©CV Lef
©Indies Film Distribution
photo: Edwin Molenaar
photo courtesty MVSP Publicity/Promotion/Public Relations
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Homage a lá Godard, Truffaut, and Fellini with a sauce
Hollandaise.
Olivier (Viggo Waas) is an unsuccessful actor with dreams of
being a hero. He manages to make these dreams come to life
for himself on the pages of a grade-B "film noir" manuscript. His
best friend and "manager" Luc (Rick Engelkes) encourages him
to finish writing his script so that they can get the movie
produced with the assistance of their new-found backer, Luc's
aunt.
Annoyed and frustrated by the slow progress of his own work,
Olivier develops a dislike for the face of the girl on the billboard
across the way, which endlessly peers into his window.
Anxiously anticipating the day it will be removed, he
unexpectedly meets Mariëlle (Alice Reys), the real-life girl in the
flesh and winds up, a short time afterward, involved in a
relationship with her. This is bound to create problems for
Olivier in deciding whether to pursue his craft or pursue
something more lifelike. It will also create frictions between
him and Luc. Before that time arrives, however, he bounces
back and forth emotionally during the creative process as a
result of the surrounding life forces, which he cannot close
himself off from. In short, the movie deals with a post-puberty
would-be actor/cum author who, in undergoing further
inescapable rites of passage, unwillingly experiences the
banalities of relationships, jealousies, and all the other
"important" things in life.
The links of the story line follow each other logically and there
is, happily, no nonsense jumping from one idea to another.
Certain moments are too long because they only further
anticipated plot line, such as the jump-cut section where Olivier
spends days reclusively working on the script until it is finished,
being visited periodically by Luc who bears food and good will
as well as interested and friendly inquisitiveness. In general,
the script could have been tightened up at such points and
delivered a stronger impact.
The attractive threesome of actors in the main roles is very
likeable and each one possesses an individual charm
displayed, each in its own way, through an exhilarating
youthfulness and disarming spontaneity.
Director Ron Termaat and his co-producing partner Marijke
Kloosterman deserve a round of applause for the guts (lef) they
have shown in bringing this production successfully to
completion. Undergoing the routine difficulties confronted,
when not being awarded a subsidy in Holland, in pursuing the
development and making of a film, they struggled onward until
the picture became a reality. Although many aspects of
financial investment in Holland for film are changing
momentarily, Termaat has experienced the typical difficulties
undergone when a script has not been chosen by a panel and
managed to overcome them. It may have taken from 1992 till
1999 to get accomplish this feat, but he made it (with a little
help from his friends). Good work Lef CV!
Compliments for the camera work of Maarten Kramer n.s.c. that
captures all elements necessary for telling the story without
distracting the viewer.
Although there may be too much reference (under the guise of
reverence) to earlier movies and waves, the three main
characters come off looking good in a nicely made, if somewhat
superfluous story. The charm of this kind of tale passed (and
was surpassed) with "Jules et Jim". From beginning to end, we
encounter reminders of "Au Bou De Souffle" (as the three ride in
the car), "Boccaccio '70" (the bothersome billboard, painted or
unpainted), "The Graduate" (wedding scene) and "Una Giornata
Particulare" (standing between the wafting sheets). The main
character's obsession with Delon could even be viewed as a
diluted parallel of Jean-Pierre Leaud's relationship with Bogie in
"le Quatre Cents Coup". I'm sure there are more, but these will
suffice. On the other hand, this first feature film of Termaat
promises to be the start of an interesting career in Dutch feature
filmmaking. It would undoubtedly be more interesting if he
separated himself from existing cinema and forms and
confronted a script head on. This movie suggests that his
future work could be very interesting. This time it is well worth
seeing.
© 1994-2006 The Green Hartnett
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