Monique van de Ven & Hannah de Leeuwe in “Keetje Tippel” [1975, Netherlands]

Paul Verhoeven made “Keetje Tippel” [Eng. Title: A Girl called Katy Tippel] following his sensational “Turks Fruit“, and those who were expecting something on similar lines would have surely been disappointed.

The film explores extreme poverty in late 19th century Holland among the proletariat, and their exploitation by the well-to-do. Based on an autobiographical novel (by Neel Doff), it follows Katjee’s fortunes from the filthy tenement she shared with her parents and siblings, to her rise to high society upon marrying a wealthy man in Amsterdam. To call this film gritty would be an understatement – Mr. Verhoeven shoves raw realism in our face without constraints, but the manner in which it is directed establishes his dexterity in depicting difficult subjects elegantly whilst still remaining passionate. The cinematography in excellent and the performance by all the main actors impressive, particularly the actress portraying KeetjeMonique van de Ven – this is by far the best performance I’ve seen from her.

Storyline:
Keetje and family relocate to Amsterdam looking to better themselves, and move into a dirty, leaking single-room apartment – that’s all they could afford. With the father perennially unemployed, it is up to the children to earn a living. The eldest daughter Mina promptly takes up prostitution, with full knowledge of family. Keetje has morals – she wants to study, but because the family need money, takes up a job as a washerwoman. Unable to hold that job, she joins a shop selling clothing accessories, where she is one day raped and deflowered by the employer. She falls ill and a doctor comes forward to help, obviously in exchange for sexual favours. She returns home fully cured to find her family are worse off than ever, and even her sister Mina is fired for turning up to work drunk. The only way is to take up her sister’s profession, and shockingly the mother helps Keetje prepare for her streetwalking job. When an artist ‘discovers’ her, she starts moving among the right circles – bankers, land owners and so on, and her life changes for the better.

This is one of Paul Verhoeven’s classics, and therefore Highly Recommended Viewing.
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Valeria Solarino in “Italians” [2009, Italy]

I am posting Giovanni Veronesi’s breezy comedy “Italians” not so much for its nudity – there’s only very brief nudity at the start of the film, that too during the opening credits.

But it is an heart-warming film that’s also beautifully shot, especially the first segment which is like a little road movie across the Arabian desert. Fortunato is a truck driver transporting stolen Ferraris with fake documents to Dubai, and he takes Marcello with him as an apprentice – as Fortunato would like to retire. Marcello learns to appreciate Fortunato and the local people along the way, but towards the end we find out that Marcello had been hiding his identity.

In the second segment we follow Giulio, a successful dentist on a trip to Moscow to attend a conference. Goaded by his colleague he agrees to rendezvous with an Italian pimp, who could apparently show Giulio a good time during his stay. But things don’t go according to plan as Giulio gets unwittingly embroiled in the pimp’s affairs. He however gets to know Vera, his interpreter, played by the lovely Ksenia Rappoport who comes to his rescue, and falls in love with the country he so despised earlier.

The film is entertaining and includes big stars in its line-up. Though it is not award-winning material, it is definitely Recommended Viewing.

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Katherine Porto in “El Jefe” [2011, Colombia, Argentina]

Jaime Escallon-Buraglia’s feature film debut “El Jefe” la película [Eng. Title: The Boss] is a dark comedy about a HR Manager going through mid-life crisis. While the film is mildly entertaining, it is also merely treading down a path well-worn by more illustrious names. Buraglia had tried to keep it ‘family-friendly’ by sticking to established commercial film norms. It is overall a pretty average film that couldn’t have looked out of place even 30 years ago – if you catch my drift.

Ricardo Osario is one disgruntled and despicable man – he hates his job, his co-workers, his family chores, and is desperately seeking excitement. When he’s told off by his wife for bringing home the wrong milk for the baby, he heads back in pouring rain to get it exchanged. His wife’s close friend Ángela who’d come visiting jumps into his car for a lift, and lo and behold, they end up in bed at a motel. The more he compares the already married Ángela to his wife, the more he falls for her, and they embark on a full-blown affair, to the extent that they even decide to elope. But things obviously don’t go according to plan, and Ricardo also gets caught in office intrigue, as scheming employees try desperately to put him on the dock. The film features some brief scenes of nudity from Katherine Porto who plays mistress Ángela.

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Annett Renneberg in “Devot” [2003, Germany]

As far as I know, “Devot” [Eng. Title: Devotion] appears to be the only released feature film of Igor Zaritzky. But unless he had given up film making, for his talents he should have made more films by now – he has what it takes to be a good director.

This film was billed a psychological thriller. Agreed, it isn’t a perfect film – we have too many different strands of thought, and not all get to be followed through to their completion. But there are some great ideas lurking in them – if only they were developed further. The film also could have worked better if it was constructed as psychological drama as opposed to a thriller. The film’s beginning and the end make sense, but the meaty middle bit meanders and looses track. A tightened screenplay would have made into a rather good drama instead. Apart from this, it is actually very well put together in terms of cinematography, editing, lighting and sound. Importantly you have great chemistry between the lead actors who appear on screen for almost the whole duration of the film. It’s one thing definitely going for it, and at least for that reason, the film is worth checking out. Recommended Viewing.

Storyline:
The film starts in a similar vein to “La Ardilla Roja” posted recently – the only difference is, here we have a young woman, Anja trying to jump off a bridge, only to be noticed by a passing driver, Henry. But instead of being concerned, he makes her believe he’d taken her for a prostitute, and enquires about her fee. Anja plays along and gets in the car, and they end up in Henry’s place where most of the events unfold. We see each of them having something to hide, and Henry getting increasingly frustrated with Anja’s mind games. The ending won’t be to everyone’s liking, particularly if they’re fed on a diet of feel-good films from Hollywood – this one is provocative, and very German. Anja is excellently played by Annett Renneberg – there’s something ‘wickedly’ charming about her that despite her outrageous behaviour, you couldn’t help but fall in love with her character as the film progresses.

Amazon.de DVD Link [PAL]

 

The Nudity: Annett Renneberg and Simon Böer
The film features scenes of a sado-masochistic nature and includes nudity. The DVD also comes with an extended cut of the main love scene.

Annett Renneberg and Simon Böer from the 2003 German drama, "Devot".

Annett Renneberg and Simon Böer from the 2003 German drama, “Devot”.


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Emma Suárez in Julio Medem’s “La Ardilla Roja” [1993, Spain]

Julio Medem’s second feature film, “La Ardilla Roja” [Eng. Title: the Red Squirrel] was also my first Medem – it impressed me enough to want to follow his other works from then on. I now have all his feature films on DVD, and one can safely say that I’m not the only one who eagerly looks forward each of his releases. While his most recent film may not be among his masterpieces, he nevertheless remains my favourite Spanish director.

La Ardilla Roja is outwardly a romantic thriller but has several layers in it, which will be revealed by paying attention to detail, or several viewings even. It is a psychological drama, surreal and melodramatic at times, certainly twisted, and also erotic. The film is also an excellent introduction to Julio Medem as it uses symbolism more sparingly than his earlier film Vacas or some of his later works.

Storyline:
Jota is about to throw himself onto the rocks by the sea – his partner of several years had just left him. But he’s forced to postpone the act when a motorcycle crash-lands on the beach below, and he goes down to offer some help. He realises the person on the bike is a woman, who’d temporarily gone into amnesia following the fall. But he had already fallen in love with her ‘blue and tangled’ eyes, and having little to loose, claims at the hospital that he is indeed her fiancé and that they were in the bike together – only he managed to jump off the bike before it hit the railing. He also gives her name as ‘Lisa’ – the name of his ex-girlfriend. When the hospital authorities ask him to bring them her papers for verification, he quietly smuggles her out of the hospital and takes her on a camping trip to a site called, “The Red Squirrel”. As the days progress, ‘Lisa’ and Jota fall in love. But Jota wonders if she’s truly lost her memory, or whether she’s just making it all up – playing a game with him instead. How long will he keep this lie going, and what will he do when he learns who she actually is..?

The screenplay and direction is simply brilliant, beautifully piecing together a mystery as the film reaches its conclusion. There are several ‘Medem’ touches that will be applied more famously in his future films. The soundtrack and editing is just as awesome, and beautiful Emma Suárez who plays the woman, successfully retains an air of mystery throughout the film. This is one of Medem’s early classics, and therefore, Highly Recommended Viewing..!

I’ve reviewed the film from my Julio Medem 6-DVD Box-set
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