TIM’S VERMEER – The Review

“How did they (or he or she) do that?” is a question repeated in wonderment over the centuries. Often it’s said by inquisitive children after the performance of a slight-of-hand artist or illusionist. Spectators will whisper that at athletic events or music concerts while filmgoers might discuss in the theatre lobby or online an astounding stunt or special effect in a new blockbuster. And then there’s the world of art. Scholars and student will peer for hours at a sculpture or painting and ponder at its execution. They know the materials involved, but how did the artist attack that mound of clay or blank canvas. One of the most astonishingly gifted artists was 17th century Dutch master Johannes Vermeer. He was even portrayed by Oscar winner Colin Firth in 2003’s GIRL WITH A PEARL EARING (the title of perhaps his most famous painting). Art buffs are still amazed at the photo-realistic quality of his works, almost 150 years before the invention of photography. What secret did he possess that enabled him to make his paintings so full of life (the models looks as though they might blink or speak to the viewer). Tim Jenison has wondered this for years and thinks he has cracked the secret. The quest of this unlikely art detective is the subject of first time feature director Teller’s (yes, the silent half of the comedy/magic team Penn and Teller) compelling documentary TIM’S VERMEER.

Tim Jenison is part of the new breed of multi-millionaire born of  computer technology. He’s actually referred to, in many circles, as the “Father of Desktop Video” for his time as founder of NewTek, the makers of Video Toaster (an all-in-one software for TV video post-production). The soft-spoken gray-bearded Jenison has decided to spend his retirement years pursuing his interest in the old masters, particularly Vermeer. Accompanied by director Teller and the film’s narrator Penn Jillette, Jenison talks with several experts on the artist like actor Martin Mull and historians David Hockney and Phillips Steadman. Jenison elaborated on the theories that Vermeer used a version of the camera obscura (several aligned lens and mirrors that project an image on the canvas) and put together a more complex device using aspects of camera lucida that allowed Tim, who has no art training, to paint a realistic portrait from a photo. This inspires his major project, a recreation of Vermmer’s “The Music Lesson” using only the materials available in the 1600’s. After trips to Vermeer’s hometown of Delft and then to London for an “audience” with the original painting (now part of the Royal Collection of Great Britain), Jenison transforms a warehouse space into the work’s setting. Using internet reference he learns to construct everything from the tapestries to the floor tile and windows (along with making his own paints). The film chronicles the arduous task from the planning stage through the weeks and months of meticulous brushwork.

Teller uses his camera to be a silent observer to all of the discussions and creations. There’s no fancy camera tricks and just a few sped-up scenes to convey the length of the project. By the end he has raised an interesting question about the very nature of talent. If Vermeer used these devices, does it detract from our appreciation of his talents. Was this somehow “cheating”? Has its artistic purity been negated? Or do we get a greater respect for Vermeer since he used the meager resources of the time to be an artist AND inventor? The film should be the starter for many great debates. Jillette proves to be a most helpful guide through this world with his respectful narration which rarely veers into his snarky stage persona. But at the center of the film (its heart really) is the soft-spoken Jenison whose dry wit serves him well as he adjusts to unforseen detours in his journey. Here’s a man who could easily spend his golden years lounging on the beach or near a pool. But fortunately for us, he retains has a hunger for knowledge, a still-burning desire to learn. And a drive to solve mysteries akin to an art-world Sherlock Holmes. Plus he’s got an incredible sense of committment to match. We watch as he rises with the dawn and plants himself at the painting table, putting any number of intricate patterns to canvas till the sun finally sets. By the film’s finale’, when his quiet demeanor finally cracks with emotion, it’s as compelling as anything from a playwright. Here’s a film that debunks the old adage “as dull as watching paint dry”, for few recent screen sequences are as involving as witnessing Jenison fulfilling his dreams. TIM’ S VERMEER is a film for the dreamer (and detective) in all of us.

4.5 Out of 5

TIM’S VERMEER opens everywhere and plays exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas