dourface Reviews

De lifters (1962)

Paul Verhoevens first attempt to make an American film

[6/10 · 29 August 2018]

The movie 'De Lifters' (Dutch for 'The Hitchhikers') was, after the French style of Niets bijzonders (1961), Paul Verhoevens attempt to make an American film, with tight shots, which promote the story and the continuity. Alfred Hitchcocks North by Northwest (1959) was a great example, which is especially evident in the opening scenes through the lawn next to the motorway, where one of the main characters is resting, and the plane comes flying over.

This was the first and the last film of the Dutch Student Film Industry, a small club founded by Verhoeven and a few friends. De lifters (1962) is visually not uncompelling, but it lacks character. It is in fact a small road movie about a few hitchhikers who, after each other, are offered a ride by a man (Jan van Mastrigt). The pivot of the story is the (only) woman in the company, around whom the three men circle. It is the often seen aspect in Paul Verhoevens work of the dominating: a manipulating woman with men holding the bag.

In roadmovies it is not the story as such that should form the attraction, but the characters and perhaps the (context of the) environment through which is traveled. Unfortunately, De lifters (1962) leaves something to be desired here, as a result of which the film contains little unique value. The acting, and especially the dialogues and performance are clumsy and contrived and the characters themselves are relatively uninteresting.

This short film certainly has its charm, especially the beginning of the film, due to the airy nature of the conversations and the unintentional comedy of the intonations. But after about five minutes you notice the film lack of development or remarkable visuals.

De lifters (1962) did not become a bad job, but unfortunately it is just too simple to get enthusiastic about it. Paul Verhoeven, however, would largely be able to avoid the mistakes he had made here, for example with regard to the use of sound and dialogue, for his next film Feest! (1963) which was based more on a French version.

Feest! (1963)

recognizable and cute

[7/10 · 29 August 2018]

'Feest!' (Dutch for 'Party!') is the last student film of director Paul Verhoeven. You can clearly see the progress of his craftsmanship. The techniques he had previously experimented with come together in this short film. We are also presented with a charming story about enamored students, filmed at the directors old secondary school in The Hague, the Haganum.

We see the loose, inspired by Nouvelle Vague style of Niets bijzonders (1961) combined with the long shots of De lifters (1962), but better balanced and more extensive. We are now treated to beautiful overview shots of the schoolyard and the school and its premises itself, filmed, as it seems, from the roof of one of the buildings. Then follows a point-of-view shot of Peter, who looks down from the window from a classroom high in the school building, down on the long-walking students. He has instructed his friend to ask the girl he has an eye on, Anja, what she thinks of him, and gesticulate from the window where he should go.

"Party!" is a very recognizable, and cute, film about the difficulties that shy Peter endures to court Anja. The uncomfortable silences , the furtive looks that are exchanged, friends and girlfriends who try to "help" them, it is familiar territory for anyone who has ever been shy and in love. There is not a lot of spectacal in the film, and there is not really a (satisfying) climax, but the film contains nice observations. Moreover, the form has succeeded well. Eye-catching is the way in which the long walk of Anja and Peter is filmed, with a camera that revolves around the two, and later on they keep a close eye on the two of them while they walk to the house of Anja.

Also nice are the two short, fast turns when Peter just heard from Anja that she wants to go with him to the ball, and with a smile on his face on his bike runs away. It is reminiscent of the moment in Singin' in the Rain (1952) where Gene Kelly kissed the woman he fell in love with. He feels like he can handle the whole world, and even rain clouds can not hurt or irritate him. The moment Peter gets on his bike has the same kind of effect. With wings of an eagle he seems to be flying through the air rather than cycling over the street.

Acting and dialogue are not perfect, but certainly a lot better than in De lifters (1962), and the two main characters are well cast, with a fine Peter, who is charming, but does not know how to handle girls (much like Paul Verhoeven at the time); and the handsome Anja manages to find a nice balance between being in love and (feigned) indifference.

'Party!' shows a satisfying harmony between content and form. Not that static and rather matt camera work from De lifters (1962) but also not an overly artistic stylization that mainly draws attention to itself. Not every moment in the film, with regard to the ins and outs of the school, is equally interesting, but it has certainly become an above-average production. This film would later be the occasion for (the financing of) Paul Verhoevens first real action or spectacle film, called Het korps Mariniers (1965).

Portret van Anton Adriaan Mussert (1970 TV Movie)

Shades of gray

[7/10 · 29 August 2018]

In 1943, one hundred thousand Dutch people were members of the NSB, the National Socialist Movement, the fascist political party that collaborated with the German occupiers of the Netherlands during World War II. Thirteen thousand men were part of the Weerbaarheidsafdeling, the paramilitary arm of the NSB. Thirty thousand Dutchmen joined the SS, the Schutz Staffe. Twenty thousand of them went to the Eastern Front. Ten thousand of them died.

These are a few, less pleasant facts that are presented at the beginning of this controversial documentary about NSB leader Anton Adriaan Mussert. Paul Verhoeven was never shy from controversy and this documentary shows his early cinematic principles.

Paul Verhoeven wanted to explore who Mussert really was, or rather: how he became. He doesn't portray Mussert as pure evil, but as someone who was just somewhere at school and had friends and family who appreciated him. Someone with dreams and frustrations. Paul Verhoeven shows everything in his documentary, an exceptionally balanced account of the life and social forces of Mussert, external events and personal ambitions that have made him this maligned person.

Paul Verhoeven does not approve Mussert's behavior but his approach to the person Mussert created a lot of opposition. The documentary could not be broadcast on television. The VPRO was of the opinion that there was too little balance in the film and demanded from Paul Verhoeven that he would place some images of concentration camps in it. After this request was granted, the film could still be broadcast in 1970, two years later.

Interestingly, Mussert was convicted and executed as a traitor, while he was always proud of the national feeling, and stood up for the Dutch interest when it threatened to come into play. His work for Hitler, which he also describes as a prophet and as sent by God to save Europe, he sees as necessary evil. He had the misconception that the Netherlands could continue to play an independent role within a German federation of states. It is also interesting to see the ex-East front fighters without a glance or blush. They have fought for Hitler against the (Russian) Communists on the Eastern Front, but are still really behind their actions and the philosophy of Mussert.

The end of the film is, remarkably enough, comparable with the end of Zwartboek (2006). We see what was done with the traitors and NSB-ers by the people on the street, when the war ended. Heads were shaved, humiliating signs hung around the neck, and they literally had to bend their knees. This documentary, as in Zwartboek (2006), shows the 'less' positive aspects of 'our' participation and behavior in the war. Shades of gray, instead of a comfortable black and white.

Nothing Special (1961)

a pleasant second film

[6/10 · 29 August 2018]

It is tempting to integrate the title (Dutch for 'Nothing Special') in the film's assessment. The film is a nice stylistic exercise, with a little story about it. Screenwriter Jan van Mastrigt, who also wrote the previous film of Paul Verhoeven Eén hagedis teveel (1960), plays the leading role in this Nouvelle Vague-like film about a man who, one evening, thinks among the people and thinks about his own relationship. himself with his girlfriend sitting at a table, and also charmed by a "rare beauty" in the cafe, which he decides to ask for dance.

Jan van Mastrigt is indeed, as Paul Verhoeven notes on the DVD itself, photogenic and knows how to take the viewer by the hand with his contemplative gaze, which is important because he appears in virtually every shot and has to fascinate the viewer with his story. And this story is not much more than some short comments, directly addressed to the public. We see the man walking down the street, pointing to some pictures of movie stars with questions like: "Do you like Doris Day too?". The most interesting moment, in terms of content, takes place when he talks about what would happen if you were to see yourself intimately with your girlfriend, after which we actually see this happening in the café. He is constantly talking about the good relationship he has with his girlfriend, which is almost a kind of over-confirmation, against better judgment.

It's all fun because of the light-hearted way Jan van Mastrigt talks and his quasi-nonchalant intonation, and the jazz music that is used effectively, just like in Eén hagedis teveel (1960). The camerawork shows, as mentioned, Nouvelle Vague influences, especially the iconic À bout de souffle (1960). The camera is mobile, walking and maneuvering with the main character, with occasional fast spins, for example when shots of the girlfriend and the beautiful woman follow each other in a flash. All in all a pleasant successor to "lizard".

Eén hagedis teveel (1960)

a promising debut

[8/10 · 29 August 2018]

This was the film that Paul Verhoeven was allowed to make for the Leiden student corps following his first short film, not counting the few minutes of 'Cup of coffee'. 'One lizard too much', which originally had the title: 'A fairytale of grime', tells about the inability of a sculptor to "see" his own wife, or to accept, what is translated in his failing sculptures. The man has to make up and dress up his wife differently before being able to imitate her.

The film, shot in a relaxed manner, between examinations and diseases of cast and crew, is in form and content inspired by Alfred Hitchcock which Paul Verhoeven also indicates on the accompanying audio commentary on the DVD. There are the cool blonde, here in the person of classmate Hermine Menalda as Janine - someone who would eventually lead to the character of Sharon Stone (Sharon Stone) in Basic Instinct (1992) -, person exchanges, doubles, to clothing, make -up and shot choices. Especially Vertigo (1958) appears to be a great inspiration. But Ingmar Bergman has also been of great importance for this film, especially his airier films such as Sommarnattens leende (1955). His style can be seen in the elaboration of several scenes in the student's apartment, where he is played by two women. In addition, Luis Buñuel and Jean-Luc Godard were important influences for Paul Verhoeven when he made this film.

When Janine visits her lover and finds another woman (the deeper meaning of the lizard from the title), an interesting kind of tension is perceptible. No hitting. No shouting or banging quarrel, no Janine walks quietly inside, sits down on the chair next to the bed where the pair lies, and pulls out her gloves perfectly calmly. So calm, that it becomes agonizing for the boy, who quickly gets up and walks away from the bed. An interesting scene, just like the scenes that follow, in which the two ladies chat quasi-nonchalantly about this and that and drinking wine, while he is reading a book himself. Much more fascinating than the traditional confrontation scenes with big words and angry people running away. Now the two women walk on the boy, and at the same time give him a kiss on both his cheeks, before leaving his apartment: funny, and effective. And a construction that would return regularly in the work of Paul Verhoeven: the man trapped between, and dominated by, two women. A situation that probably has its roots in the directors own life. He tells in the audio commentary about the film that he did not always know how to deal with women in his youth.

But also the way in which characters are framed reminds me of Ingmar Bergman, and also of Michelangelo Antonioni, in the close-ups of faces. Furthermore, the narrative structure, especially Janine's frequent voice-over, owes a lot to Hiroshima mon amour (1959). This voiceover, a neat, poetic voice, still manages to generate sympathy and interest for the problem of this woman, and of her husband. The fact that the man only recognizes her as "his hands live in (her) face," as Janine says, clearly shows the tragedy of the situation. The man wants to create his own wife, his own ideal image; something that we also see quite literally in Vertigo (1958), while film adaptations of the feasible man can be found throughout history.

The problem of Janine has a particularly comical, airy effect, despite the heavy tragedy suggesting voice-over, and this is perhaps only the best, because the film sometimes threatens to collapse under its own weight. Just when the attention of the viewer is on the point of weakening, due to the long silences or woolly dialogue, there is another cut to an outdoor shot accompanied by swinging jazz music. In his montage - in which he seems to have left out quite a bit of material - Ernst Winar has managed to find a nice balance between drama and humor, between stylization and a tight narrative.

The boy's story unfortunately gets a little snowy. Thus, in form, very interesting moments towards the end of the film - like a dream sequence - have little resonance in their drama. It looks interesting, but it does not touch us. In terms of content these pieces could just as well have been omitted.

This first real film by Paul Verhoeven has become a very charming film that experimentes with different styles in an interesting way, and also captivates content and structure. Situations are not easy to guess and therefore continue to hold the attention of the viewer. "What is that note that she picks up there?", "What is going to happen now that Janine has caught her lover with someone else?". The (visual) answers to these kinds of questions often turn out to be surprising. Dressed up in beautiful, although somewhat dark, images, and adequately acted, 'One lizard too much' has become a very nice debut film by Paul Verhoeven. Clearly a promising filmmaker.

De worstelaar (1971)

The beginning of a successful collaboration

[7/10 · 28 August 2018]

The first film in which Paul Verhoeven collaborated with Jan de Bont is De worstelaar (1971) (Dutch for The Wrestler). It is a charming little film of about twenty minutes. Wim Zomer is troubled by his father because he has a relationship with the wife of a great wrestler. Just like his documentaru about the Marine Corps, 'De Worstelaar' also has an attractive pace, with well-timed situational jokes, and fun interpretations. Especially the father is entertaining in his reactions to his sons behaviour. But the son is also quite nice as the riotous boy doens't know his limits.

A smooth film with slapstick moments and an attractive tone and understandably the beginning of a successful collaboration between cameraman Jan de Bont and Paul Verhoeven who would make many films together, including Turks fruit (1973), De vierde man (1983) and Basic Instinct (1992).

Voorbij, voorbij (1981 TV Movie)

The aftermath of the Second World War

[8/10 · 28 August 2018]

'Beyond, Beyond' is an early TV film by Paul Verhoeven. He made this movie after his most popular and best-received films Turks fruit (1973) and Soldaat van Oranje (1977). The film shows the experience the director gained. The film is kind of the tail of Soldaat van Oranje (1977). This is the aftermath of the Second World War. Thirty-five years after the war Ab (André van den Heuvel) tries to get together his group of resistance friends. He needs them to settle an old score.

A few days before the end of the war, a joint friend of the group, Arie, was shot by traitor Niels, who had joined the nazis. Led by Derek de Lint the resitance members decide to have their revenge. Just like the resistance members in Zwartboek (2006) (not surprisingly the same script writer, Gerard Soeteman).

Dramatically the film is very effective film. The acting is excellent and the film contains subtle scenes in which interesting moral dilemmas are raised. Should they murder an old man? Should someone be punished at all costs? Ab does not get the reactions he was expecting. "I do not want to shout anyone anymore" is a remark he hears. And "every life is precious". He is accused of living in the past, and when he states that they should set an example for the children who must learn from history, he is told: "The only thing we learn from history is that we learn nothing".

The film contains beautiful scenes between the different, experienced actors, and manages to bring about both tension and anticipation and effective drama. Interesting visual cues can also be observed in different places. For example, a simple act like closing a robe of one of the characters is an important visual sign for a shocking event that is about to take place. Apart from a somewhat tiring running scene with clumsy, dated music underneath, there is hardly a weak moment to be discovered in the film. 'Beyond, Beyond' is a powerful, well-acted and directed drama that deserves a new life.

Het korps Mariniers (1965)

Reenactment of The Longest Day bij Dutch Special Forces

[8/10 · 21 August 2018]

The first non-student film, and first color film, by Paul Verhoeven, 'The Marine Corps', made it clear to Paul Verhoeven that he really wanted to pursue a career as a filmmaker. For this documentary, made in commission from the Corps to celebrate their three hundred year anniversary, he was able to hire a professional crew and a large budget of no less than one hundred thousand guilders. 'The Marine Corps' was a recruitment movie for the marines, but not for Paul Verhoeven. His only concern was the art of cinema.

The first thing you notice, after the static opening shot of the marines, is the tempo of the film. The history of the marines is explained in a nutshell by using shots of a series of prints, paintings and maps, accompanied by an explanatory voice-over. With quick cuts it almost transforms into a photo film, and in its dynamics somewhat reminiscent of Eisenstein's editing work - some history is explained, before moving to the part where the fun begins. Action, action, and more action!

The marines are in training, engaged in knife fights, abseiling from rockeries on the Antilles, and much more. It is all very exciting. On the beach of Texel it is almost like D-Day with a flamethrower and a large hand grenade. Frogmen with a good stock c4 remove an underwater barrier, resulting in a zippered column of splashing water. It is fascinating to see how the frogmen are quickly pulled out of the water by a speeding boat. It is not only kinetic action. The frogmen are working under water. They proceed with meticulous and policy, which is reflected in the quiet camera work.

'The Marine Corps' is skillfully portrayed and mounted with speed. You almost feel like joining.

Schmutz (1987)

obsessed with responsibilities

[16 May 2018]

Director Paulus Manker builds the tension in this dramatic and symbolic thriller to a shocking climax. Joseph Schmutz (Fritz Schediwy) is a self-effacing man who gets a job as a security guard at an abandoned paper mill. He shares his duties with another guard who is something of a goof-off. Eventually, the joker gets sacked for his behavior and Schmutz is left alone to guard the buildings. As time progresses, he becomes increasingly obsessed with his responsibilities to the property until his job as a guard begins to take over his life. He will guard the buildings against anyone and everyone -- even his boss, even a child he finds breaking windows, even the men who come to raze the buildings as ordered.

Die Rebellion (1993 TV Movie)

The bitter waste of a life spent in duty to God and Empire

[8/10 · 16 May 2018]

With its silent-era aesthetic of sepia tones and muted color tints, and its interweaving of realism and fantasy, Haneke's haunting adaptation of Joseph Roth's expressionistic 1924 novel is an homage to the great Weimar cinema of G. W. Pabst and F. W. Murnau. In a heartbreaking performance, Branko Samarovski plays Andreas Pum, a soldier who loses his leg during the Great War and becomes an organ grinder to earn a few coins a day. To this loyal citizen of the State, the veterans and firebrands who march in protest against society's neglect are lazy, insubordinate "heathens." But when an ugly tram incident condemns Pum to a life of penury and loneliness, his soul is awakened to the bitter waste of a life spent in duty to God and Empire.

Mevrouw de minister (2002– )

How an enthusiastic, ambitious politician in cynical coalition play is sacrificed by the antique dinosaurs of the political elite

[8/10 · 27 February 2018]

Madam Minister (Mevrouw de minister) tells the fictional story of municipal councilor Dirkje Holman appointed to Ministry of Social Affairs and Employment. Unlike her colleagues, Dirkje wants to tackle things differently. She is innovative and quirky. Scenario-technical not brilliant, but with dynamic camera work, compelling music, and interesting tricks in the field of framing and camera making, which gives the series - entirely in black and white - the necessary grandeur and allure.

God Bless America (2011)

I know it's not normal to want to kill, but I also know that I am no longer normal

[8/10 · 29 July 2013]

God Bless America is a political incorrect story about a social misfit and a teenage girl who goes on a killing spree. The meet by coincidence and decide to end the lives of all the stupid people they meet. Of course they decide themselves who qualifies for death and who deserves to live.

The movie gives a commentary on the modern (popstar/idol-) society. A cynical but lightly written script. Infectious acting and decent camera work. The road trip element reminiscences of Nabokovs Lolita.

The movie appeals to a certain feeling that perhaps we all feel form time to time: we watch television, read newspapers and look outside our windows. It's all fine but we feel estranged. And sometimes we feel so detached that we get angry. This movie makes a cartoon out of this sentiment, but it's an awful lot of fun to watch it.

The film is not very elaborate as social criticism, but highly recommended as a cinematic experience.