Respond to these rapid questions in our The Last Vermeer quiz and we will tell you which The Last Vermeer character you are. Play it now.
Please bear with me. For a moment, I’m going to have to get a little meta on you. ‘The Last Vermeer’ is based on a novel that is loosely based on the true story of Han van Meegeren, a Dutch artist and art dealer who lived during the time of Vermeer. The sale of a Vermeer masterpiece to Hermann Göring, one of the Nazi party’s most powerful leaders, resulted in him being charged with collaboration with the Nazis. By demonstrating that the painting in question was not a Vermeer but rather his own forgery, Van Meegeren was successful in establishing his innocence.
The question is, what is reasonable to expect from a true story about a man who is renowned for having been an extraordinarily successful liar? All films, even those that are based on historical events, are a reflection of and a conversation about the issues of the time in which they are made. And they all modify the true story in order to condense and clarify what happened and why it is so significant. But we can still question the manner in which this film departs from the truth in terms of its legitimacy as an artistic creation and a statement of moral imperatives. When it comes to historical characters and events, how much of these changes are legitimate dramatic license to better illuminate them and how much of them detract from it is up for debate. “The Last Vermeer” tackles a wide range of difficult issues, including history, art in and of itself, as well as its relationship to culture and commerce, and what kinds of moral compromises are acceptable. Though admirably ambitious, the conflict between history, drama, and the exploration of those issues does not always result in a satisfactory resolution.
First and foremost, however, let us consider the film as a dramatic production. It takes place immediately following the end of World War II in Europe, during the chaotic transition period before the Allied Forces retake control of the countries that had been occupied by the Nazis. On the streets, firing squads are taking out those who are deemed to be collaborators.
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Former Dutch Resistance lieutenant now serving in the Allied forces in the Netherlands is looking into an art gallery he believes is a front for a German intelligence operation. He is Joseph Piller, played by Claes Bang, who appears to be making a career out of starring in films about the nature of art, including “The Square,” which was produced by this film’s first-time director Dan Friedkin, and “The Burnt Orange Heresy,” both of which are currently in theaters.
The Last Vermeer Quiz
As part of his investigation into the sale of the Vermeer at what was then a world record price (in real life, Göring exchanged it for other paintings), Piller meets van Meegeren, who is played here by the ethereal and wittily enigmatic Guy Pearce. Van Meegeren’s mansion is a haven of luxury and good taste in every way. The Dutch authorities, led by a man in a big hat who looks like the sadistic bad guy from “Raiders of the Lost Ark,” quickly apprehend Piller and put him in a prison cell—at least until there is a jurisdictional squabble with the local authorities. Piller considers his group to be morally superior, and he refers to their Dutch opponents as “The Ministry of Convenient Justice” (the Ministry of Convenient Justice). Piller kidnaps van Meegeren from prison and hides him in an attic after they gain control of the situation. When asked if he will allow Piller to paint, Van Meegeren promises that he will answer all of Piller’s questions.
Also, you will find out which character are you in this The Last Vermeer quiz.
This could be a result of Piller’s estrangement from his wife, which may have fueled his obsession with tracking down and punishing those who collaborated with the Nazis. He was underground with the Resistance, and she was gathering information by working for, and possibly having sexual relations with, German officers in the occupying forces during his absence.
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The storyline may deviate more from the facts than the visual style of the film, which features settings and lighting that are reminiscent of the Dutch masters. In addition, we can see the influence of films such as “The Third Man.” The contrast between the rubble of the post-war landscape and the lavish parties where van Meegeren entertained the upper crust of Dutch society—as well as a few Nazis—is beautifully captured by director of photography Remi Adefarasin. Real Vermeer masterpieces are a vital part of the Dutch national identity, and the trauma and fragility of the war’s end serve to emphasize the significance of genuine Vermeer masterpieces. A sale to the adversary would have been a heinous betrayal of trust.
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The trial is the most memorable part of the film. Rather, Van Meegeren claims, he was defrauding the Nazis and thus was not collaborating with them. However, the film employs a significant amount of unnecessary and distracting dramatic license and spends an inordinate amount of time on characters and relationships that are not as significant, despite the fact that these scenes are effective.
However, the verdict is not the be-all and end-all. We want to raise issues that could each be the subject of an entire film: questions about authentication by experts and validation from critics, as well as the commercial implications and conflicts of interest that can arise from each of these. In addition, there is a parallel exploration of what it means to be a person of integrity in an occupied territory during a wartime. Vermeer is regarded as a master because he understood that what was left out of his paintings was just as important as what was included.
For more personality quizzes check this: Baaghi 3 Quiz.
