The Draughtsman's Contract [1982] [DVD]

The plot is always unfolding, often subtly, with Greenaway never signposting events; always confident with the subjective power of the film to let his camera drift over the lush-vistas of the English countryside as Michael Nyman's grandiose-Purcell-influenced score resonates beyond the cinematic framework, to give the film an even greater sense of playfulness and frivolity. The acting is fairly standard, though this has never been a great concern for Greenaway, who instead is more interested in playing witty and arcane cinematic tricks with the audience, such as layering clues to the mystery within swathes of seemingly banal dialog and the almost two-dimensional compositions (created to mirror the sketches created by the titular draughtsman). This was a real turning point in Greenaway's career as a filmmaker, as it is his first example of a narrative film, after years of short, conceptual doodlings (c.f. Dear Phone, A Walk Through H, and Water Wrackets), and is a definite precursor to future classics like A Zed & Two Noughts, Drowning By Numbers and The Cook The Thief His Wife and Her Lover.

The disk, released by the BFI, is lovingly created... with a real sense of input from the usually reserved Greenaway. Here we find an extensive director's commentary in which the filmmaker discusses the intellectual complexities of the script, his varying inspirations, and the various narrative layers, as well as the process of shooting his first film in general. There are also archive-deleted scenes, a filmed introduction with Greenaway in the style of Prospero's Books, an interview with Michael Nyman, details of the re-mastering process and a collection of hidden-features. The screen transfer, in it's original 1:66.1 aspect ratio, and the crystal clear sound gives the film a whole new lease of life, allowing us to appreciate Greenaway's evocative framing and subtle use of sound-design all the more. Some have argued that the Draughtsman's Contract - like the majority of Greenaway's back-catalogue - is an elitist film, the type of which can only be enjoyed on a purely artistic level. I would disagree.

The Draughtsman's Contract is one of THE great British films: funny, witty and deeply interesting... in a way that future Greenaway films (or most other UK films for that matter) could only dream of.

It was a superb cinematic event then and the recent release of a digitally enhanced DVD marvelously re-captures the feeling. An excellent, informative director's commentary is the highlight of the DVD extras.

What makes it a great film? Firstly every component part, every individual involved, is out of the top drawer or at the peak of their powers. The atmosphere is extraordinary. Never has the English landscape played a greater role. Never has dialogue been more carefully crafted to create the mood of the time. Never has a painter's skill been so well brought to the creation of cinematic images. And the Michael Nyman soundtrack, a marvelous creation echoing Henry Purcell is, for me, unsurpassed - even by Morricone's haunting "Mission". It is a film to be watched with all your faculties concentrating fully and your efforts will be rewarded.

What's it about? In 1694 a confident young draughtsman of some talent eventually agrees to draw ten pictures of a country house for the wife of its owner in exchange for eight pounds a drawing, bed and board for himself and his servant, and ten private liaisons with the wife for sex. He is amazed when his terms are accepted as he made them extortionate not really wanting the commission. From that introduction Greenaway leads us - via beautiful lighting, exquisite camerawork, outstanding dialogue and excellent performances from an underrated cast - to intrigue, murder, politics, religion, pomegranates and a shocking denoument.

Watch it as a murder mystery, and it is very good - obscure clues and red herrings. Watch it as a perfect cinematic portrayal of an english country house at a turning point in English history as its images will delight you. Watch and marvel at how long Greenaway's scenes can be without a single movement of the camera. But above all WATCH IT.

I admire several other Greenaway films, particularly Belly of an Architect and Drowning by Numbers, (though not The Cook, The Thief, etc.) but none compares with this.

If you read my review Mr. Greenaway, thanks for an absolute masterpiece which I finally own - after a "J R Hartley-esque" search for several years. But tell me, is there really a four hour version somewhere? Now I don't suppose I could have sight...

So, okay, Greenaway dropped the ball pretty quickly, but he never scampered into novel writing (Parker, you fraud!) and he had the vision to praise Blue Velvet on TV in the mid-eighties whilst everyone was whining that it was a bit much (So you liked A Room with a View and Letter to Breshnez did you?).

I adore this film and have no trouble with its idiosyncrasies; in fact, I would be amazed to find a film I adored in which I did not find any idiosyncrasies, and so I award this the maximum five stars. This is not a film for everyone, but then, you are not everyone.