The Arts of Cinema II: Admiral and the Golden age of Dutch Painting

Dutch art of the 17th century has a lot to teach the film maker. During this period, Dutch painters such as Rembrandt, Jan Vermeer, Gerrit van Honthorst, Pieter de Hooch and others developed a kind of painting that combined intense realism with drama and emotion. They did this largely through a deep understanding of how lighting works within the image.

They learned from the Caravaggists, the followers of Caravaggio (the Italian painter who I’ll write about in a later post ) who was one of the first to really demonstrate how careful manipulation of light is one of the chief tools of the visual storyteller.

The film Admiral follows the visual style of the Dutch painters and the Caravaggists in using light as a way to model the physical characteristics of the films characters, to create painterly shots, and  – as a self-reflexive motif that runs throughout the film – to include paintings within the films mise en scéne* to remind the viewer that the story of the film is deeply connected to the historical world which we chiefly know through the paintings . Here are some examples of how that works in the film:

shot from Admiral
Jan Vermeer The Milk Maid, c.1660

Early on in the film we catch a very, very brief glimpse of the admiral’s maidservant working alone in the kitchen. This shot, which only lasts a couple of seconds, is a recreation of the very famous Vermeer painting The Milkmaid. The recreation of this painting in the film indicates not only a connexion with Vermeer and the Dutch Golden Age’s great achievements in art, but alludes to Vermeer’s representation of domesticity and the beauty of the everyday – which in the context of the film is the one thing that the Admiral is never able to truly experience, because he sacrifices his family life in order to save the nation.   

 

Later (and I don’t want to give away too much of the plot), there is a terrible scene where one of the main characters in the film is killed in a particularly vile way by a baying mob in the streets of Amsterdam The film shows the painting being done from life; as the characters pass through the street, we catch a glimpse of an unseen painter painting the picture. We have no idea whether or not the painting was done in situ (probably it wasn’t).

Jan de Baen painting the painitng below, shot from Admiral
Jan de Baen

In my previous blog post, I showed you the recreation of the sea battles in the film, and how they are based on the marine pictures by Dutch artists. However, what is particularly interesting is that the nature of movie-making is that you can actually go onto the ships and participate in the battles, rather than – as the painters had to – portray them at a distance. Roel Reiné’s camera brings us right onto the deck in the middle of the fighting.

 

still from Admiral

At one point we are taken below deck and the lighting of this particular shot is strongly reminiscent of a painting by the Caravaggist Spanish painter Jusepe de Ribera (see below, Ribera’s St Jerome, a good example of the lighting effect).

It is a technique known as tenebrism which is very extreme contrasts of dark and light. This is an important shot because it really brings home to the viewer the human experience of the battle, the terror that the participants must have felt, yet at the same time, the framing of the picture gives us a sense of something spiritual – perhaps the worthiness of the sacrifice.

 

 

* mise en scéne is a term that refers to everything that appears in the frame of a shot: what is before the camera and its arrangement: composition, the set/location  and all its props, the actors and where they are placed, the costumes, and the lighting. It can also include the use of colour and tonality. The term originated in the theatre and means ‘placing on the stage’. In film, of course, there isn’t a stage; the camera substitutes for the stage. The camera is much more mobile and so the mise en scéne of a film is constantly changing


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I. The Arts of Cinema: Admiral

The first of my series of Film Stills that Look Like Paintings.  I’ll be talking about what ‘painterly’ means in films later this week. This is a shot from Admiral, directed by Roel Reiné, 2015. It is a historical drama about the Anglo-Dutch wars in the late 1600s. It is a very exciting, beautifully made film that has just the right mix of real history and dramatization.

film still from Admiral, 2015

Interestingly, even at the time – during the Anglo Dutch wars – English collectors were buying Duch paintings of the battles! Even more interesitngly, the Admiral of the film’s title, Michiel de Ruyter – one of the greatest Dutch marine comanders – has a number of splendid portraits in the London museum. 

Lieutenant-Admiral Michiel de Ruyter (1607–1676) RMG Repro ID: bhc2997
Battle of Terheide, Jan Abrahamsz. Beerstraten, 1653 – 1666 Rij

According to Reiné, preparations for the film were done in the Rijksmuseum, to get the sets and cinematography just right. The exciting depictions of 17thC sea battles by Backhuysen, Beerstraten, Vroom and others are captured in a convincing mise en scéne. Many paintings by these artists are also in the Royal Martime Museum in Greenwich, London. 

I should add that Reiné was also Cinematographer on the film which is fairly unusual. He’s great at painterly historical action: he has also done episodes of Black Sails, and recently Knightfall & Washington.

Ludolf Bakhuizen: attack on the Medway: The Royal Charles carried into Dutch Waters, 12 June 1667. Royal Maritime Museum Greenwich BHC0292

Welcome!

Giorgione - Three_Philosophers [Google_Art_Project]
Giorgione – Three_Philosophers [Google_Art_Project]
Since cinema’s earliest days, literary adaptation has provided the movies with stories; and so we use literary terms like metaphor, metonymy and synedoche to describe visual things. But there is another way of looking at film, and that is through its relationship with the visual arts – mainly painting, the oldest of the art forms. Art History for Filmmakers is an inspiring guide to how images from art can be used by filmmakers to establish period detail, and to teach composition, color theory and lighting.

The book Art History for Filmmakers – published by Bloomsbury Press and available for all good book dealers – looks at the key moments in the development of the Western painting, and how these became part of the Western visual culture from which cinema emerges.

As the author of this book I’m looking forward to readers’ comments and questions. I will also post my own short film and exhibition reviews and information.