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The Fourth Man (1983)
"De vierde man" (original title)

7.3
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Ratings: 7.3/10 from 4,411 users  
Reviews: 43 user | 34 critic

A man who has been having visions of an impending danger begins an affair with a woman who may lead him to his doom.

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Title: The Fourth Man (1983)

The Fourth Man (1983) on IMDb 7.3/10

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Cast

Cast overview, first billed only:
...
...
...
Herman
Dolf de Vries ...
Dr. de Vries
Geert de Jong ...
Ria
Hans Veerman ...
Begrafenisondernemer
Hero Muller ...
Josefs
Caroline de Beus ...
Adrienne
...
Eerste echtgenoot
Erik J. Meijer ...
Tweede echtgenoot
Ursul de Geer ...
Derde echtgenoot
Filip Bolluyt ...
Surfer
Hedda Lornie ...
Verkoopster boekhandel
Paul Nygaard ...
Violist
Guus van der Made ...
Treinkelner
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Storyline

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

Plot Summary | Add Synopsis

Plot Keywords:

vision | spider | catholic | alcoholic | writer | See more »

Taglines:

Christine is young, beautiful and rich. Her three husbands all died tragically. It's time for Christine to find her fourth man.


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Details

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Release Date:

24 March 1983 (Netherlands)  »

Also Known As:

The 4th Man  »

Company Credits

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Technical Specs

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Color:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

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 »

Goofs

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 »

Quotes

Gerard ReveHerman: [are confronted with a sudden shower]
Herman: Damn weather!
Gerard Reve: [yelling and pointing to trees] There!
Gerard ReveHerman: [ran to the trees]
Herman: We all get soaked!
Gerard Reve: That one's open!
Gerard ReveHerman: In that tomb?
Gerard Reve: Dead men don't bite, only live ones do.
Gerard ReveHerman: [going inside]
Herman: [got licked by Gerard and turns towards him] Do you want to get hit?
[...]
See more »

Connections

Referenced in Blonde Poison: The Making of 'Basic Instinct' (2001) See more »

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User Reviews

Verhoeven's Answer to the Critics
2 October 2000 | by (London) – See all my reviews

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.


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