Carice van Houten at an event for Black Book () Carice van Houten in Black Book () Paul Verhoeven and Karl Walter Lindenlaub in Black Book (). Carice van Houten and Michiel Huisman in Black Book () Carice van Houten in Black Book () Paul Verhoeven at an event for Black Book (). Black Book (Dutch: Zwartboek) is a war drama thriller film co-written and directed by Paul Verhoeven and starring Carice van Houten, Sebastian Koch.

Black Book 2006

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"Black Book" tells the moving story of a young Jewish woman who joins the Resistance in The Hague and gets entangled in a deadly web of double-dealing and. In the Nazi-occupied Netherlands during World War II, a Jewish singer infiltrates the regional Gestapo headquarters for the Dutch resistance. Release Date: 09/12/ black book movie. In the early s, director Paul Verhoeven was just a boy, and his family lived in the.

Black Book (Netherlands/Belgium/United Kingdom/Germany, )

It's understandable that people want to fixate on the edgier aspects of the film, the "hey, that Nazi's a swell guy. I really hope she ends up with that Nazi" aspects.

The "Jesus Christ, the newly freed Dutch are celebrating by pouring buckets of human shit all over their POWs" aspects, and let me tell you, nothing reminds you that you're watching a film by Paul Verhoeven quicker than the bucket of shit. But that's not what we're here to talk about right now.

I'd instead like to focus on how perfectly Black Book works as a potboiler. We don't much go for setting thrillers in World War II anymore in this country; thanks to Brokaw, Spielberg and the rest of the Greatest Generation pimps, any film set between and absolutely must be dour and joyless, so as not to interfere with the deeply serious contemplation of What Men Lose In War.

When was the last WWII film that could honestly be called "fun"? Happily, Black Book is a great deal of fun.

It follows a noble tradition of thrillers for grown-up people another subgenre that's long been out of fashion in this country , freely mixing genuine sexiness with real-world tension with exceptionally twisty cloak-and-dagger intrigue with an exceptionally well-detailed view of the Resistance. The best part is that it does all of this without ever flagging: the first scene opens to noise and chaos, and there will never be a moment when the film's energy drops, when it takes a break from constantly moving forward.

The two and a half hour running time flies by, as even the tiniest scenes are wracked with suspense. I suppose I've always known that Verhoeven is a strong filmmaker. The monstrous screenplay failures of nearly all of his American films - I will cheerfully except RoboCop , and grudgingly do the same for Starship Troopers - distorts the reality that the director is a truly gifted pop-trash artist, wallowing in gore and sex and bad taste not because he is exploitative, but because of the vitality of those things.

It's easy to find Black Book distasteful for its melodrama, and its shocking contrarianism, and the generally shoddy way the director treats his lead actress, but to me the film positively vibrates with life because of those very elements. Good taste leads to airless artifacts to be studied and contemplated, but bad taste spills off the screen into the theater; it engages us and confronts us with an ugly humanity that is nevertheless unnervingly human.

By using the Holocaust as the setting for a "mere thriller," Verhoeven and his co-writer Gerard Soeteman are breaking a significant taboo just as much as Verhoeven and Joe Eszterhas did in the '90s, only with considerably more finesse and less gaudy trappings.

A significant part of the "thrill" in the thriller is because we know how fucked up it is to watch a Nazi and a Jew fall in love. Spaink says about the book: "'Black Book' is a literary thriller.

Black Book

Its form is in between the typical American novelization , only describing what the camera sees, and a literary novel. The novelization adds something to the film. It gave Rachel Stein a past, memories and a house.

In the film she did not have a personal space. The album contains four ss songs sung by Carice van Houten as she performed them as Rachel Stein in the film. Three are in German , one in English.

The other tracks are written by Anne Dudley. The album was recorded in London and produced by Roger Dudley. Other prominent guests at the premiere were mayor Wim Deetman , minister Hans Hoogervorst , minister Karla Peijs and state secretary Medy van der Laan.

Black Book was the most awarded film of the festival.

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Critical reception[ edit ] Most of the Dutch press were positive about the film. Dana Linsen writes in NRC Handelsblad : "In Black Book, Verhoeven does not focus on moral discourse but rather on human measure, and with the non-cynical approach of his female lead and of love he has given new colour to his work.

When Carice van Houten screams 'Will it never stop, then! This being Verhoeven, there's lots of sex and a scene in which the extremely attractive star Carice van Houten bleaches her pubic hair.

That aside, hers is a star-making performance, putting even Scarlett [Johansson] in the shade. Furthermore, he writes in his review: "Europe's Hollywood can actually be better than the original. With his basic instinct sharpened in California, Verhoeven demonstrates here the cinema as a medium of individual tragedy.

TIME magazine's Richard Schickel named the film one of the Top 10 Movies of , ranking it at 5, calling it a "dark, richly mounted film".

While Schickel saw the film as possibly "old-fashioned stylistically, and rather manipulative in its plotting", he also saw "something deeply satisfying in the way it works out the fates of its troubled, yet believable characters.You must be a registered user to use the IMDb rating plugin. Of those "big movies" on my list, the one which impressed me the most was this Dutch production from Paul Verhoeven.

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Full Cast and Crew. Apr 7, Full Review…. No Score Yet.

Eleanor Ringel Cater. Fear the Walking Dead: Why were there soldiers moving in to defend the kibbutz in the final scene? The result is a powerful and compelling World War II thriller that features note-perfect performances and an almost flawless screenplay.

It doesn't belong to anybody.

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