Menage-a-wha'?
There is an enjoyable element to the "absurd" quality of
'Alex van Warmerdam's films and there is undoubtedly
an intentional and steady development in the way he
molds his subject matter. From the qualities of "Abel",
his feature film debut, which presented audiences with
something different in the guise of something typically
Dutch, through the "forest for the trees" diversions of
"De Noorderlingen" ("The Northerners"), the episodic
mini-epic travelogue from the fields of cotton to the
bowels of the earth in "De Jurk" ("The Dress"), up to the
intimate yet solitary secrets of "Kleine Teun" he shows
that he knows how to craft a film as easily as a
painting. As a reminder of his artistic roots as well an
introduction to the tale, we view a panorama of
canvases transverse the screen to set the scene.
Brand (Alex van Warmerdam) is a home-grown farmer,
albeit not too bright, who leaves all the organizational
matters, like shopping and cooking, to his dexterous,
buxom wife, Keets (Annet Malherbe). She goes about
her daily routine like a Sherman tank and would do
anything within her capabilities for her man. Hiring a
suitably attractive teacher named Lena (Ariane
Schluter) to teach hubby how to read and write (no
longer will it be necessary to translate the television
subtitles for hubby), she has also devised a sinister
plan to turn the tutor into a baby-maker. Incapable of
bearing children any longer, she decides that this
should not be a barrier to giving her husband a son.
(Three guesses as to what the name of the child will
be.) Manipulating the farmer and tutor into a
relationship while simultaneously pretending not to be
in control of the developing affair(s) is reason enough
to turn the wife into the most interesting character
among the trio. No one except the wife is fully aware of
either the events or their potential repercussions.
Brand continues watching the wonderful world of his
personal household and its progress often through the
miniature window of his toilet door and always through
the blank openings of his eyes. Real life is apparently
only another form of TV to him. One cannot help but
wonder what these women see in this man. He
appears to possess no redeeming qualities, unless
they could possibly be found either in the vast barren
territory on the landscape or the fertile area between
his legs.
From film to film, director/writer van Warmerdam has
becomes darker in his presentation of visions and this
has sometimes become the source of either confusion
or consternation among certain audiences of his
countrymen who experienced his first film, "Abel", as a
raucous comedy and expected the future to hold more
of the same. His responds that, "Sometimes your own
environment creates confusion. Everybody always
wants to laugh. I find that revolting. Besides that, what
others might find humorous is often not the same as
what I find funny. I love black humor. When I'm writing
a script I don't think: Oh, now I've got to write
something that's fun. Quite the opposite, I often take
jokes out. Throw them away. They'll start laughing
again, I think to myself, and that'll ruin the whole thing."
Nonetheless, the dark Dutch side he presents often
includes the unexpected laugh.
Annet Malherbe, unsympathetic though her character
may be in this tale, turns in the best performance of the
film. (As real life companion to the author/director, she
has undoubtedly had ample time to study the role.)
Actor van Warmerdam appears in a characterization
amazingly close to the ones we have seen him in
previously. Ariane Schluter, as the catalytic third leg,
turns in a good performance as she does her best to
battle the forces surrounding her, but one wonders
what makes a supposedly learned woman become so
neurotic and foolish.
Alex van Warmerdam has established himself in minds
of many Hollanders as the most interesting among the
present day Dutch directors. His films are
unquestionably high up among the ranks of good
quality lowland films. His signature also remains firmly
established on each of his works to date. Originally
trained as an artist, his framing of cinematic images in
this fourth film often bring such painters as DeChirico,
Magritte and Hopper to mind. As well as starring (in a
role originally performed on-stage by Kees Hulst) and
directing, he has written the script and composed the
music. Perhaps for his fifth film we can expect
something that will become completely a one-man
show?
© 1994-2006 The Green Hartnett
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