After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
Mourning his dead child, a haunted Vietnam vet attempts to discover his past while suffering from a severe case of disassociation. To do so, he must decipher reality and life from his own dreams, delusion, and perception of death.
The morbid Catholic writer Gerard Reve who is bisexual, alcoholic and has frequent visions of death is invited to give a lecture in the literature club of Vlissingen. While in the railway station in Amsterdam, he feels attracted to a handsome man who embarks on another train. Gerard is introduced to the treasurer of the club and beautician Christine Halsslag, a wealthy widow who owns the Spider beauty shop, and they engage in a one night stand. On the next morning, Gerard sees the picture of Christine's boyfriend Herman and recognizes him as the man he saw in the train station. He urges her to bring Herman to her house to spend a couple of days together, but with the secret intention of seducing the man. Christine travels to Köln to bring her boyfriend and Gerard stays alone in her house. He drinks whiskey and snoops through her safe, finding three film reels with names of men; he decides to watch the footage and discovers that Christine had married each; all of whom died in tragic ... Written by
Claudio Carvalho, Rio de Janeiro, Brazil revised by S. Alan Fann, N. Decatur, GA USA
Paul Verhoeven and Gerard Soeteman originally wanted to make the movie with Joop van den Ende, who had also produced their previous movie, Spetters (1980). However, this meant that they could not cast Jeroen Krabbé in the lead role, since he was involved in a financial disagreement with van den Ende. So they went back to their former producer Rob Houwer, with whom they had previously had a bitter falling-out; since Verhoeven and Soeteman needed someone who could secure the budget, and Houwer had not had much financial success without his former colleagues, they were able to bury the past and renew their collaboration. However, tensions rose again during the production of the movie, and this movie became their last together. See more »
At the beginning of the movie, as Gerard is getting out of bed, the boom mic is visible in a mirror behind him. See more »
Verhoeven's Fourth Man was apparently his answer to those carping Dutch critics who had been so offended by the casual working class realism and frankness he familiarised in Turkish Delight, Business is Business & etc. Gone is the simple story line, the concern with contemporary issues, 'offensive' humour and the prominence of working girls as characters. Instead Verhoeven and his scriptwriter have substituted a hot house of religious imagery, 'literary' associations, obscure motivations and a deliberately overwrought atmosphere, guaranteed to please those who value an 'art house' ideal over the rougher product the director had been making. Perhaps surprisingly, it is a largely successful concoction, and pleased both audiences and the critics. The joke is still a joke, but it is all so well done, and carried off with such dark glee and verve, that Verhoeven's private fun in his task becomes public.
Having dished out his private joke to the conservative arbiters of Dutch film taste, it wasn't long before the frustrated director was lured off to Hollywood. Here he achieved a more perfect - and sincere - synthesis of vision, style, and message in the more familiar films that have confirmed his reputation.
10 of 13 people found this review helpful.
Was this review helpful to you?