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|Series compiled by:Gwen
Deglise with the assistance of Grant Moninger.
|Special Thanks to: Lisa Danna/ BLOCK-KORENBROT; Stacey/Paul Verhoevens
Office; Amy Lewin/MGM REPERTORY; Jon Davison; Rob Houwer; Brian Meacham/ AMPAS.
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Film Programs of the American Cinematheque are presented at the newly re-opened and
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Credit: Barry Gerber. Aero Theatre (c) 2004.
<< March 2 - 4, 2007 >>>
Verhoeven: Films of Flesh & Blood
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This Series is an Aero Theatre exclusive!
Presented in association with the Cultural Affairs
Department of Consulate General of the Netherlands
Director Paul Verhoeven was born in 1938 in Amsterdam in the Netherlands, and
his early young life was shaped by the WWII German invasion then the subsequent post-war
American occupation. Indeed, Verhoeven asserts that if not for those two occurrences he
never would have become a filmmaker. His initial academic pursuits did not involve film,
and he received his degree in mathematics and physics. But when he was in the Royal
Netherlands Navy, he was introduced to moviemaking in the form of documentaries. The early
1960s saw Verhoeven make a succession of shorts and documentary shorts, resulting in his
landing the job of directing twelve episodes of "Floris", a Dutch television
series about a medieval knight played by Rutger Hauer. Verhoevens second feature
film, TURKISH DELIGHT, proved a popular success in 1973 and set the tone for much
of his later output an almost super-realistic visual schematic, a candid frankness
of approach, a refusal to sentimentalize, a fondness for bawdy humor and a very low
tolerance for hypocrisy. Films like KEETJE TIPPEL, SOLDIER OF ORANGE, SPETTERS followed in
quick succession throughout the rest of the 1970s, splitting critics but by-and-large
embraced by the movie-going public. The delightfully profane mystery shocker THE 4TH
MAN (1983) gained even more critical and popular attention abroad, and Verhoeven made
his first American film FLESH + BLOOD in 1985. His next three efforts, ROBOCOP,
TOTAL RECALL and BASIC INSTINCT, were worldwide mega-hits, and although subsequent guilty
pleasure SHOWGIRLS failed at the box office as well as with the critics, it has since
redeemed itself by growing into a widely popular, underground cult phenomenon since its
initial release in 1995. Verhoven slowed his pace in the last decade, bringing out only
two pictures STARSHIP TROOPERS and THE HOLLOW MAN, before going back to his native
Netherlands to realize his much-cherished project about the WWII Dutch Resistance, BLACK
BOOK, which will be released here in the USA by Sony Pictures Classics this Spring. "People
seem to have this strange idea that films can influence people to be violent, but in my
sincere opinion film only reflects the violence of society." "As a director, my
goal is to be completely open
I really like documentaries, therefore, reality is
important to me when I do fiction
Of course, I must admit that I love to shock
audiences." Paul Verhoeven. We are thrilled to welcome director Paul
Verhoeven to the Aero Theatre.
Friday, March 2 - 7:30 PM
THE 4TH MAN (DE VIERDE MAN), 1983, 105 min. Paul
Verhoeven's surreal, Hitchcockian black comedy. Jeroen Krabbe (SOLDIER OF
ORANGE) plays Reve, a drunken, bisexual Catholic novelist experiencing intense
hallucinations. While lecturing in Holland, he finds himself spending the night with
beautiful hairdresser, Christine (Renée Soutendijk), even though his visions are
warning him of danger. As he begins to desire Christine's hunky boyfriend, he discovers
her secrets, and his madness intensifies. Winner of the Los Angeles Film Critics Award for
Best Foreign Film. "
piss-take on Jungian symbolism
the film riffs on the spider and the fly, Samson and
Delilah, castration anxiety, repressed (and not-so-repressed) homosexuality and a
horse-choking overdose of Catholic totems... It may be no more than an elaborate joke, but
its a hell of a joke. Clearly the gateway to such over-the-top satires as ROBOCOP
and STARSHIP TROOPERS
" Sam Adams, Philadelphia City Paper
TURKISH DELIGHT (TURK FRUIT), 1973, 112 min.
Touching, hilarious, erotic and tragic, director Paul Verhoevens second
feature film is a blunt look at romance and raw sexuality and the first of five film
collaborations with actor Rutger Hauer. Based on the best-selling,
semi-autobiographical novel by Jan Wolkers, this is the intimate saga of Danish sculptor
Eric (Hauer) and his star-crossed affair with Olga (the debut of celebrated Danish star Monique
van de Ven), a young upperclass girl. Interfering are Olga's overbearingly shrewish
mother and Vonk's own omnivorous sexual desires as well as Olga's illness. A borderless
masterpiece in which staccato twists from shocking sex and bodily fluids move to love and
melodrama to the funny "man vs. zipper" scene. Echoes of Danish painters
Rembrandt and Bosch are wonderfully shot by cinematographer (later-turned-director) Jan de
Bont. Not an idealistic Hollywood love story, this film makes you scratch your head and
wonder "What was so controversial about BASIC INSTINCT, again?" Voted Best Dutch
Film of the Century at the 1999 Netherlands Film Festival and a 1974 Oscar Nominee for
Best Foreign Film.
Saturday, March 3 7:30 PM
ROBOCOP, 1987, MGM Repertory, 102 min. Peter Weller
stars as a murdered Detroit police officer who is brought back to life as an unstoppable
cyborg cop in director Paul Verhoevens action-packed satire of the future of
corporate America. Nearly twenty years after its release, the film still packs an enormous
punch with its savage violence and ferociously dark sense of humor. Several brutal scenes
had to be trimmed to reportedly keep the film from garnering an X-rating for violence.
With a terrific supporting cast including Nancy Allen, Kurtwood Smith, Ronny Cox
and a brilliantly amoral Miguel Ferrer as the head honcho behind the RoboCop
program. "Most thriller and special-effects movies come right off the assembly
line. You can call out every development in advance, and usually be right. ROBOCOP is a
thriller with a difference." Roger Ebert, Chicago Sun-Times
FLESH + BLOOD, 1985, MGM Repertory, 126 min.
Its 1501, and the world is full of mercenaries, peasants and pestilence. True to
it's title, Paul Verhoeven presents the darkest of ages, a brutally realistic story
of the struggle for life, complete with rape, murder, starvation and the Black Death.
Rutger Hauer, in one of his finest roles, portrays the leader of a band of
mercenaries, who seeks revenge for a noblemans (the excellent Jack Thompson)
betrayal by kidnapping and brutalizing his son's (Tom Burlinson) bride to be. Jennifer
Jason Leigh shines as the strong willed Agnes. Based in part on unused material for
the Dutch TV series
"Floris," which Gerard Soeteman, Paul Verhoeven and Rutger Hauer collaborated on in 1969.
Watch for the amazing performance by Susan Tyrell as an onlooker to one of the
films most brutal and controversial scenes. The late Basil Poledouris contributes perhaps
his best score. Although Verhoeven later denied any connection, some critics at the time
of release pointed out allegorical similarities to Patty Hearsts abduction by the
Sunday, March 4 7:30 PM
BLACK BOOK, 2007, Sony Picture Classics, 145 min. A
relentlessly gripping thriller about the Dutch underground set in the Fall of 1944, the
film marks master director Paul Verhoevens return to his native Netherlands
revisiting the action-filled World War II subject matter of his 1977 Dutch drama SOLDIER
OF ORANGE. Based on true events that span nearly a year in the life of Rachel Stein
(Carice van Houten), a young, pretty Jewish woman who falls for a high-ranking
Gestapo officer (Sebastian Koch) while seeking revenge for her family's murders.
Starring some of the Netherlands most impressive and celebrated actors, the
multi-layered characters find themselves embroiled in a spiders web of intrigue,
treachery and betrayal. BLACK BOOK is a highly stylized film suffused with the
intense paranoia Verhoeven evokes so well, where friends and enemies blur together into an
indistinguishable line. "The epic film is a high-octane adventure rooted in
fact with a raft of arresting characters, big action sequences and twists and turns
" Ray Bennett, The Hollywood Reporter Discussion following with director Paul Verhoeven.