11 year old Amsterdam schoolboy Ciske, a scamp with a heart of gold, causes havoc in the classroom pouring ink over his teacher. Yet when a polio-crippled boy joins the class Ciske is one ... See full summary »
Danny de Munk,
Willeke van Ammelrooy,
Herman van Veen
A lift begins displaying some erratic behavior, like trapping some party goers and nearly suffocating them, and decapitating a security guard. Felix, the technician from the lift company, ... See full summary »
Willeke van Ammelrooy,
Josine van Dalsum
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,
The mayor of Zonnedael sees a chance to get rid of the Flodder family: They send the asocial bunch for an international exchange to New York. There they get confused with a Russian ... See full summary »
The members of a Dutch soccer team have been playing together since they were little boys. Now, in their twenties, they all have have their own "grown-up" problems. With the team's 500th ... See full summary »
Jean van de Velde
Danny de Munk,
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,
The anti-social Flodder family are living in a upscale suburban neighboorhood. They don't adjust to their environment, and keep on behaving like they're living on a trailer park. And the neighboorhood doesn't like it at all.
Coen van Vrijberghe de Coningh,
Stefan de Walle
Bennie, a clumsy criminal who's touchy about his weight, teams up with his adoptive father's biological (serial killer) son, his employees who in his absence turned his snack-bar into a ... See full summary »
Bracha van Doesburgh
Abdullah 'Ap' Bentarek may be happy that, unlike his Uncle Yusuf who stayed in the ancestral Moroccan mountain village, his own father, Ali, moved to the Netherlands. However, the boy has ... See full summary »
Albert Ter Heerdt
Salah Eddine Benmoussa,
Zohra 'Flifla' Slimani
Director Ruud van Hemert proved notoriously difficult to work with. He wasn't quickly satisfied by the acting performances of his actors, and went as far as provoking and picking fights with them to get the desired response. He also went to some extreme lengths to direct the young boys, slapping them or scaring them to get them to react correspondingly, despite the presence of the boys' father and a child psychologist on set. However, he always made up by buying them chocolate afterwards. See more »
A 1976 Chevrolet Impala sedan is used at the end of the movie by John Gisbert and his wife to chase their kids. The number plate changes from 00-MF-60 to 27-MZ-67 between shots. See more »
This Dutch film was a big commercial and critical hit when it appeared on Dutch screens in 1984. Which is really odd, considering that it's probably impossible to get a sort of film like this made these days anywhere. This movie is clearly influenced by the struggles that parents and children endure with each other. Everyone who is going through or has gone through puberty or is a parent of a child going through puberty might recognize the basis of the story. But the brilliance of Van Hemert is that he has taken this outline based on reality and has blown it out of proportion, which makes the movie a truly entertaining and demented experience.
The family Gisberts live in a very affluent villa. Father John Gisberts works in a nearby army base, where he does not do any much except for flying around in a helicopter, thereby checking out his family the whole time. His family is a real wild bunch. There's the mother Danny, who has fooled around with her tennis teacher Dennis, who is actually in love with the daughter of the family, Madelon. She harbors the same feelings for Dennis, although Danny does everything to stop them. The eldest son Thijs, in the meanwhile, is going through a heavy puberty and likes to cross on his motor cycle through the family garden, thereby destroying it. And then there are the two youngest sons Jan-Julius and Valentijn, who are clearly following the examples of their elder siblings and are up to no good. The children are wholly neglected by their parents, and if they are not neglected then they are condescended to or shouted at. John and Danny are clearly in an unhappy marriage and were not ever meant to have children. The only thing they seem to care about is their social status, with John clearly up for a promotion at his army base. The children are fed up with their parents' neglect and in the beginning are trying to get their attention at whatever means necessary, even if that means converting the alarm clock next to their parents'bed into... a ticking bomb! Of course, this doesn't work. And soon the fights descend into an all-out war between the two generations of the Gisberts family with a highlight being the children gassing their parents to a long sleep, evicting their parents out of the house and the parents trying to regain their house with the help of John's friends of the army base in one of the best action scenes ever done in Dutch cinema.
Schatjes starts blackly comic and veers into action-thriller territory and finally ends up with a horror sequence, homaging Kubrick's The Shining. It also has a bizarre musical interlude, in which tennis teacher Dennis tries get back with Madelon by singing a song; a scene that clearly tries to send up genre conventions, but completely fails. Reasons for inclusion of this scene might be director Ruud van Hemert and his former experience with the then-experimental Dutch television network VPRO. But the rest of the movie is assuredly directed and written by Van Hemert. The actors are also quite up to the task. As the parents Peter Faber (John) and Geert de Jong (Danny) descend comically and believably (albeit in a grotesque kind of way) from egotistical nitwits to maniacal bastards. The children start out believably as irritating little sh*ts, but their characters turn out to be easy to root for and are most of the time, bizarrely enough, affecting. Clearly Van Hemert was wanting the public to root for the children, which makes the movie quite controversial as usually the parents' position is something that can't be questioned in a patriarchal world, like the one we live in. but Van Hemert had the guts to stick the finger to conservative thinking, which makes Schatjes! a guilty pleasure.
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