The dancer and actor admits he had no idea he was adopted until he had to apply for a passport in order to tour Europe with Sammy Davis, Jr. - when he was 25.
He tells BlogTalkRadio.com, "I didn't have a passport so he told me to send for my birth certificate. I didn't think about the fact that I didn't have one or there were no baby pictures of me. Turns out they didn't have my birth certificate under the name Ben Vereen but they had Essie Middleton as the mother of Benjamin Vereen.
"I told my mother about it and she told me she was hoping I'd never know. That's how I found out, so the story is about my journey of finding them (birth parents) and blessing the woman who raised me.
"It was an amazing experience for me and you'll read about it in the book and hopefully there will be a TV show where you'll see it."
Vereen, now 64, admits he's still coming to terms with his forgotten family after finally tracking them down just four years ago.
He adds, "The whole idea of hearing my older sister's voice for the first time was just amazing. We were both nervous seeing each other for the first time. Now she's always on my case.
"I also discovered I have a brother, Jimmy, and (another, called) Eugene. Can you imagine you're sitting at home and one day my sister gets a phone call: 'Do you know who your brother is?' She said, 'Yeah, my brothers are Eugene and Jimmy, why?'
"When they told her you have another brother and his name is Ben Vereen, she said, 'Get outta here, the guy who plays Chicken George in Roots?'
"Both mothers have since gone on (died), so finding aunts and cousins and a whole slew of people who are now in my life and my children's lives is wonderful and very rich. We had 110 people come to the family reunion and they embraced us into their family."
In this Britney-and-Beyonce-obsessed age 'tis a wonder anyone other than an art history buff knows who Rembrandt is let alone that other Dutch painter guy--what'shisname Vermeer. In fact very little is known about the 17th-century painter who died in debt at 43 and left most of his works including his most famous of a young girl wearing a pearl earring shrouded in mystery. Girl With a Pearl Earring is director Peter Webber's adaptation of the 1999 Tracy Chevalier novel that spun a gauzy fiction about the painter's unrequited obsession with a young maid who became his muse and the subject of said painting. The maid in question is Griet (Scarlett Johansson) whose tilemaker father's accident forces their family into poverty and her into servitude--and it's no picnic. Morose henpecked Vermeer (Colin Firth) hides in his studio away from the household which includes the puffy and pampered wife (Essie Davis) he keeps eternally pregnant; her tyrannical domineering mother (Judy Parfitt) who brazenly solicits work for Vermeer from patrons like rich lecher Van Ruijven (Tom Wilkinson); and a multitude of Vermeer brats. Full-lipped and nubile the servant Griet becomes the artist's secret obsession--he spies on her cleaning his studio teaches her about painting (or at least how to make his paints) and seduces her while painting her portrait behind his wife's back.
With little dialogue to speak Johansson's Griet is a study in silence. Her wide-eyed earnest stares and Mona Lisa smile do the talking for her proving a picture certainly can say a thousand words. She may get more attention for Lost in Translation but this is her vehicle. Johansson's quiet understated performance makes the others look that much more overstated--Wilkinson's vulgar mustache twirling art patron for example and Davis's jealous and ranting Catharina Vermeer for another although they too are very solid turns. Firth's Vermeer fades into the background surrounded by these big personalities understandably and fittingly so; he's the brooding artist who'd be far happier left alone to gaze upon his subject. Although the master and the servant never do much more than exchange looks the sensual energy between them is palpable.
This movie is beautiful absolutely stunning--it's as if cinematographer Eduardo Serra saw Vermeer's life through the artist's eyes and that vision comes through in exquisitely framed and lit shots. Some scenes--of young lovers walking along a tree-lined canal in fall light beaming across the girl's face as she cleans the studio's beveled windows--are literally breathtaking. Just as an artist's work is tactile so does this film feel--in the sounds of a heavy knife chopping vegetables and a spatula grinding pigment into paste…volumes are spoken in the clean white crispness of Griet's bonnet. First-time helmer Webber occasionally allows the camera to hang too long (a lip-licking scene in extreme close-up for example) but he creates a fully enveloping period and confidently leads his cast through this fairly thin story. You can pretty much guess what you're in for with a movie about a 17th-century Dutch master; knowing that if there's any criticism to be made it's that the pic feels every bit of its 95 minutes long. A lovely score by Alexandre Desplat also deserves a mention although it sometimes overwhelms scenes with unwarranted portentousness.