Girl With A Pearl Earring Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Griet (Scarlett Johansson) is a shy girl living in the Dutch Republic in 1665. Her father, a Delftware painter, has recently gone blind, rendering him unable to work and putting his family in a precarious financial situation. To help matters, Griet is sent to work as a maid in the household of famed painter Johannes Vermeer (Colin Firth). Griet works hard, almost wordlessly, in the lowest position in a harsh hierarchy. She does her best to adjust, despite the unkind treatment from Vermeer's daughter Cornelia. While she is on a routine shopping trip outside the house, a butcher's son, Pieter (Cillian Murphy), notices Griet and is drawn to her. However, she is slow to return his affections as their relationship develops.

As Griet cleans Vermeer's studio, which his wife Catharina (Essie Davis) never enters, the painter begins to converse with her and encourages her appreciation of painting, light and color. Vermeer gives her lessons in mixing paints and other tasks, taking care to keep this secret from his wife, who would react with anger and jealousy if she found out that her husband was spending time with Griet. In contrast, Vermeer's pragmatic mother-in-law, Maria Thins (Judy Parfitt), sees Griet as useful to Vermeer's career.

Vermeer's rich patron, Van Ruijven (Tom Wilkinson), notices Griet on a visit to the Vermeer household and asks the painter if he will give her up to work in his own house, a situation which "ruined" his former girl-maid. Vermeer refuses, but agrees to paint a portrait of Griet for Van Ruijven.

As Vermeer secretly works on the eponymous painting, Catharina cannot help but notice something is amiss. Her growing disdain for Griet becomes more apparent, spurred on by Van Ruijven's deliberate suggestions of an improper relationship between Vermeer and the young maid. A conflicted Griet must deal with her growing fascination with Vermeer and his talent,and subsequently fend off Van Ruijven, who attempts to rape her in the courtyard. Later, when Catharina is out for the day, her mother hands Griet her daughter's pearl earrings, and asks Vermeer to finish the painting. At the final painting session, Vermeer pierces Griet's left earlobe so she can wear one of the earrings for the portrait. The tension heightens considerably when Griet reacts to the pain, and Vermeer tenderly caresses her face. Griet then runs to Pieter to be consoled, and presumably distracted from her thoughts of Vermeer. They embrace and make love in a barn, where Pieter proposes marriage, but Griet unexpectedly leaves. She then returns the earrings to Catharina's mother.

Later, Catharina flies into a rage upon discovering Griet used her earrings. She storms into the studio, accuses her mother of complicity, and demands Vermeer show her the commissioned portrait. Offended by the intimate nature of the painting, Catharina dismisses it as "obscene," and tearfully asks why Vermeer won't paint her. When Vermeer responds, "Because you don't understand," she tries but fails to destroy the painting. She then banishes Griet from the house forever, to which Vermeer does not object, and lets Griet depart. Later, Griet is visited by Vermeer's house cook Tanneke, who comes bearing her a gift: the blue headscarf she wore in the painting, wrapped around Catharina's pearl earrings.

The film ends with a slow reveal of the real-life painting, "Girl with a Pearl Earring."

Development

The production of Girl with a Pearl Earring began in 1999, when screenwriter Olivia Hetreed gained access to Tracy Chevalier's novel Girl with a Pearl Earring shortly before its publication in August. The novel had not yet become a best-seller, but several groups were beginning to show interest. Hetreed loved the character of Griet and "her determination to be free in a world where that was almost impossible for a girl from her background." Anand Tucker and Hetreed's husband Andy Paterson – both producers with the small British studio Archer Street Films – approached the novel's author, Tracy Chevalier, for a film adaptation. Chevalier agreed, believing that a British studio would help resist Hollywood's urge "to sex up the film." She stipulated that their adaptation avoid having the main characters consummate their relationship. Paterson and Tucker promised to "replicate the 'emotional truth' of the story ," and Chevalier did not seek to retain control during the film's creative process, though she briefly considered adapting it herself.

Hetreed worked closely with Tucker and Webber to adapt the book, explaining that "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." Her first draft was closest to the source material and it slowly "developed its own character" through rewrites. She avoided using a voiceover, which was present in the novel, "partly because it would make it very literary." Instead, she focused on conveying Griet's thoughts visually – for example, in her adaptation Griet and Vermeer inspect the camera obscura together under his cloak amidst sexual tension; whereas, in the novel Griet views it alone immediately after him and enjoys the lasting warmth and scent he leaves.

The novel maximises the few known facts of Vermeer's life, which Hetreed described as "little pillars sticking up out of the dust of history." To learn more about the artist, the screenwriter researched Dutch society in the 17th-century, talked to artist friends about painting, and interviewed a Victoria & Albert Museum art historian who had restored the original artwork. Hetreed stayed in close contact with Chevalier, and the two became so close near the end of the production that they presented a Master class together on screenwriting.

Casting

Originally, the American actress Kate Hudson was cast as Griet, having successfully pursued the role from the film's producers. In September 2001, however, Hudson pulled out four weeks before filming began, officially due to "creative differences". Hudson's decision scuppered the production and led to the loss of financial support from the production company Intermedia. It also resulted in the withdrawal of Mike Newell as director and Ralph Fiennes as Vermeer; Fiennes left the project to work on his 2002 film Maid in Manhattan. Due to this incident, The Guardian reported that it "now seems unlikely that the film will ever be made."

Production started again later that year when the producers hired the relatively unknown British television director Peter Webber to head the project, despite his not having directed a feature film before. Tucker and Paterson already knew Webber from several earlier projects; the director discovered the project by accident after visiting their office, where he noticed a poster of Vermeer's work and began discussing it. Webber read the script and described it as being "about creativity and the link between art and money and power and sex in some strange unholy mixture." Characterising it as a "coming of age" story with a "fascinating dark undertow," Webber deliberately did not read the book prior to filming, as he was concerned about being influenced by it, opting instead to rely on the script and the period.

The casting of Griet was Webber's first major step, and led to interviews with 150 girls before Webber chose the 17-year-old actress Scarlett Johansson. He felt that she "just stood out. She had something distinctive ab