Director Paul Verhoeven (Starship Troopers) went back to his native Holland to make this stylish and subversive action adventure movie about a WW2-era Jewish spy who lives by her wits as a member of the Dutch resistance as she navigates a treacherous world of sympathetic enemies and dubious allies. As usual with Verhoeven there is a layer of social commentary to Black Book that lies beneath the glossy surface. This is old Hollywood spectacle with depth. Best movie of 2006!...Continue Reading
Important in the evolution (or devolution) of Sylvester Stallone is Nighthawks. From ‘81, it falls in that post-Rocky burst when Sly was still considered a legitimate actor. Though Paradise Alley, F.I.S.T or Rocky II didn’t threaten Hoffman or De Niro’s place as America’s top actor-laureates, Sly hadn’t yet become the steroidy, sequely crap machine he would come to be known as (of course with some quality films like Rocky III, First Blood to come and later Cop Land, but with mostly junk between). Today Nighthawks feels like a gritty '70s cop film. (It was originally developed to be French Connection 3.) It’s taut, strong but not overly muscular, and moves at a fast pace that you don’t notice till it’s over. Frankly, one of the most interesting aspects here is that Stallone in Serpico mode (bearded with longish hair) often wears glasses (big, clear disco-era glasses), which is something rarely seen in an action hero and symbolizes how the film was a leftover from the more character-driven film days (the glorious '70s) before guys like Schwarzenegger (and Sly) made them into total cartoons. Sly’s cop even pines for his ex-wife (played by TV’s Bionic Woman, Lindsay Wagner). The guy is vulnerable, not always successful and flawed. Nighthawks represents the end of an era, not just for Stallone but for the realistic action hero.
Actor Rutger Hauer made a name for himself on the international circuit from his work with director Paul Verhoeven in Turkish Delight, Soldier of Orange, Katie Tippel and Spetters. Nighthawks would be his first American film, though not his first English language one. (Earlier he had appeared in the British flick The Wilby Conspiracy.) Word from the set is that he and Stallone clashed. (More reason to love him!) Here the Dutchman plays a Euro terrorist known as Wulfgar who, after wearing out his welcome abroad, heads for the States. Meanwhile, New York street detectives Deke DaSilva (Stallone) and his partner Matthew Fox (Billy Dee Williams, fresh from The Empire Strikes Back introducing him to audiences outside of black '70s cinema, where he was already a superstar leading man) are being transferred from their play-by-their-own-rules undercover decoy work to a terrorist unit, which is already on the lookout for Wulfgar. Knowing he’s a sucker for foxy dancing queens, in a subtly intense scene, the eagle-eyed Deke manages to spot Wulfgar through the crowd at a discotheque, despite him getting face-changing plastic surgery, which leads to an exciting Friedkin-esque foot chase through lower Manhattan. Wulfgar manages to finally escape with a nasty knife slash to Fox’s face, making things personal now for Deke. And the cock-blocking Deke pulled makes things equally personal for Wulfgar. The one-upmanship eventually leads to an exciting highjacking showdown on the Roosevelt Island Tram and a crazy cross-dressing twist ending.Continue Reading
The 4th Man
Castration, murder, bisexuality, a man posed suggestively on a crucifix, and the line of dialogue, "Through Mary to Jesus," during an orgasm are just a few highlights from what I think might be one of the most devoutly Catholic films I have ever seen: Paul Verhoeven's The 4th Man. Actually, the film might just be trying to make some sort of statement about the "artist as Christ." I can't be too sure. Either way, and more importantly, it's a richly atmospheric thriller that's as unforgettably funny as it is horrific.
Jeroen Krabbe stars as Gerard Reve, an alcoholic, Catholic novelist from Holland who has risen to considerable fame for being an artist who "lies the truth." After an egotistical Q&A celebrating his work in Vlissingen, he is seduced by Christine Halsslag (Renee Soutendijk) who insists that he spend the night at her hotel/hair salon before returning home. While drawn to Christine ("You have the body of a young boy"), Gerard immediately receives both symbolic and blatantly grotesque warnings of danger through his dreams and encounters with some of the town's people. He chooses to ignore them; however, when he finds out that Christine is also involved with a man named Herman (Thom Hoffman), the writer decides he must have Herman even if it kills him. While sort of playing Christine to get closer to Herman, Gerard stumbles onto some information about the woman's past that might unveil a more terrifying reality than any of his fantasies.Continue Reading