The Last Vermeer

Even for those who know the name Han Van Meegeren and the basics about what he perpetrated during World War II, there’s more to the story.

However, The Last Vermeer only intermittently summons tension from the tale of the eccentric Dutch painter who became involved in one of the most high-profile episodes involving the Nazis and allegedly stolen artwork.

This handsomely mounted period piece features significantly more talk than action, which can test viewer patience. But it also becomes caught awkwardly between a straightforward procedural and a more offbeat character study, minimizing the emotional impact.

After joining the Resistance during the war, Joseph Piller (Claes Bang) is a Jewish military examiner who takes the case of Van Meegeren (Guy Pearce), who is accused of conspiracy for selling high-profile works of art to Nazi officers such as Hermann Goring.

In his own flamboyant and elliptical way, Van Meegeren insists he’s innocent, and that the paintings in question were his own forgeries meant to swindle the Nazis. He claims he should be celebrated rather than imprisoned.

As Piller and his assistant (Vicky Krieps) compile evidence, the investigation is hindered by some shady characters with conflicted loyalties who populated the volatile postwar sociopolitical landscape.

“You think you’re investigating art, but you’re investigating money and power,” Van Meegeren explains as they match wits during one of many interrogations.

Nevertheless, Piller becomes obsessed with Van Meegeren to the point he’s willing to risk his reputation and career, whether that means proving his guilt or proving his innocence.

The screenplay — adapted from a nonfiction book by Jonathan Lopez — is moderately taut when it remains focused on the central mystery. Yet the reliance on dense exposition feels muddled and convoluted.

The film, which marks the directorial debut of billionaire auto magnate Dan Friedkin, might be a better fit on stage with its reliance on dialogue and artificial attempts to ratchet up the suspense.

That’s no fault of versatile Danish actor Bang (The Square), whose character is not compelling or charismatic enough on his own to be the film’s emotional anchor.

Meanwhile, Pearce conveys an elusive cunning beneath the surface quirks without going over the top. His bursts of energy enable The Last Vermeer to briefly break free from the canvas and spark to life.

Rated R, 117 minutes.