The Draughtsman's Contract Page #10

Synopsis: Mr. Neville, a cocksure young artist, is contracted by Mrs. Herbert, the wife of a wealthy landowner, to produce a set of twelve drawings of her husband's estate, a contract which extends much further than either the purse or the sketchpad. The sketches themselves prove of an even greater significance than supposed upon the discovery of the body of Mr. Herbert.
Genre: Comedy, Drama, History
Director(s): Peter Greenaway
Production: Channel 4
  1 win & 3 nominations.
 
IMDB:
7.3
Rotten Tomatoes:
100%
R
Year:
1982
108 min
2,002 Views


If we had light,

that might be possible.

I'm sure we can find some light.

But it is not finished, Mr. Neville.

No, Mr. Talmann, it is not.

You may successfully

hide your face in the dark...

...but in England it is not

easy for you to hide your accent.

I did not think to hide

my identity for long...

...which even in the eyes of

the English is no especial crime...

...compared with the identity

you care to assume with such ease.

And what identity might that be?

The identity of a man

of some little talent...

...some dubious honour, a

proper dealer in contracts.

The identity of a man with an

eye to the improper pursuit...

...of dishonour to others.

You talk, Mr. Talmann, like

one who has learnt abroad...

...an archaic way of speaking

that became unfashionable...

...in England when my

grandfather was a young man.

My speech is in no way dependable...

...on your view of fashion.

We all know that in the

field of deeds and of talent...

...you in your field are an innovator.

That must be some sort

of flattery, Mr. Talmann.

Have your companions

also come to flatter?

We have come merely as

curious observers, Mr. Neville.

To wonder why after

so much has happened...

...you return to continue to fix

Mr. Herbert's property on paper...

...and chose to draw

this particular site?

I might be inclined to answer

those questions...

...if I didn't feel that the

truthful answers I would give...

...would in no way

be of interest to you.

It is our belief, Mr. Neville,

that in returning here...

...you are seeking a

codicil to your original contract.

A codicil of a more permanent

nature than the last one.

A lasting contract with a widow.

You speak, of course, Mr. Talmann,

like a disinherited man.

Uninterested in painting

or draughtsmanship.

Uninterested even in the

prospect of the estate...

...you covet from this position.

An ideal site for a memorial, perhaps.

Do you think Mr. Herbert

would have appreciated...

...the prospect of his estate?

As a landowner

yourself, Mr. Seymour...

...I leave you to judge.

For a man of property it is

a view that might be enviable.

Though I think you are

wrong to ascribe those...

...enviable thoughts to me.

Perhaps they should be ascribed...

...to my friend Mr. Noyes who

is I think standing beside me.

A custodian of contracts.

A man who was given

custody of private agreements...

...in black and white.

And how do you feel

that Mr. Herbert...

...felt about these

black and white contracts?

As his agent, his

bailiff, his notary...

...his one-time friend, the close...

...though not close

enough confidant of his wife.

I would have thought you would be

the best person to answer that.

It is curious that you

persist in asking me questions...

...which you are the most

suitably situated to answer.

It has occurred to me that you

might have advanced...

...Mr. Herbert the information

that was so discretionally...

...set down in black and white.

If he could have appreciated

what it stood for is another matter.

He was blind to so much.

Certainly blind to

considerable unhappiness.

Your understanding of

Mrs. Herbert's unhappiness...

...could in no way be

considered profound or relevant.

I had access to some considerable...

...observation of her state of mind.

You won't forget that I

was helped in that respect by...

...her daughter, your wife.

And was persistently

persuaded by both ladies...

...to undertake the

commission in the first place.

And they persuaded you with a view...

...that you might reconcile

differences and not plunder them.

I am in no way responsible...

...for Mr. Herbert's death.

The affair is a mystery to me...

...though I have suspicions

Mr. Talmann...

...Mr. Seymour, Mr. Noyes.

And if they were here, indeed of

Mrs. Herbert herself and Mrs. Talmann.

Ladies who both after all entered

willingly into their contracts.

Is that why, Mr. Neville, you

have just abused Mrs. Herbert further?

What a pity.

That was clever.

We now have a contract

with you, Mr. Neville...

...and under conditions

of our choosing.

The contract concerning

our present pleasure...

...has three conditions.

It would be best served when

you have removed your finery.

Take off you hat.

My hat has no contractual

obligations with anyone.

The contract's first condition...

...and there's no need

to write it down for you...

...will never see it,

is to cancel your eyes.

Since we have now deprived

you of your access to a living...

...this shirt on your back

will be of no value to you.

It may well dress a scarecrow

to frighten the crows.

Or be scattered about an estate...

...as ambiguous evidence...

...of an obscure allegory.

And the third condition

of your contract...

...concomitant to the other two...

...and legally binding...

...and efficiently undertaken...

...and for what is a

man without property...

...and foresight...

...is your death.

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Peter Greenaway

Peter Greenaway, CBE (born 5 April 1942 in Newport, Wales) is a British film director, screenwriter, and artist. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. Common traits in his film are the scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death. more…

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Submitted on August 05, 2018

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