The Draughtsman's Contract Page #7

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
2,001 Views


With Mr. Neville's contract...

...I shall have them both.

For your protection and

for seven hundred guineas...

...I will trade you the

contract of your infidelities.

I have no money.

Seven hundred is a calculated sum.

I will trade you the

contract for the drawings.

You have 12 drawings...

...and Mr. Neville has a reputation.

What for 12 drawings

executed privately?

Consider, Madam.

The drawings could be construed

as an embarrassment to you.

And the original purpose

and significance...

...of the drawings as a

gift to your husband is absolved.

Those drawings, Mr. Noyes...

...have cost me too much already.

They may cost you a great deal more.

They may cost you possibly everything.

An adulteress with a dead husband

is no reputation to relish.

And Mr. Neville?

What of Mr. Neville?

He's gone to Radcote.

What part is he in this stratagem?

He is not part of my stratagem.

He could be party to a future

arrangement with the same intent.

You paid him a fee, Madam...

...and you offered him full board on

your property during the commission.

To the prying eye that is

as much as he is usually worth.

With the contract in your

hand and then destroyed...

...why should the world

think you have offered him more?

Where is that contract now?

I have it here.

Where are the drawings?

What would be said if I no

longer had the drawings?

That you destroyed them.

For without your husband

they were valueless to you.

What would happen

if it were known...

...that they were for sale?

Your stratagem is weak.

That you sold them...

...in order to afford a

memorial to your husband...

...or alternatively...

...that you sold them in

order to rid the house...

...of something which pains

you each time you look at them.

You once asked me if I could...

...supply you with a

ribald piece of gossip.

I remember your

friendly gesture at the time.

Madam, you Romans

know how to be charitable.

I can supply you with a

little more than gossip.

I invite you to help me...

...elaborate and

decorate such an item.

An entertaining item.

We need not work

too hard for the rump...

...of the matter has been well laid.

What real benefit do

you think I might gain...

...from this exercise?

Amusement...

...and a certain delight

in a symmetrical stratagem.

And the satisfaction

that our betters...

...might be discomforted.

And who knows, perhaps...

...two parterres and a

grove of orange trees.

If Mrs. Herbert is generous.

And why Mrs. Herbert?

Because I think you will

find she is mistress of strategy.

If you don't benefit

from her directly...

...I think that, if you

wait a few years...

...then you will

achieve them from me...

...as a token of my esteem.

From the same source?

I think you have understood me.

A monument would need a designer.

Would a certain pecuniary

draughtsman...

...be eager to sign another contract?

As far as I am aware,

the idea is Mrs. Herbert's.

Though the expenses might

be laid at Mr. Neville's door.

An about face.

It is his drawings

that are to be sold.

Not more of his talent.

By Mr. Neville's growing

reputation...

...12 drawings could be

profitably sold...

...to furnish a more

solid and enduring monument.

It is said that Mr. Neville

is to be invited to The Hague.

If I had the wherewithal...

...I would advance Mrs.

Herbert one hundred guineas...

...straight away

for capital audacity...

...for bravura in the face of grief.

Mr. Herbert is no especial

excuse for such generosity.

But how publicly

directed is the gesture?

How could posterity

doubt her affection?

Just so.

I shall offer 300 guineas, not my

own money, you understand.

My father-in-law's can afford it...

...he collects, has no

perspicacity, no knowledge.

I shall tell him...

...that they are Italian...

...Guido Reni...

...Modesta.

He shall hang them

in the darkroom...

...and they shall never be seen again.

That is a pity...

...for they are full

of illuminating details.

Mr. Neville moves forward in

Mrs. Herbert's susceptibilities...

...like a man pressing a

life-work by slow stages.

Would there perhaps be an idea

in Mr. Neville's imagination...

...for a certain

contract to cap them all?

On horseback, a dashing St. George...

...looking like a Jacobite with...

With a palette for a shield

and quiver full of brushes...

...and a pen held

crosswise in his teeth.

With ink stained fingers.

What is in his fingers?

Unmentionable.

Another pen?

It's like a pen.

Is it a pen?

A little pen.

The pen is mightier than the sword.

We will forward 400 guineas...

...to this scabrous monument to a pen.

And our receipt will be Mr. Neville's

drawing in the bath-house.

The one with the little dog.

Wagging its tail.

Mrs. Herbert does well to sell them.

How much will they bring?

They are worth what

those who buy them wish to pay.

Mr. Seymour has tentatively

offered four hundred guineas.

I am inclined to think that

he makes his offer generous...

...to Mrs. Herbert in order to

interest her in a larger and...

...a grander sale.

What other sale?

Why, of course, of the house.

That was very forward to him.

I tested his ambition by suggesting...

...that he might buy a set

of distinguished drawings of it.

Either way is a useful way

to help Mrs. Herbert to a...

...more profitable bargain...

...and thereby to help

her demonstrate her loss...

...in the knowledge that

a larger sum would make...

...for a larger

monument for her husband.

Mr. Herbert, one way or another...

...stands to benefit

by Mr. Neville's industry.

As do we all.

I fail to see, for a start, my

benefit, or for that matter, yours.

Mr. Talmann, you are disingenuous.

You as by your leave...

...your future son's

future guardian...

...stand in an enviable position.

Consider the neatness of it.

The estate would have

an endurable memorial...

...which is part of the landscape,

instead of 12 perishable items...

...which are mere

representations of it.

I fail to see why Mr.

Seymour's presumption...

...should gain him a

part of my son's inheritance.

Maybe there again...

...Mr. Seymour will

be doing you a favour.

What do you mean?

By taking away the possibility

of your son ever seeing them...

...when you have

one, as I'm sure you will.

Why should he not see them?

Because he might perceive

the allegorical evidence...

...in them which you might

be stubborn enough to deny.

Mr. Neville had no use for allegory...

...and I am unlikely to miss

what my son would appreciate.

An allegorical meaning

that might involve his mother.

What? My Wife? How is that?

It is fancifully imputed...

...that Mr. Neville saw

you as a deceived husband.

How was I deceived?

I've been convinced, Sarah...

...that you have been deceiving me.

What is the matter with your voice?

Damn my voice.

If you did, it would scare me less.

What's the matter with your face?

Your face, Louis, is very red.

No redder than your backside...

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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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