Let's say it right away: Paul de Leeuw proves
his ability as a dramatic actor to any doubting
Thomases who might have suspected that his
talents were restricted to cabaret and TV talk
shows (always thriving in Holland). To those
from other countries, as yet unfamiliar with
Paul, this message might be not be completely
clear and possibly be quite confusing, but
accept it, in that case, as a Dutch cult
message. Yes, it would seem, long gone are the
days of free performances at Van Der Valk.
Big business and fusions, isn't it enough to
drive you crazy? Wait. Big man Peter de Bock
(Jack Wouterse) and colleague Martin Krawinkel
(Eric van Sauers) fill their daily routine at
the bank by closing contracts with applicants
for stocks and loans. A fly arrives in the
perennial ointment, however, when Bouke van
Lier (Roeland Fernhout) appears on the scene as
new bank manager as a result of a fusion with a
second bank. Yes, as the world turns, the
heads will roll. Reorganization is the word of
the day and Bouke leaves no switch unbugged in
his ruthless attempt to be the yuppical
tyrannical ruler of the roost. Ah, is this
what "God" means? He puts the Buddhist
meditator and cool-cold-cucumber Martin into
the same office with Peter and waits for the
desired results.
After a feeble attempt at trying to convince
Peter that his future might be sunnier
elsewhere, Bouke tries other methods to destroy
the massive man's steadfastness which does
eventually begin to slip and slide toward
desperation and hopelessness. Bouke is less
successful in his attempt to break Martin, who,
when accused of fraud, remains unmoved. While
searching for a suitable accomplice, van Lier
happens to discover the name of Jos Flierboom
(Paul de Leeuw), a man still suffering from the
trauma of bankruptcy once instituted against
him by Peter de Bock as representative of the
bank, and decides that this man could be the
perfect instrument in furthering van his
destructive plan. Once the new man is added
into the quotient, the figures begin to turn.
Everybody switches sides, turns around,
declaims, denies and betrays, but, after all,
that's business.
Director Theo van Gogh's (yes, folks, family,
but not the brother) new film is, as his last,
derived (adapted? reworked?) from an original
stage play. Theo, who was originally advisor
to the stage director (what a curious
construction!) for the play written by Justus
van Oel, has taken the manuscript as
foundation, included the original theme of
"torture for money", situated it in a more
realistic environment (for the most part),
"deepened the psychology" (I quote), doubled
the number of characters, and, oh yes, changed
the original plot. Other than that, it would
seem, it's the same piece. Oddly enough,
playwright van Oel has also written the
scenario.
Both Jack Wouterse and Paul de Leeuw turn in
admirable performances, but are unable to
contend with the unfortunate shifting from
realistic to absurd situations in direction and
plot. The film does have its moments and many
will likely find it worth sitting through the
entire 100 minutes to see them.
After the first twenty minutes, one has the
tendency to think it might have been easier,
more leisurely, not to mention enjoyable, to
read it as a novel, but, as stated above,
originally it wasn't a novel, it was a play.
The two-character stage play has, it seems, a
sharper edge because of the focus on the
relationship between two men which makes one
recall the old adage "less is more." The
tension and unease that might have caused an
audience to get involved is lacking in this
cinematic version.
Now, of course, the problem could rest
partially with the amount of finance that was
readily available. Despite their record,
neither Theo van Gogh's nor Paul de Leeuw's
name was sufficient to receive a subsidy for
the project and so they courageously united
their forces and their finances to make the
film anyway. One must admire their talent and
their tenacity. It was shot in 12 days and
would probably have profited from more money,
more time, and a talented scriptwriter.
© 1994-2006 The Green Hartnett
|