A film review: “170 Hz” [2011 Netherlands]

Joost van Ginkel's debut feature "170 Hz" concerns two deaf youths from different backgrounds falling in love.











Evy (Gaite Jansen) and Nick (Michael Muller) are lovers, but the only thing they have in common, apart from their love for each other, is the fact that they're both deaf who communicate through sign language. Apart from that, their worlds couldn't be further apart.

While Evi's middle class upbringing has come packaged with doting , if conservative, parents, Nick is from a less wealthy environment, and by all indications, has had a troubled childhood. Apart from being bullied by peers for his disability, Nick singularly also fails to impress Evi's father when he's invited home for dinner.

With a father demanding her to stay away from Nick, Evi hatches a plan to force her parents to accept Nick into the family - to elope together for a few months and return after becoming pregnant. A eager Nick accepts, and after picking a disused submarine for their hideout, stacks it with provisions for their long stay.

But Nick unexpectedly brings forward their day of elopement, and when Evi tries to ask for an explanation, he tactfully changes the topic. Their following days are spent in loving embraces and blissful abandonment. Fissures in their relationship first appear when Nick discovers and rewrites Evi's typewritten diary with false details. When Evi learns about her pregnancy and suggests to Nick that it is time to return home, Nick dithers. Evi will discover that Nick has been hiding a dark secret from her all along...

For a debut feature, the film is technically well done; the visuals are pretty and the performances are not bad either. But having said that, I failed to notice anything unique about the story line or narrative, save the protagonists' hearing impairment. Outcast lovers in film - yes we've seen them in various forms already, but while some have managed to touch the audience at some level, I couldn't say the same about van Ginkel's first attempt. The director nevertheless shows promise which I hope to see realised in his subsequent films. I have to confess that the only reason for picking this film has been the lovely and memorable Gaite Jansen.

 

The Nudity: Gaite Jansen
While there are few scenes with nudity from Gaite Jansen, they appear to be a bit over-polished, like watching a Cadbury's Flake commercial. Perhaps it's the jaded voyeur in me, or perhaps its the director-cinematographer combo honing their skills to make a killing in the advertising world - you decide. :-)





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Mucking about in the marshes: Schneider vs. Bax [2015, Netherlands]

Alex van Warmerdam showcases his unique style once again in the comedy thriller, "Schneider vs. Bax". He remains among the select few who continue to write, direct, and star in their own films, with his family members also involved in the production.














We're introduced to Schneider (a brilliant Tom Dewispelaere) as an entrenched family man, after his beaming wife and adoring kids wake him up in the morning to wish happy birthday. It's his day off, but is inexplicably summoned to 'office' for an urgent task. He rushes to work, promising wife Lucy (Loes Haverkort) that he'd be back before lunch to help with the cooking.

A loving family, and a dutiful husband - but unlike his family, we'll discover that Schneider is in fact a professional hit man. He is asked - more like begged, by boss Mertens (Gene Bervoets) to kill a man named Ramon Bax. It takes plenty of persuasion for Schneider to finally agree to take the task.

Meanwhile Bax (Alex van Warmerdam), a hit man himself, and a pill-popping old fox who was about to hang up his boots to become a writer,  is reminded that he too had a task for the day - he'll have to kill a man named Schneider when he comes visiting at his cottage in the polders. When he wakes up to the fact that his depressive daughter Francisca (Maria Kraakman) will also be dropping by, he tries to move the Schneider task to the following week, but his boss will have none of it.

For Schneider, what should have been a straightforward job before a family get-together, becomes complicated when Gina (Annet Malherbe) runs into him at his hideout, after being pursued by a murderous pimp. He rescues her, but now had to figure out what to do with the unwanted witness. A series of unexpected twists will only delay but not avoid the protagonists' eventual guns-blazing final showdown...

The screenplay deliberately avoids feeding audience with facts and motives, which makes sense because at the end, it doesn't really matter who is the better person among the two. What we do learn is that, despite their gruesome professions, these guys love and care for their family in their own way, and pursue what they see as right. This is also a comedy, even though we are not necessarily treated to clever jokes and slapstick moments. It's the little details around the narrative that make the film outrageous and sometimes darkly funny - it builds layers of cliché only to dismantle them in one stroke.

It's because of this that the film is engaging, despite its modest storyline and minimal cast. The locations, particularly the desolate but luscious marshland in the northern province of Groningen, form a splendid backdrop to the dark, and at times absurd events unfolding in front of us. The dialogues carry a dead pan humour and the cast get their timing just about right. It had always been a pleasant surprise watching van Warmerdam films, and this one is no exception. Highly Recommended Viewing..!

Amazon.fr DVD Link [PAL]

 

The Nudity: Eva van de Wijdeven and Maria Kraakman
The first instance of nudity is when Bax hurries girlfriend Nadine (Eva van de Wijdeven) into leaving because he doesn't want her in the house when his daughter arrives. The second is of Maria Kraakman, which I won't explain because it could be a spoiler.




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A brief film review: "Dorsvloer vol confetti" [2014 Netherlands, Belgium]

Director Tallulah Hazekamp Schwab makes her feature-film début with the sweet and heart-warming coming-of-age drama "Dorsvloer Vol Confetti" [Eng. Title: Confetti Harvest].






 

Set within a conservative farming community in the Dutch countryside sometime during the early eighties, the film centres around a precocious twelve year old Katelijne (Hendrikje Nieuwerf) growing up in a large family.

We see a stoic mother (Suzan Boogaerdt) and a hard working father (Steven van Watermeulen) bringing up their seven children in an orthodox Christian environment where everyone knew their place. And the discipline, apart from their parochial education, also extended to sharing household chores and farming duties.

A naturally curious Katelijne, whilst wholeheartedly undertaking her tasks, is nevertheless drawn towards a wider, more modern world with secular and material values that she discovers during a brief stay at her aunt's in the city. She takes advantage of the liberal surroundings to try out fashionable goods and dress-up as an adult.

Katelijne also has a vivid imagination; she captivates her siblings by feeding them fantastical accounts made up by mixing truth with fiction, which while well-intentioned, will invariably land them in trouble, and sometimes, peril. One such occasion shall see her elder brother Christiaan (Yannick de Waal) forced into a marriage. It is her gesture to make amends in her very own way that lends the film its title.

Carefully composed and endearingly captured in bright hues, Talullah lends a nostalgic air to her film by accompanying it with a cheerful soundtrack. Her pleasant, sweet, and innocent protagonist might just as well be a pubescent version of Amélie. Recommended Viewing..!

Amazon DVD Link [PAL] | Amazon Blu-Ray Link

 

The Nudity: Laurine Booij and Lotte Oskam
There is brief nudity in a scene when Katelijne narrates a story to Christiaan concerning two "pale" girls in the village who allegedly had the habit of sunbathing naked on the bed when their parents were not around. On one such occasion, a stranger who notices them will attempt to break in. Christiaan naturally gets curious and wants to know more...



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User-generated entertainment: "Steekspel" [2012 Netherlands]

Having had his break after Zwartboek, Paul Verhoeven eases back into film-making mode with "Steekspel" [Eng. Title: Tricked], by using it as a 'creative-battery-recharging' project. It's a moderate success because, despite its meagre fifty minutes, the pint-sized featurette manages to package a coherent narrative with several twists and turns.










It is Remco's (Peter Blok) fiftieth birthday and his dutiful wife Ineke (Ricky Koole) has meticulously organised a party at their home. However, an unexpected visitor comes calling - his former mistress Nadja (Sallie Harmsen), with a very visible baby bump, which raise eyebrows all around and sets tongues wagging in hushed tones. After all, his affair was known to everyone, including his grown-up children and Ineke herself. It sets the tone for a series of soap-operatic events that'll follow.

Remco had been a serial philanderer all through his marriage, which Ineke had only been too aware of. She tacitly tolerated his numerous affairs because they never last for a long period, and he invariably also returns home every night. However, she couldn't tolerate Remco being the father of Nadja's child, and has threatened to leave him if it turned out to be the case.

That is however what Nadja will claim to Remco in private - that he is the father, and his business associates will use this pretext to blackmail him into selling the company in which he and Ineke have a stake. To complicate matters, he's also having an ongoing affair with his daughter Lieke's (Carolien Spoor) best friend Merel (Gaite Jensen), whom his son Tobias (Robert de Hoog) also fancies...

Kim van Kooten penned the first few pages of this topsy-turvy script before it was put up online, for crowd-sourcing input from public for the remainder of the film. Nearly 700 scripts were received, and van Kooten and Verhoeven sifted through a shortlist to pick and choose elements that gelled with the initial pages for completing the film. As a result, three other writers also appear in the film's credits. The unusual project has apparently been one arduous exercise, and is highlighted in an accompanying documentary titled "Paul's Experience", where Verhoeven talks about the creative process and how it was a unique cinematic project - a glorified 'Making-of' if you will, which is presented alongside the film.

If employing too many 'cooks' could've easily ended up as mishmash in the wrong hands, Verhoeven uses it to his advantage by accommodating the additional twists and turns in the plot whilst retaining their connection. Besides, shooting each scene in succession, with the actors and even he not knowing what happens next, make them all the more credible, and encourages audience engagement. While the overall tone of the film is that of a typical 'mainstream' TV sitcom, it nevertheless entertains as much as it intrigues the viewer. We see Verhoeven make a film after a hiatus, and that at least is reason enough to watch it - Recommended Viewing..!

Amazon DVD Link [PAL] | Amazon.de Blu-ray Link

 

The Nudity: Gaite Jansen
By Paul Verhoeven's own standards, the nudity in this film is relatively mild, consisting of two scenes that feature a cute and topless Gaite Jansen - her character is the object of interest for father-son duo Remco and Tobias. In the first scene Merel flashes her breasts for Tobias's camera, telling him that he could now jack-off without having to photoshop her face to someone else's. The second is when Remco and Merel jump into bed while discussing the reappearance of Nadja. But I wonder - among all of them who submitted script for the film, didn't anyone even consider for a moment that Tobias might perhaps be interested in something more than Jansen's modest little titties, alluring as they may be! Blimey, did I just complain there?! :-)



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A review: "Goltzius and the Pelican Company" [2012 UK, Netherlands]

After Nigtwatching, Peter Greenaway pays his next homage to Dutch masters with "Goltzius and the Pelican Company" - a semi-biographical account from the life of sixteenth century engraver-printmaker Hendrik Goltzius, recalled ten years after his business trip to Italy with employees and their spouses. At the time, he was seeking funds to expand his Pelican Company using new material and equipment.

Goltzius (Ramsey Nasr) appraises the local Margrave (F. Murray Abraham) of his business plans, and persuades him to invest in his company which will go on to publish exclusive illustrated copies of biblical tales that focused 'on the sensual'. The powerful Margrave (military governor of a region) - a self-professed libertarian who espouses free-speech, and famous for holding court in the library whilst taking a shit at the same time, replies that he would be interested if some conditions are met. One of his demands is to be entertained by Goltzius and company for six nights, with material that touches on sexual taboos from the Old Testament. They strike a deal.

Goltzius and his company re-enact six taboo topics; the original sin (Adam and Eve), incest (between Lot and his two daughters after the destruction of Sodom and Gomorrah), adultery (David and Bathsheba), paedophilia (Joseph and Pharaoh Potiphar's wife), treachery (Samson and Delilah), and necrophilia (John the Baptist and Salomé, unwittingly taken from the New Testament). Not only do the graphic nature of their performances cause uproar among religious representatives in Margrave's palace, they'll also expose Margrave's own hypocrisy when it comes to free speech. Some company members get caged, while some suffer an even worse fate. Having to contend with the Margrave's short fuse and his lecherous advances on the company women, Goltzius will have to work hard to keep his wits about him - crucial, if he is to leave the palace alive, let alone obtain any of the promised funds...

The film has all the hallmarks of a typical Peter Greenaway - both in content and style, and contain enough references to his earlier work that'll keep fans busy making connections. It pushes the envelope on taste without sacrificing creative vision, and even when there are moments when it could so easily have descended into sensationalism, it pulls back from the brink. But this is also one of his more light-hearted films, playful even, in appraising the industriousness of Hendrik Goltzius with a dash of Dutch humour. Even the wicked Margrave is funny when he isn't killing or ordering someone arrested.

The screenplay is straightforward for those used to Greenaway's films, but even otherwise, things will fall into place eventually - all one needs is patience. One of the more stylised sections of the film is the enactment of Genesis (Adam and Eve) using body-painted performers, and words-in-type floating across the screen. The different visual treatment separates it from the rest of the film, and stands out for no discernible reason. The international cast - well known within their respective shores, add to the exoticism of the period portrayed.

The set design and wide camera angles evoke the sense of watching a stage play on screen - the film was shot mostly inside what appears to be a disused shipyard. But there is also great detail where it's needed - the costumes are sumptuous and authentic, and the cinematography has all the lushness associated with Greenaway's films. I might not have been particularly bowled over by the sound design, but the film is nevertheless put together with great care under the British auteur's watch. It is Recommended Viewing, and for users of this site in particular, Highly Recommended Viewing..!

 

The Nudity: Anne Louise Hassing, Kate Moran, Halina Reijn, Maaike Neuville, Flavio Parenti, Lars Eidinger, Giulio Berruti, and others
There's often been nudity in Peter Greenaway's films, but never as extensively as in this film. Sex scenes are relatively rare for Greenaway, and even when there is, it is often shown before or after sex, but the sex scene here is almost explicit. However, there are four outstanding scenes for which this film will become a 'nude-scene classic'.

With regard to the actors' partial or complete lack of pubic hair, one can only speculate on the reasons - well, here's mine; it's either to reduce any pornographic appeal by making the actors' genitals appear less conspicuous, or it is to remain faithful to paintings and engravings from the period, which generally don't feature pubic hair.



 

Whatever the case, it must have been uncharted territory for at least some of the actors, but good on them - they manage to pull their scenes off without any noticeable fuss.



 

Lars Eidinger must have been totally at ease with his nudity for him to brandish an impressive erection, and maintain it for a good part of a scene.



 

Anne Louise Hassing struts on stage in front of an audience wearing nothing but a collar while delivering her comedy - and I can't think of any film actress - past or present - who could possibly pull it off with as much panache. Simply spectacular..!



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Nudity in "Abel" [1986 Netherlands]

Alex van Warmerdam wrote, starred, and also made his directorial film début in what many consider to be a modern Dutch classic, "Abel". It is also one of the most hilarious comedies I've seen from Holland - slapstick at times, and totally deadpan on other occasions, but absurd and funny all the same. I'd been following his more recent works with interest even before I got to watch this film, and as it turns out, this is now one of my favourite Warmerdem films.

The storyline revolves around Abel (Alex van Warmerdam), a thirty one year old agoraphobic still living with his parents - he hasn't ventured outside the house in over ten years. His father Victor (Henri Garcin) is ashamed of him, while his mother Duif (Olga Zuiderhoek) over-compensates with her henpecking. After a psychologist tells them that the problem is not their son but their own attitude towards him, Victor decides it would be a good idea to get him to socialise with women, and brings home a female colleague (Loes Luca) from the amateur theatre he's involved in. It turns into a disaster, and after Victor finds out that Abel and mum had secretly bought a TV - hitherto banned in the household, he blows his lid off and chucks Abel out of the house. Enter Zus (Annet Malherbe), a stripper with a heart of gold, who pities and falls in love with penniless Abel and takes him with her. Further hysterics ensue when Zus ends her affair with Victor, and he finds out that his love rival none other than his own son...

This is one delightfully twisted and absurd comedy with exaggerated characterisation and situations. The cinematography also has a nostalgic appeal. It is aided by fine performances, notably by Henri Garci who plays Victor, the direction, and in no small measure by the gorgeously voluptuous Annet Malherbe who plays the sexy temptress Zus - little surprise that she's also director Warmerdem's partner in real-life. This memorable and ridiculously funny film is Highly Recommended Viewing..!

DVD Box-Set [PAL]
This is a good value box-set that include no less than 9 films - all classics, from Alex van Warmerdem - my Recommended choice.



The Nudity: Annet Malherbe
The sensual and beautiful Annet Malherbe appears teasingly nude in a few scenes, mostly while performing her come-hither routine at a peep-show booth where she works. There is also some unintentional nudity in a scene when her character tries to elicit a sexual response from Abel.



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Nellie Benner in "Vlees" [2010 Netherlands]

From what I've seen so far, films by Victor Nieuwenhuijs and Maartje Seyferth are largely hit-and-miss, and experimental. Their more recent film however, the suggestively titled "Vlees" [Eng. Title: Meat] makes a sincere attempt to work with a structured screenplay, and sets up a very original drama if one can care to pay close attention to it.

Storyline:
Made up of two halves and told in parallel narrative, we follow two middle-aged characters - a butcher, and a police detective, with strikingly similar features (played by the same actor Titus Muizelaar). While the detective wants to end his relationship with girlfriend Sonja, the married butcher is seen trying to seduce nubile shop assistant Roxy, while his wife Tinie, also an employee, openly has sexual relations with the shop's owner - both the protagonists are going through a crisis of some sort. The butcher is found dead one morning, and the suspicion falls on Roxy, who was the last one seen with him the night before - yes, the butcher succeeds in his seduction efforts in one of the memorable scenes of the film. Roxy's case isn't helped by the fact that she and her erstwhile boyfriend are also part of a militant group against the killing of animals. And she has a habit of capturing things on her video camera, like prying on the butcher.

What starts off as a murder mystery turns into a psychological drama about revenge, guilt, and redemption. To be honest, it required more than a viewing for me to make sense of the numerous seemingly pointless scenes and plot devices. This is partly because some of the scenes are purely imagined, portraying a character's frame of mind, and not all of them use conventional cinematic language to separate reality from fantasy. I won't bother analysing them here, but it will help if you consider certain facts. The butcher's state of mind - his passive reaction in seeing his wife routinely taken upstairs for sex by their boss. And for all the promise of giving Roxy the orgasm of her life, the sex that the butcher ends up having with her is hurried, unimaginative, and totally selfish. Why does the detective cut his hair to make himself look like the dead butcher. What does Roxy see in the butcher that keeps her approaching him despite his tasteless remarks. Her relationship with her Turkish boyfriend appears one-sided. She willingly accompanies boys at the night club in almost total abandon. She also doesn't seem to care too much about her alleged beliefs vis-à-vis animal cruelty, eating a live bug as breakfast in one scene. And not least the detective who is told that he's been taken off the case and investigated for manslaughter.

To summarise, there's a lot going on in the film that paints a more complex picture than a sordid murder mystery or a study in sexual depravity. It may contain several unpleasant scenes like urination, rape, and close-ups of raw meat and naked human flesh, but it is a surprisingly original story that can be interpreted in different ways. The performances by the main cast are very good, particularly Titus Muizelaar who plays both the butcher and the detective. And the incredibly beautiful Nellie Benner as the passive, sensual, and wanton Roxy makes her altogether vulnerable character disturbingly erotic. With competent cinematography, writing, and editing, this film is well produced, and a very worthy exercise on the whole - Recommended Viewing..!

Amazon.de DVD Link
English Subtitle

 

The Nudity:
As the title would suggest, the film features intermittent scenes of nudity, acts of sex, and sexual fetish throughout. Mercifully, it is made bearable by the extremely easy on the eye Nellie Benners, who plays the character of Roxy. Titus Muizelaar as the butcher/detective also appears in the nude - quite bold of him to do so, and there is some brief nudity from Wilma Bakker who plays the butcher's wife Tinie.



Scene Guide:

• Husband and wife intimacy during work - the butcher is invited into the meat vault by wife Tinie, which is watched and filmed by shop assistant Roxy. The butcher is played by Titus Muizelaar, and Tinie by Wilma Bakker.
• No nudity - but a very interesting scene - of the butcher 'seducing' Roxy in the coarsest manner imaginable (if you really need to know, much of the talk is about his skill in getting little girls wet), but rather than avoiding him, she keeps getting in his way, almost wanting to hear his unromantic words - theirs is a different relationship for sure. Roxy is played by the gorgeous Nellie Benner. She appears more mature and sensual here than her earlier outing with the same directors in Crepuscule, I have the DVD for that film as well, and will write about it on another occasion.
• After a party, Roxy follows the butcher into the showers, and we're witness to some grotesque, non-erotic sex between the two. This is followed by Roxy urinating on the butcher while filming him. It doesn't appear as though he expected her to do that, but he takes the second shower with passivity regardless..! :)
• After this encounter, Roxy heads to a night club where she's predictably approached by a group of guys who take her on a car ride. Disturbingly, these scenes of groping must be the most titillating in the entire film - partly because we see Roxy more or less enjoying all the attention. She is braless and knickerless, and doesn't seem too eager to protect her modesty either.
• It culminates in an 'ambiguous' rape scene after the guys pin Roxy to the ground and spread her legs.
• A brief scene of Roxy in the bath...
• Roxy filming her sleeping boyfriend. He wakes up and proceeds to have rough sex with her after some tender words. When she later asks him if he loves her, he doesn't respond. The scene is truncated as I found some parts unnecessary.
• The detective (with a new haircut, but very little else) lies on top of the crime scene markings to slash himself while Roxy watches. I won't give away too much information - merely pointing out that this an imagined scene.

 

Bien de Moor and others in "Code Blue" [Netherlands, Denmark 2011]

Talented Polish writer and director Urszula Antoniak impresses again in her second full-length feature, "Code Blue". It's an intense examination of loneliness and intimacy in the scale of Michael Haneke's "La Pianiste". I'm sure Ms. Antoniak would be pleased with that comparison because she made the film with a fraction of that budget and without a certain Isabelle Huppert, not to mention the class and experience of Haneke himself. The screenplay may be simpler, and the characters and surroundings working class, but her gritty film isn't any less accomplished.

Storyline:
Middle aged Marian is a dedicated nurse at a geriatric ward, offering solace and affection to elderly patients probably living out their final days. But being independent, single, and also lonely, she craves for some intimacy of her own. Her after work hours are invariably occupied with routine rituals, and in front of the TV, until she notices a neighbour living in her block of flats. She becomes vaguely infatuated, and he, an object of her fantasy. One night they're both witness to a rape in the nearby marshes. From that moment on, Marian's carefully-wrapped fantasy figure will develop cracks, from which will not only emerge the true nature of the mysterious neighbour, but also her own feelings of guilt, and her desperate longing to be loved...

This is a painful and relentlessly unforgiving character study that we would rather not face up to, but should. But despite the harsh scrutiny by the director, there is great sympathy (empathy even) for the protagonist, her human needs and condition. As a psychological character study it triumphs, and is aided by some minimalistic cinematography, meticulous direction, and a sincere and heartfelt performance from Belgian actress Bien de Moor who plays Marian. Painful and shocking as it may be to watch, Antoniak's 'adult' endeavour is definitely Recommended Viewing..!

Amazon.de Blu-ray Link




Compilation: Bien de Moor, Lone Rosenquist, and Lars Eidinger
Some of the scenes are positively shocking and explicit. Not recommended for juveniles.



Scene Guide:

• Marian had been following her neighbour Konrad of late, and while watching one of the DVD's he'd just returned at a local library, decides to paint her door red. Unfortunately, I can't understand the significance of this scene. Marian is played by Bien de Moor.
• Marian and Konrad witness a rape in the neighbourhood. The victim is played by Lone Rosenquist, and German actor Lars Eidinger gives a restrained performance as the neighbour Konrad.
• The following morning, Marian decides to do something rather despicable, after collecting the condom thrown away by one of the rapists..!
• After an incident at the hospital...
• Marian and Konrad get introduced more formally at a party, after which she invites him to her flat. When Konrad decides to leave, she begs him to stay. This leads to an excruciating but riveting pass of play where both the characters are examined, warts and all. The dialogues are mostly in English, so you should be able to follow. The long scene contains some explicit and violent imagery.

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Déborah François and others in "My Queen Karo" [2009 Belgium, Netherlands]

I believe coming-of-age must be a favourite subject for Dutch-Belgian director Dorothée Van Den Berghe - this is the second film of hers that I've seen delving into it. "My Queen Karo" is a delicate study of a young girl adjusting to life in an unconventional environment.

Storyline:
the film is set in the early seventies when nine year old Karo and her bohemian parents Dalia and Raven move into a squatter's commune in Amsterdam. Within no time, Raven gets involved with Alice, a left-wing activist who already has a partner and two children, and he invites her to move into the commune. Obviously Dalia isn't too happy with the arrangement but there's little she could do to change Raven's mind. She reluctantly accepts the ménage à trois by sharing Raven with Alice. Just as her parents come to terms with the new life they'd chosen, Karo finds herself adjusting to new realities. This is the heart of the film, as she sees her parent's relationship change beyond what she'd have ideally preferred, and must find her own way to be happy. She still loves her parents, and although she is glad to have found new friends in Alice's children - Daniel and Tara, swimming will become her passion, one she will pursue with rigour to distract herself from a less than ideal lifestyle.

While similar topics may have been discussed in film before, what makes this different is the careful and sensitive screenplay. It doesn't divert too much of our attention away from young Karo - this film isn't about her parents and their heartbreaks, but of Karo displaying a maturity beyond her years to adapt to the surroundings. All the principal actors give a fine performance, particularly pleasing is that of the adorable Anna Franziska Jaeger who plays Karo. The cinematography is appealing, as is the soundtrack, and I even loved the title credits. There are also instances of child nudity in the film, but it is deftly handled - there's nothing here that 'balanced' individuals should be unduly concerned about. This is pretty much a mainstream film that needs a wider audience than it does. And that is why, this is Recommended Viewing..!

Amazon DVD Link




Compilation:
Déborah François, Maria Kraakman, Matthias Schoenaerts, Anna Franziska Jaeger, Cezanne Q Cuypers, and Samuel du Chatinier



Scene Guide:

• Young Karo and her hedgehog pal Iglo adjusting to life in a commune. Karo is played by the wonderful Anna Franziska Jaeger.
• When Raven openly takes on Alice as his lover, a distraught Dalia contemplates throwing herself off the building. Karo intervenes. Dalia is played by the delightful Déborah François, Raven by a handsome Matthias Schoenaerts, and Alice by a very nineteen-seventies looking Maria Kraakman.
• Dalia tries to get some attention from Raven by trying on a dress she'd just made. When she asks for some help with her dress, Raven refuses to play along.
• With Raven spending a lot of his time with Alice, Dalia decides the only way she could be with him is by joining them. A threesome ensues. Karo watches the drama with mixed feelings of curiosity and disappointment.
• Alice and Raven go on a holiday along with Karo and Alice's children Tara and Daniel, played by Cezanne Q Cuypers, and Samuel du Chatinier respectively.
• Upon their return, Raven is annoyed noticing Dalia had installed a new partition, effectively separating herself from the rest.
• Raven and Alice making love not too far away from the children, and Alice's kids jump into the bed to play with her. Karo doesn't.
• When the landlord switches off their water supply, Alice, Raven, and the kids help themselves to a much needed shower at Karo's swimming pool.

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Johanna ter Steege & co in "Tirza" [2010 Netherlands]

Any meaningful synopsis of Rudolf van den Berg's engaging thriller "Tirza" is likely to be spoiler-ridden. So I'll try to keep it brief. The subject of the film is disconcerting in that it treads across a minefield of themes such as child prostitution and incest. But it is cleverly constructed to bring out a whole range of emotional responses from the audience, who are coerced into rooting for the flawed protagonist Jörgen right from the beginning, as a doting father, a wronged husband and lonely soul, and later as a hopelessly confused man. He goes to Namibia searching for his favourite daughter Tirza. Once there, a child prostitute Kaisa befriends and persuades Jörgen to take her with him in his quest. This is what the film is all about - a quest, a soul-search, an exploration of love, and loss. Kaisa is beautifully portrayed by adorable little Keitumetse Matlabo, and she compliments the intensity of Gijs Scholten van Aschat who plays Jörgen with her soothing presence. Her oft-spoken line in impeccable grammar school English, "Would you like some company, Sir" even now wrings quite disturbingly.

It is however a very well made film in all respects. The direction and editing see to it that we get to experience Jörgen's disorientation in full measure. The cinematography is masterful and yet quite subtle. The sound track is haunting. All in all, this is a surprisingly powerful film that one might not forget in a hurry, even if desired - you heard it, this is not for everyone's taste. But if you like to be challenged, and forced to look at things you'd much rather not, this is Highly Recommended Viewing..!

Amazon Blu-ray Link
(not the one I have, but one with the best deal going for the moment)




Compilation:
Johanna ter Steege, Abbey Hoes, Sylvia Hoeks, and Titia Hoogendoorn



Scene Guide:

• Jörgen's ex-wife Alma is portrayed at the beginning as a domineering bitch - she drops by his home now and again to enquire about their daughters Ibi and Tirza. In this scene, when Jörgen proclaims to have conquered his desire for women, she tries to disprove him. Alma is portrayed by Johanna ter Steege - a fine actress still looking great at fifty.
• Further humiliation for Jörgen - this time from his own kid - a flashback of him catching oldest daughter Ibi - still in her teens, knickers down with their forty-something tenant. He drags her home but the rebellious brat wants to go back to her lover's flat - apparently to pick up her panties! Ibi is played by a sixteen year old Abbey Hoes. Phew..!
• No nudity - Tirza, the youngest daughter is also Jörgen's favourite. She wants to prove her dad that she's now a young woman. But he tells her she will always be his little girl. Tirza is played by Sylvia Hoeks, much older than the character she plays.
• Flashback again - Jörgen with ex-wife Alma - cue for more humiliation. Alma walks off during the middle of their session complaining that he doesn't turn her on, and that she finds his grunts annoying. But it appears the abhorrence is mutual - fine couple this..!
• Tirza catches her dad with weird classmate Ester at a party. Ester is shown more or less encouraging Jörgen by letting him know what she's up to - 'caressing' herself alone in the shed. Played by Titia Hoogendoorn.

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Carice van Houten & co in "Komt een vrouw bij de dokter" BR720 [Netherlands 2009]

Reinout Oerlemans' romantic drama, "Komt een vrouw bij de dokter - Een ode aan de liefde" [Eng. Title: A Woman Goes to the Doctor - An Ode to Love, aka Stricken] is your typical mainstream film that touches on a cocktail of issues without getting too deep - issues like unconditional love, infidelity, cancer, and euthanasia are largely examined skin-deep in this heady melodrama filled with beautiful people.

Even if I knew what the film was about, I bought the DVD without too much expectations, it was bought purely for the beautiful Carice van Houten. In that respect, I haven't been disappointed. The cinematography is also pleasing to the eye (even more so in blu-ray), and while the soundtrack is a bit hit and miss bordering on the cheesy at times, you have some decent performance by the main cast which makes it worthwhile sitting through. While the screenplay too leaves you with mixed emotions - it is not easy to dismiss the film altogether, but this is definitely one for van Houten fans..!

Amazon DVD Link




Storyline:
Playboy Stijn meets and falls in love with colleague at work Carmen, they immediately marry and start a family. But despite his marriage, Stijn couldn't help sleeping around at any given opportunity. Carmen tolerates his infidelity - according to him, as though it were a bad habit, like picking nose. Carmen is diagnosed for breast cancer and had to go through painful chemotherapy sessions before eventually getting one of her breasts removed. Just when she seemed to have conquered the disease, it returns with a vengeance, spreading to the liver. Unable to bear Carmen's pain, Stijn resorts to having an affair with Roos, which almost ends in divorce. But Carmen accepts him back (rather too easily, me thinks) and they stick together until her health deteriorates to the extent that it renders her immobile with no control over her body. The film culminates in Carmen ending it all through assisted suicide, which perhaps is the most moving scene in the film.




Compilation: Carice van Houten, Anna Drijver, and others
While I own the DVD with the original audio, I made the compilation using a German-dubbed version from blu-ray, mainly for its visual appeal...



Scene Guide:

• First date - Carmen invites Stijn for a nightcap. Carmen of course is played by the beautiful Carice van Houten. They get married.
• Stijn fooling around with some girls during a business trip.
• Carmen and Stijn spend time in the field after they're informed she has cancer.
• Getting ready for, and then undergoing chemotherapy.
• And the immediate aftermath...
• While Carmen is in another chemotherapy session, Stijn is having it with Esther at a club, played by Anne Marie Michels.
• Stijn in bed caressing Carmen's bruised left breast - it is about to be amputated soon. She feels sorry for him because he's after all a 'tits' man..!
• A weird imagined scene where a dancing girl rips off one of her breasts. :-(
• Carmen examining her scar, post-operation...
• Stijn had been eyeing painter Roos for a while - he finally succeeds, and couldn't wait for even the elevator to take them to their floor in this hot scene. Roos is played by the rather sultry looking Anna Drijver.
• Another one of their meetings and we get an 'artistic' view through Drijver's shirt. :)
• After being declared free from cancer, Carmen and Stijn try to rejuvenate their relationship at an exotic island getaway. Darkly lit scene with brief nudity.
• When they discover Carmen had developed cancer again, Stijn in desperation comes looking for Roos. Possibly the most charged sex scene in the film.
• Followed by a mutual body-painting session - nice..!
• Another pretty looking post-coital chat scene of Stijn and Roos in bed.
• Last fleeting glimpse of Roos dancing in the nude.

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Monique van de Ven & Hannah de Leeuwe in "Keetje Tippel" [1975, Netherlands]

Paul Verhoeven made "Keetje Tippel" [Eng. Title: A Girl called Katy Tippel] following his sensational "Turks Fruit", and those who were expecting something on similar lines would have surely been disappointed.

The film explores extreme poverty in late 19th century Holland among the proletariat, and their exploitation by the well-to-do. Based on an autobiographical novel (by Neel Doff), it follows Katjee's fortunes from the filthy tenement she shared with her parents and siblings, to her rise to high society upon marrying a wealthy man in Amsterdam. To call this film gritty would be an understatement - Mr. Verhoeven shoves raw realism in our face without constraints, but the manner in which it is directed establishes his dexterity in depicting difficult subjects elegantly whilst still remaining passionate. The cinematography in excellent and the performance by all the main actors impressive, particularly the actress portraying Keetje - Monique van de Ven - this is by far the best performance I've seen from her.

Storyline:
Keetje and family relocate to Amsterdam looking to better themselves, and move into a dirty, leaking single-room apartment - that's all they could afford. With the father perennially unemployed, it is up to the children to earn a living. The eldest daughter Mina promptly takes up prostitution, with full knowledge of family. Keetje has morals - she wants to study, but because the family need money, takes up a job as a washerwoman. Unable to hold that job, she joins a shop selling clothing accessories, where she is one day raped and deflowered by the employer. She falls ill and a doctor comes forward to help, obviously in exchange for sexual favours. She returns home fully cured to find her family are worse off than ever, and even her sister Mina is fired for turning up to work drunk. The only way is to take up her sister's profession, and shockingly the mother helps Keetje prepare for her streetwalking job. When an artist 'discovers' her, she starts moving among the right circles - bankers, land owners and so on, and her life changes for the better.

This is one of Paul Verhoeven's classics, and therefore Highly Recommended Viewing.
Amazon DVD Link.




Compilation: Hannah de Leeuwe and Monique van de Ven



Scene Guide:

• No nudity - Mina opens her legs for a sailor after being promised some bacon, but Keetje thought she was being molested and attacks him. Slutty Mina is played by the wholesome Hannah de Leeuwe, and Keetje by Monique van de Ven.
• Outrageous scene as Mina uses the toilet while her family are still dining. Followed by the father eagerly helping Mina into her 'red shoes' as she prepares to go streetwalking.
• Keetje is asked to do some work at the 'boarding school' - she's shocked to see her sister and two of her colleagues sitting naked in front of an old man. He sees Keetje and asks her to come in. When she refuses, her sister pleads her to help out, and she reluctantly agrees. While Keetje is exciting the elderly gentleman with her exposed underpants, Mina is busy masturbating herself to orgasm.
• Keetje's clothe-store employer asks her to stay behind and work late. Her innocence is shattered that night as she loses her virginity - the scene isn't particularly gruesome but it still has shock-value.
• The doctor 'examining' Keetje's lungs, surrounded by his understudies.
• The doctor asks Keetje to strip and puts across his proposal for her to consider (for getting herself cured).
• Keetje takes home some gifts when she gets well, only to see the squalor had deepened. Shameless Mina hands Keetje her red dress to take up prostitution.
• Keetje with her first client - he insists on examining her vagina to make sure she hasn't got any disease.
• Brief nudity as Keetje gets into Hugo's bed - a banker friend of the artist she poses for. They briefly become lovers.
• But Hugo isn't interested in marrying Keetje - he's aiming high to get ahead career-wise. A disgusted Keetje leaves him and symbolically burns the clothes he bought her at a bathhouse before slipping into the bath.

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Renée Soutendijk in Paul Verhoeven's "De Vierde Man" [1983 Netherlands]

Continuing the early filmography of Paul Verhoeven, "De Vierde Man" [Eng. Title: The Fourth Man] successfully crosses over into 'Noire' territory by drawing inspiration from various peers of his era, notably Hitchcock and Chabrol. He also experiments with various stylistic elements which he'd later put to use in Hollywood, like in Basic Instinct, which in fact has several parallels with this film. But I feel The Fourth Man is a much more rounded product, where the suspense and ambiguity are retained throughout the film, in fact even after the film.

Like in most of his films, the female characters are as strong and domineering as their male counterparts, and in this film, they're not just strong, but shown as having the potential to be dangerous too. Disillusioned, bisexual, and alcoholic writer Gerard is invited to a remote town to give a lecture at a literature convention. There he meets Christine, a widow and the society's Treasurer, who invites him to stay at her place for the night when he misses his last train back to Amsterdam. Gerard isn't averse to a one-night stand when it comes by, and they end up in bed together, but during the night he secretly reads one of Christine's private letters from a handsome man, who he instantly is besotted with (the letter by the way, was left deliberately on the table by Christine), and when Christine asks him to live and work with her, he readily agrees, in the hope of meeting her young lover. During his stay, he discovers that Christine had already been widowed thrice, and suspects she might have killed each of her husbands to amass wealth, and is now looking for a fourth man (hence the title). Whatever the case, it is clear both Christine and Gerard have different agenda, but who's in control, and who'll have the last say..!

This is great film with attention to detail in lighting, cinematography, and fine performances by its lead characters, not to mention the crisp editing and fine direction. As for the nude scenes, some are awesome, and the compilation below is made from my DVD. All in all a fine Verhoeven film - and therefore, Recommended Viewing..!



Scene Guide:

• After asking Christine to disrobe, Gerard comments that she has the fine figure of a beautiful young man, She brings her breasts closer and asks him if she still looks like a young man. Gerard presses his hands against her breasts and spreads them apart, saying, "now you do". They are both turned on, and there's also some subtle humour when Gerard apologises for slipping out of her during sex, indicating his general preference for the rear entrance.
• Gerard is now aware that Christine has another lover, Hermann, one that he fancies himself, and coaxes her into telling more about him, in the pretext of writing a story based on their lives. When Christine complains that Hermann comes too quickly, Gerard offers to help in that regard, and asks her to invite Hermann over so he could 'work' on his shortcomings. He plays with Christine's breasts while saying this. Christine is played by the rather dishy Dutch bombshell Renée Soutendijk.

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Monique van de Ven in "Turks Fruit" [1973 Netherlands]

Paul Verhoeven's 1973 wild romance "Turks Fruit" [Eng. Title: Turkish Delight] is considered by many in his country as the best Dutch film ever. And since I'm not Dutch, who am I to argue. I do however agree that it is a beautiful film, full of energy and vigour, and surprisingly, filled with tenderness. Surprising because the protagonist is an impetuous young sculptor who's initially portrayed as someone reckless and insincere. But as the film unfolds his past, we empathise and perhaps even excuse his excesses.

The film is a semi-autobiographical account of a sculptor-writer, upon whose novel by the same name this film is based. It tells the story of a passionate sculptor, Eric, his past life, and his present. The film is actually quite moving towards the end, but irreverent, sexy and funny all the way through. It is very well directed, shot, and edited, and the performances by all the main actors are top-notch The film was also nominated for an Oscar under Best Foreign Language Film category, and could have won if not for François Truffaut's "La Nuit Américaine".

As for the nude scenes in the film, they are considered among the all-time classics. Monique van de Ven, who plays Eric's wife Olga, is a sight to behold - films like these just don't get made nowadays. I've cut these scenes from an excellent quality DVD, and believe these may probably be among the best samples you can find today. If you do like these scenes, you'll definitely enjoy the full film, and should be well worth your investment. Needless to say, Highly Recommended Viewing..!




Compilation 1:
The film starts with a quick catalogue of Eric's sexual conquests. They are wild, kinky, but mostly quite funny.

1. Eric picks up a woman from a phone booth, and when she later asks for a 'souvenir', he obliges!
2. He jumps into her car uninvited but somehow manages to bring her home. When she tries to take her top off, Eric asks her to put it back on and removes her panties instead - ostensibly to collect his 'trophy'!
3. Eric with a rather religious girl, and a banana (?)
4. Very funny scene of Eric with a young mum.
5. Eric complains about her fat arse and tiny tits - the annoyed woman spots a photo and enquires about it. When she makes a casual remark, he throws her out onto the street naked.
6. Eric brings home a girl but changes his mind after seeing one of his sculptures.

Compilation 2: Made from three 'interesting' and explicit nude scenes

1. Eric falls in love with Olga the minute he lays eyes on her. He also seems to be obsessed with her bodily fluids - when she needed to use the toilet midway through cunnilingus, he asks her to pee in her mouth instead.
2. They soon get married and Eric is annoyed at the frequent interruptions.
3. Olga and Eric at the beach - sexy and funny.

Compilation 3: Has four scenes

1. Eric is commissioned to make a sculpture for a hospital for which he uses Olga as his model. During a break Olga rushes out from the toilet believing she has cancer, Eric returns after inspecting the contents in the toilet bowl (omitted in my edit) and reassures her it was just the beetroot she had yesterday. He gives her a clean bill of health by pinning her ass with a flower.
2. The Queen is visiting to unveil his sculpture, but the hospital authorities notice Olga's dress is revealing and try their best to keep them away from the Queen's sight.
3. Singing and dancing in the rain - the scene begins rather romantically.
4. Olga's mother had conspired to separate Olga and Eric. Eric sneaks into her room while she's asleep and tries to make love, and the horrible woman barges in and pulls him away.

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Scenes from Paul Verhoeven's "Spetters" [1980 Netherlands]

Paul Verhoeven (of Basic Instinct and Robocop fame) made this early Dutch classic, "Spetters" exploring youth culture in smalltown Holland during the late 70's. The story follows the lives of three youths - Rein, Eef and Hans - friends and dirt-bike racing enthusiasts from in a working class neighbourhood and want to succeed in life in one way or another. Fientje, a determined young woman, runs a mobile chip shop with her brother, but is desperate to get out of the business, and settle down with someone who can give her the lifestyle she desires.

Rein is set on winning the championship, and when he manages to rope in some sponsors, Fientje gets drawn to him. But her hopes are dashed when Rein has an unfortunate accident that renders him paralysed waist-down. But life must move on. She joins with Eef who wants to emigrate to Canada. Eef had been accumulating money by mugging gay men, but after he discovers that he himself is gay, Fientje has to look for someone else. She considers Hans, who's been only modestly successful so far, but loves her more than the others ever did.

This film was my introduction into Dutch cinema, and is also one of the more memorable and compelling I've seen. For many reasons - it is witty, and at the same time touches on subjects that matter to all of us. The screenplay is excellent with well developed characters, and the imagery is in a style unlike any I'd seen before. This was also the first time I encountered explicit sex scenes in a mainstream film shown in a blasé manner. You also have scenes in the film depicting gay oral sex, and they're all shown passingly as part of the narrative. The film however still remains my favourite Verhoeven. Recommended Viewing..!




The compilation below was put together directly from my DVD in the following order:

1. No nudity but funny as flat chested Margot Keune tries to impress the lads with some tennis balls - it doesn't work!
2. Big-bosomed Saskia Ten Batenburg is the object of interest for everyone in the cramped car.
3. Rein having fun with his girlfriend Maya in his parent's bedroom, Maya is played by Marianne Boyer.
4. Funny scene again when Eef and Hans pick try to score with Saskia Ten Batenburg and Yvonne Valkenburg respectively, but things don't go according to plan as Eef just couldn't get it up, and Yvonne has her periods. So both the couples fake orgasm to show off their sexual prowess.
5. Chip shop girl Fientje, played by Renée Soutendijk, plays with Rein's 'sausage' affectionately..!
6. Hans is now Fientje's - Renée Soutendijk's latest lover - and he's always eager to please.

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Carice van Houten in "Zwartboek" BR720 [Netherlands, Germany 2006]

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The 2006 World War II drama "Zwartboek" [Eng. Title: Black Book] is the most recently completed film by Paul Verhoeven. It's also his first European film in a while after a long stint in Hollywood.

The film is set in occupied Netherlands, when wealthy Jews are promised safe passage out of the country only to be double-crossed and handed over to Nazis for slaughter. A young Jewish woman Ellis de Vries, played by true classical beauty Carice van Houten, escapes one such assault and volunteers to join the local Resistance. She's assigned the dangerous task of infiltrating the Nazi headquarters and win the trust of the Commander Ludwig Muntze. She changes her name to 'Rachel Stein' and takes up the job of Ludwig's secretary, and soon enough manages to seduce him. She passes on secret intelligence of forthcoming operations to the Resistance, but soon realises someone from within the resistance is passing information about the intelligence leak back to the Nazis. She finds herself trapped, on the one hand by the Resistance who believe her reports are unreliable, perhaps even accusing her for joining the Nazis, and on the other hand the Nazi command, who are beginning to close-in on her. Things are complicated further when the relationship between 'Rachel' and Ludwig develops into something more than simply sexual.

Both in terms of creative input and technical aspects, this is a very well made film and personally, I'm glad Mr. Verhoeven started making films in Europe again. Recommended viewing!

The scenes below were cut from Blu-ray.



Scene 1:
Preparing for her new 'Aryan' identity, 'Rachel' makes sure even her nether regions look the part - and she also gladly obliges her Resistance colleague before embarking on her assignment.







Scene 2:
At her new job, 'Rachel' makes good use of an invitation from her boss to look at his 'stamp collection' at his quarters. After discovering 'Rachel' isn't a true blonde, Ludwig inspects her face and asks why her features look Jewish. In reply 'Rachel' asks rhetorically whether her breasts, or for that matter her vagina looks Jewish too. It's hard to tell, if you ask me..!







Scene 3:
Rachel makes acquaintance with Ronnie - a 'secretary' to Ludwig's colleague, who enters the bathroom to take a leak. A playful Ronnie opens Rachel's shirt and asks his opinion on her breasts. When he tries to grope her, she reminds him that it is the commander's property.







Scene 4:
Ludwig begins to suspect that someone is passing on information to the Resistance, and corners Rachel one evening, but we soon realise he's also in love with her.







Scene 5:
Ronnie becomes Rachel's trusting friend. In this scene, she pretends to be drunk and allows the guards to grope her, so that Rachel could sneak out to release some Resistance members. Ronnie is played by Halina Reijn.







Scene 6:
The Allies liberate Netherlands, and 'Rachel' - Ellis is now accused of having slept with the enemy. She's held along with other Nazi prisoners and humiliated publicly, until one of her past colleagues in the Resistance recognises and rescues her.








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