Sort of a cross between "Love Story" and an earthy Rembrandt painting, this movie stars Rutger Hauer as a gifted Dutch sculptor who has a stormy, erotic, and star-crossed romance with a ... See full summary »
A band of medieval mercenaries take revenge on a noble lord who decides not to pay them by kidnapping the betrothed of the noble's son. As the plague and warfare cut a swathe of destruction... See full summary »
Jennifer Jason Leigh,
A mysterious diver hiding in Amsterdam's canal system embarks on a rampage of gruesome murders, terrifying city officials and leaving few clues for the city's best detective, who doesn't ... See full summary »
Monique van de Ven,
A Dutch film, post-Saturday Night Fever, which follows the lives of three young men who are amateur dirt-bike motorcycle racers. They each fall in love with a young woman who, with her ... See full summary »
Hans van Tongeren,
In January 1945, during the 2nd world-war, the Dutch resistance kills a collaborator in the street where the 12 year old Anton Steenwijk lives. The man was shot in front of his neighbors ... See full summary »
Derek de Lint,
Marc van Uchelen,
Monique van de Ven
During World War II in the Netherlands, resistance-leader Arie is shot by the Dutch SS-man Niels. Arie's comrades pledge to avenge his death. 35 years later one of them, Ab, is confronted ... See full summary »
When Michelle, the CEO of a gaming software company, is attacked in her home by an unknown assailant, she refuses to let it alter her precisely ordered life. She manages crises involving ... See full summary »
Sort of a cross between "Love Story" and an earthy Rembrandt painting, this movie stars Rutger Hauer as a gifted Dutch sculptor who has a stormy, erotic, and star-crossed romance with a beautiful young girl. The story follows the arc of their relationship and his interaction with her family. Told in flashback form, initially Hauer is seen as a libertine lothario collector, taking trophies from his sexual conquests and pasting them in a book. He sees a sculpture he made of his lost lover and goes into a flashback of his relationship with his wife. He meets the girl, falls in love with/marries her, and we meet her parents: a charming, well meaning, bumbling father, and his shrew of a wife, who's convinced Hauer's too much of a bohemian to make a good mate for her daughter. Eventually, the petty jealousies, the sexual hijinks, and the climactic vomit scene prove too much for the marriage, and sculptor and his lady fair separate. Flash forward several months, and Hauer finds the girl back... Written by
Director Paul Verhoeven and director of photography Jan de Bont had just seen The French Connection (1971), and agreed that its realistic look with natural light, hand-held photography and staccato editing would be perfect for Turks Fruit. However, when filming started, Verhoeven got cold feet, and wanted to revert to fixed cameras and artificial lighting, just as he had shot his previous movie, Diary of a Hooker (1971). De Bont bluntly refused to comply and shot the first scenes the way he intended. This caused a major falling-out between them, and Verhoeven nearly had de Bont fired after three days of shooting. However, after seeing the first rushes, Verhoeven admitted that he was wrong, and that de Bont had made the right decision. See more »
During the thunderstorm, when Eric is walking towards Olga who is standing outside in the rain, the reflection of a spotlight providing "lightning" can be seen on the surface of the door. See more »
A relative of the earlier Lovestory (1970) - complete with sine qua non bittersweet denouement - Turkish Delight's dramatic device is a wrong-side-of-the-tracks match. Rutger Hauer's virile, semi-feral sculptor Erik falls for a similarly carefree Hippie in Monique van de Ven's Olga. Their unstoppable union has to negotiate the barely tacit disapproval of her bourgeois parents.
What's interesting here though is that Verhoeven takes great care to neither judge characters nor cast them as straightforward pro- or an-tagonists. The couple's raw youth is magnetic (there are a number of stunts patently performed without doubles) but their irreverence can occasionally be as awkward as it is entertaining. Similarly, the outwardly stuffy parents and their coterie have a (characteristically Dutch) tolerance for the brash, carefree couple. The heartrending close to the film comes not by cause of intractable opposition between the groups but as an example of their ultimate similarity despite it.
Verhoeven uses Speed director Jan de Bont as his DoP. Their collaboration is a feast of (meticulously framed) perpetual motion and zest, the very equal of Hauer's reeling id-boy. But it's not just a document of raucous youth getting it on. Verhoeven catches all the beauty and pathos of Dutch lovers caught in the post-60s cul-de-sac. 7/10
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