Director: Rosie Stapel
By Marilyn Ferdinand
There are few things I can think of that are as restful and exhausting, rewarding and frustrating, and the very definition of partnership as cultivating a garden. Like the fabled Garden of Eden, human beings can find peace and contentment surrounded by nature, but the minute they start thinking they are the masters of their surroundings, the garden will chew them up and spit them out like pollen from an Anneslea fragrans blossom. Gardeners must be patient, humble, and vigilant to partner successfully with their plants, soil, and climate for bountiful harvests and blooms.
Rosie Stapel seems to have cooked up the idea for Portrait of a Garden, her directorial debut, with Daan van der Have, one of the two featured gardeners in this lovely documentary, and the location choice is more than appropriate. There aren’t many places on earth more plant-mad than the Netherlands. Just as you’ll rarely see a Parisian going home for dinner without a baguette or two in hand, the Dutch provide a brisk business for their ubiquitous city and village flower markets.
The Dutch estate garden featured in Portrait of a Garden was founded in 1630, and has seen its ups and downs in the intervening 400 years. Van der Have and pruning master Jan Freriks had a good deal of restoration work to do when they dug their hands into the soil some 30 years ago. The 85-year-old Freriks is something of a rock star in the horticultural world; his books are known and loved by the estate staff, tree nursery owner and gardening enthusiasts they meet during the film. Freriks is handing down his knowledge to Van der Have, who is no spring chicken himself, in hopes that his skills built over a lifetime of observation, experimentation, and practice won’t die with him.
Stapel takes us through one year in the life of the garden and its tenders, beginning in fall. We first meet Van der Have and Freriks as they work on a wall of espaliers, energetically applying their pruning shears to maintain the flat profile of the trees against their natural inclination to branch and spread. We’ll see them throughout the film sawing away at tree limbs and twisting the branches of pear trees over the lengthy arch of an arbor they have been working to create for some years. They’ll reminisce about Van der Have tempting Freriks out of retirement with the chance to work on an estate garden where heirloom varieties of edible and inedible plants are grown and survivors from the earliest days of the garden still leaf and bloom.
It’s fascinating to watch the various techniques the two men and the other garden staff use in their work. White caterpillers of metal hoops and polyester tissue protect the tomato beds from birds and other animals. A multipronged hand hoe is raked across a bed to create perfectly spaced rows for planting. Thin cotton strings are pulled to hoist individual bean vines up to hang from a crosshatching of string above them. Bales of hay are spread by hand to keep beds warm during the cold winter and early spring. Stapel films the work straightforwardly, with slow, swooping boom shots and slower time lapse photography than audiences are used to seeing. The latter technique works quite well to preserve the relaxation the garden engenders in the viewer, even as the people on screen work hard at the many tasks they have to keep up with daily. Her ingenious shots are complemented by the meditative solo lute of Jozef van Wissen, who scored this film as well as Jim Jarmusch’s Only Lovers Left Alive (2013).
At harvest time, Stapel’s experience in film art direction and production design comes to the forefront. She shows gardeners harvesting armfuls of luscious-looking rhubarb for the chefs who work in the estate restaurant. Then it’s a veritable card deck of fruit and vegetable varietals, shot overhead and labeled like still lifes at the Rijksmuseum, showing off the richness of our floral heritage. Freriks sees agriculture and gastronomy becoming less diverse because of industrial farming and the decline of growers who use cross-breeding techniques to develop new hybrids that can strengthen a plant line; the estate itself uses only organic pest control such as crop rotation, soil replacement, nontoxic pesticides, and visual inspection to protect the plants against damage or destruction.
Van der Have dreams of having a banquet under the pear arbor when the branches finally meet and the fruit hangs heavy above him. Freriks, however, hates that kind of thing. He prefers his plants and knowing that the work he started long ago as a steward of the earth will far outlast him. Rosie Stapel has ensured that the man himself and some of his words of wisdom also will be accessible for a long time to come.
Portrait of a Garden screens Friday, March 10 at 2 p.m. and Sunday, March 12 at 3 p.m. at the Gene Siskel Film Center, 164 N. State St.
Tomorrow, After the War: A detailed look at wartime betrayals that threaten the tranquility of a small village when a Resistance fighter returns home and starts digging into a murder case. (Luxembourg/Belgium)
My Name Is Emily: A teenager coping with the death of her mother and separation from her mentally ill father manages to be both sincere and funny when she sets off with a would-be boyfriend to spring her father from the asylum. (Ireland)