Rightwing Film Geek

History never ends

blackbooklead.jpg

BLACK BOOK — Paul Verhoeven, Holland, 2007, 8

Paul Verhoeven’s BLACK BOOK is the kind of movie that gives me and other Christian critics jock itch. The film’s entertainment and artistic value is, I think, unquestionable but, like the turd in the punch bowl, there’s a couple of “couldn’t leave well enough alone” moments of indefensible Christian-bashing.

In many respects, surface trappings of “Holocaust movie” and the Dutch shadow of “Anne Frank” aside, BLACK BOOK is a throwback to the spy thrillers of the 40s and 50s. Set in a moral muddle worthy of Carol Reed’s Vienna where friend and foe shift from moment to moment, BLACK BOOK mostly follows a single protagonist Rachel (Carice van Houten) weaving her way through wartime intrigue between the Dutch Underground and the Nazis, including infiltrating the SD headquarters, at the very end of the war.

But at the level of a boy’s comic-adventure serial, that might have run in Hotspur or Warlord when I was a wee lad, Verhoeven handles the genre mechanics expertly; I deliberately chose that lead image for its iconic, comic-book visual quality. He also keeps believable the shifts in alliances that take place owing to the war’s fortunes and internal tensions among both the Germans and the Dutch. He handles the set pieces, both violence and suspense, with the aplomb and verve you’d expect from the man who made ROBOCOP and Schwarzenegger’s TOTAL RECALL.
Continue reading

Advertisements

February 18, 2008 Posted by | Uncategorized | , , | 2 Comments