the child? His love for Titus? Saskia’s illness? Geertje in the household, the friendship with Saskia? Rembrandt’s later relationship with her? The raunchy aspects of the relationship? Hendricke as the maid, young, Rembrandt defending her against attack, the attraction, love, inspiration?

9.Saskia in herself, love for her husband, keeping pace with him, the pregnancy? The birth, Rembrandt making a fuss? Her illness, the relationship, her death? Her friendship with Geertje? Geertje in herself, the widow, the sexual relationship, raunchy, her status in the household? Language and behaviour?

10.The characters of the citizens, the commission of the painting, all wanting to be in it, the relationships, the trade, England and the civil war, the militia, the exercises, the death?

11.The story of the two sisters, the orphanage, the people in charge, their being chosen, abused, the disfigurement of the face by the coffee, the other sister, her talk, supported, on the roof with Rembrandt, her killing herself? Their place in the paintings, the comment on brutality, sexual behaviour?

12.Seeing Rembrandt and his skills, the paint, the set-up, the plans, the methods?

13.The effect of Saskia’s death, Rembrandt not painting, his love for Hendricke, starting again?

14.Greenaway and his earthy approach to the story, the use of nudity, contemporary language, imagery, explicit sex scenes?

15.The audience being immersed in 17th century Holland, in the artist’s life, his experience and inspiration? A work of art and its creation?