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Black Bookby Ari
I’ve heard several people accuse Verhoeven’s work of being perverse or exploitative, but I think that’s a common misunderstanding of what he does. While films like 4th Man or the startling Turkish Delight (Rutger Hauer’s best performance) may not be easily accessible, they both represent the voice of one of the most adventurous filmmakers of the last thirty years. There’s nothing artificial or dishonest about his expression as an artist. Verhoeven lets loose on each film no matter how it actually turns out. However, as his stint in Hollywood progressed, the results of his work were becoming more and more unfavorable (although I still stand by the underrated and misunderstood Starship Troopers), leaving him with little interest or passion for studio filmmaking. It’s been a decade since his last good film, and even longer since he’s produced something great, but Verhoeven has finally returned to the level of filmmaking that made his name. Black Book, while maybe his slickest production to date, is another tremendous example of that filmmaker who dares to do things his way, mixing complex themes with epic genre excitement for something emotional, thrilling, and surprisingly refreshing. Black Book is an old-fashioned WWII thriller that never relents, taking inspiration from "men on a mission" adventures and spy intrigue to explore the fine line between good and evil. It’s as classical as it is bold, filled with Verhoeven’s signature touches throughout its briskly paced 145 minutes.
Rachel Stein (Carice van Houten) is a Dutch Jew and former singer hiding with a Christian family at the outset of the film. Of course, this relatively peaceful situation is over fairly quickly (their farmhouse is blown to smithereens), eventually leading her back to her family. They and a few other surviving Jews are supposed to be taken to safety, but things don’t exactly turn out in their favor. After Rachel witnesses the brutal murder of her parents, she joins the Dutch resistance and becomes a spy sent to infiltrate Nazi headquarters and gather vital information from German officer Ludwig Müntze (Sebastian Koch - who starred in last year’s excellent political thriller The Lives of Others). What Rachel doesn’t expect is to fall in love with Müntze, complicating the issue greatly. Of course, like most films of this type, many twists and turns ensue, blurring the notion of right and wrong, heroism and betrayal. And while the film isn’t entirely unpredictable, Verhoeven manages to keep things moving at a thrilling pace. The stakes are constantly raised as Rachel’s adventure progresses, and it’s impossible to not be completely engrossed by her experiences. Carice van Houten gives an incredible performance in the lead, instantly winning the affection of the audience. Verhoeven demands a lot from this actress, and she rises to the challenge brilliantly. Her chemistry with Koch is particularly good, especially during the build-up to their major love scene. Verhoeven’s passion for the film is tangible. You can feel it in the photography, the score, the performances. It’s evident during the set-pieces, or in the way he balances humor with drama. His old sensibilities are on full display once again, and it’s a glorious thing to behold. As with his best and most personal work, Verhoeven has something to say with Black Book. His voice is renewed, marking his return as one of the most exciting filmmakers working today. At the Q & A that followed this screening, Verhoeven discussed his ideas for his upcoming Christ film, already expecting an extreme reaction from audiences. Why? “because it’s the truth!”. Yeah, he’s back. |
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