Set in a richly exaggerated 17th-century England, Peter Greenaway’s sumptuous and sensuously charged brainteaser catapulted him to the forefront of international art cinema. Adorned with intricate wordplay, extravagant costumes and opulent photography, Greenaway’s first narrative feature weaves a labyrinthine mystery around the maxim “draw what you see, not what you know.” An aristocratic wife (Janet Suzman) commissions a young, cocksure draughtsman (Anthony Higgins) to sketch her husband’s property while he is away—in exchange for a fee, room and board, and one sexual favor for each of the twelve drawings. As the draughtsman becomes more entrenched in the devious schemings in this seemingly idyllic country home, curious details emerge in his drawings that may reveal a murder.
Bolstered by a majestic score by then-newcomer Michael Nyman and stunning cinematography by Curtis Clark that suggests Greenaway has the elements at his beck and call, The Draughtsman’s Contract is a luscious cinematic banquet for eye, ear and mind. –Zeitgeist Films
An avant-gardist who earned surprising access to the mainstream, Peter Greenaway is among the most ambitious and controversial filmmakers of his era. Trained as a painter and heavily influenced by theories of structural linguistics, ethnography, and philosophy, Greenaway’s films traversed often unprecedented ground, consistently exploring the boundaries of the medium by rejecting formal narrative structures in favor of awe-striking imagery, shifting meanings, and mercurial emotional tension; fascinated by formal symmetries and parallels, his material displayed an almost obsessive interest in list-making and cataloguing, earning equal notoriety for its provocative eroticism as well as its almost self-conscious pretentiousness. Born April 5, 1942, in Newport, Wales, Greenaway was raised primarily in nearby Chingford. After deciding at the age of 12 to become a painter, he entered the Walthamstow College of Art. By 1965, Greenaway had begun working as a film editor for the Central Office… read more
It's not enough for you to watch this film but you have to play its game. If that's too much for you, then you won't enjoy this film. I, however, loved it.