The Draughtsman's Contract Page #9

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


respectful reason to visit a lady.

Even one you've had the pleasure of.

Is it really myself that is the centre

of your interest and not my daughter?

Yes, Madam.

How's that?

My former contractual obligations...

...tied us together to my advantage,

and at your husband's death...

...it was again I who

gained and you who lost.

Very confident of that, Mr. Neville.

I must confess that in losing...

...you have excited

my curiosity further.

How do you imagine my losses...

...Mr. Neville?

Humiliations, Madam.

Each one exceeding the other.

Is losing a husband a humiliation...

...Mr. Neville?

In making my arrangements here...

...I concluded with the

possibility of 13 sites...

...one of which had to be

rejected to comply...

...with the 12 drawings

as commissioned.

The site that was rejected was...

...as you will recall,

to the south of the house...

...and included the

monument to the horse.

It is the site where

your husband's body was found.

It was that irony that was

uppermost in enquiring minds...

...at the discovery

of Mr. Herbert's body.

The thirteenth site was rejected...

...for no clear reason.

It contained no view of the house...

...then that was true of

several other of the drawings.

It was the least characteristic of

the garden's viewpoints...

...and was most powerful at the

least advantageous times of day.

And that is why,

with your permission...

...I would like, if I may...

...to attempt to accomplish

that drawing this afternoon.

That is, if you have no objection.

Mr. Neville...

...your approach is full

of hesitant pleasantries.

That is because I am

still unable to fully judge...

...your present

feelings as to past events.

Mr. Neville, suffice it to say that

the object of my life has changed.

I am a widow whereas I was a wife.

It could be construed that I

was a widow whilst being a wife.

I've only exchanged a false

position that made me unhappy for...

...a true position...

...that has left me

without any emotion.

Mr. Neville, I propose to eat...

...and I propose that

you should eat with me.

When we are ready...

...I will show, along with

my gardener, Mr. Porringer...

...what we at Anstey

are capable of cultivating.

It will be by way of

returning your gift in kind.

And, who knows? It may

be that we could revive...

...one more time...

...a liaison,

outside of a contract...

...to our mutual satisfaction.

Then you must accomplish

your thirteenth drawing.

Is all that acceptable to you?

It is as if you'd planed it.

I'm surprised...

...delighted.

I am overwhelmed.

Mr. Neville, I will take

all three states...

...of your satisfaction

into consideration.

I have...

...quite legitimately,

a freedom to exploit...

...and I might as well

exploit it with you...

...considering our past experience.

A pomegranate, Mr. Neville.

Gift of Hades to Persephone.

My scholarship is not profound.

Unusual of you, Mr. Neville...

...to profess to an ignorance of

a subject which before...

...you would be anxious to

have us believe was an essential...

...prerequisite to

an artist's vocabulary.

Maybe I am hesitating to

acknowledge an unintended allusion.

By eating the fruit

of the pomegranate...

...Pluto kept Persephone

in the Underworld.

A symbolic fruit, Mrs. Herbert.

And you've brought me three.

That was all that Mr.

Clancy would spare me.

Maybe Mr. Clancy is a

contriver of allusions.

How is that Mrs. Herbert?

Are you acquainted with the man?

Having been tricked into

eating the fruit of the pomegranate...

...Persephone was forced to spend

a period of each year underground.

During which time, as even

Mr. Porringer will tell you...

...Persephone's mother,

the goddess of fields...

...of gardens and of orchards...

...was distraught, heart-broken.

She sulks...

...and she refuses,

adamantly refuses...

...to bless the

world with fruitfulness.

Mr. Porringer and...

...your Mr. Clancy try hard...

...to defeat the influence

of the pomegranate...

...by building places like these.

Don't you think?

And having built them and stocked

them and patiently tended them.

What do they grow?

Why, the pomegranate?

And we are turned full circle again.

Certainly a cautionary

tale for gardeners.

And for mothers with

daughters, Mr. Neville.

Who knows?

Pomegranates grown in England...

...might not have such

unhappy allegorical significance.

Plants from the hot-house, according

to Mr. Porringer, are seldom fertile.

Fertile enough, Mrs. Talmann...

...to engender felicitous allusions

if not their own offspring.

And, of course, there are more.

More of what?

We well know your

delight in the visual conceit.

The juice of the pomegranate...

...may be taken for...

...blood...

...and in particular

the blood of the new born...

...and of murder.

Then thanks to your

botanical scholarship...

...you must find it cruelly apt that I

was persuaded to bring such fruit.

Mr. Neville...

...I suspected you were

innocent in the insight...

...as you have been

innocent of much else.

Innocent, Madam?

By impute I was convinced

you thought me guilty...

...certainly of opportunism.

Probably of murder.

What I do think you guilty of...

...I do not at all reproach you for.

In our need of an heir...

...you may very

likely have served us well.

Madam?

We had a contract, did we not?

You do not think I

would have signed so much...

...for pleasures alone?

Madam...

...that was ingenious.

No.

Since when has

adultery been ingenious?

Mr. Neville you are ridiculous.

And why should you

have murdered Mr. Herbert?

For what reason?

Mr. Talmann believes

I had reason enough.

Yes, Mr. Talmann is in Southampton...

...still trying to find or invent...

...some responsibility for

you in the matter.

He will not forgive

your indiscretion with Sarah.

But he won't disown

his wife, for then...

...he would lose Anstey.

I am sure that Mr. Talmann

is not in Southampton...

...for did I not see him on the

carriage drive here this afternoon.

I think not.

He is in Southampton,

with Mr. Seymour.

I do not think that Mr. Seymour

can be in Southampton.

For he stopped my servant this

morning at Radstock to ask after me.

And on the understanding that

I had some hope of seeing you...

...was according to my

servant, more than pleased.

I am convinced that we

will see him this afternoon.

I confess I am surprised

if that is the case.

I will enquire.

Sarah...

...ask Mr. Porringer to

get Mr. Neville a chair.

He intends to make a

drawing for me in the garden...

...by that horse.

And, Sarah...

...ask Mr. Porringer to

bring Mr. Neville a pineapple.

A small one, they're sweeter.

You would care to try a

pineapple would you not?

I would be delighted.

Good evening, Mr. Neville.

Good evening, Sir.

And why, Mr. Neville, do

we find you here so late?

Surely the light is now

too poor to see adequately.

That is true. I am finished.

Good.

Perhaps I could see it?

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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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