01-11-14 14:00 – Source: Het Parool – Archive
© Holland Height
10 years later
It’s been 10 years Sunday since Theo van Gogh was murdered on Linnaeus Street in Amsterdam. With four articles from the archives we look back at the life of the columnist and filmmaker. Today:. Theo as a bully and filmmaker with a violent film instinct
In 1981, the self-taught filmmaker Theo van Gogh stormed the rather sleepy Dutch film world inside with ‘Luger’, one of savings together hanging film according to the critics testified “a violent film instinct.
The film additionally marked the debut of bosom friend Thom Hoffman, and can be said without exaggeration that the Dutch film world afterwards has never been the same.
For every complaint about the lack of money for Dutch films, Van Gogh from 1981 ‘violent film instinct, “which brought him to a significant production, money or no money. He was in his tempestuous early years sometimes called “the Fassbinder of the Low Countries’, also renowned for his intense lifestyle and uncompromising attitude.
First riot
The first riot around him was “Luger fact born. Animal objected to a scene where a bunch of young kittens was thrown into a washing machine. Van Gogh was also in his films often a provocateur or at least a bully. Later he had his website “The healthy smoker ‘as an outlet to perform his struggle, but in his early films were stunned film critics sometimes their name against, given to particularly unpleasant characters.
His breakthrough came with the touching “A Day at the Beach” 1984, an adaptation of the novella by Lord Heeresma. It made clear that he was a very gifted actor director. He made his career surprising choices. He discovered Tara Elders, he gave a starring role in the award-winning TV series “Najib and Julia ‘. And he gave Katja Schuurman starring in ‘Interview’ (2003), opposite acting cannon Pierre Bokma.
For a moment he seemed to be the traditional way with a real romantic film. ‘Back to Oegstgeest’ (1987) was a beautiful adaptation of the autobiographical novel by Jan Wolkers, but Van Gogh had obviously need the free hand and also made Loos and Charley at that time. At the press launch of ‘Loos’ the director helped the film reviewers a hand by sharing tomatoes. The tomatoes were in his pocket, the critics were moderate and the audience stayed away.
Columnist and troublemaker
One appeared to his film career to make room for a full-time career as columnist and troublemaker. But the film continued to provoke: “I want to really defend columnist shelf, but filmmaking is still the best there is. A close up on a big screen is overwhelming. “
His hunger for the silver screen in 1993 led itself to a brief flirtation with old school producer Matthijs van Heijningen. Together they made Vals light, the novel by Joost Zwagerman.
The film ran moderately, Van Gogh may have felt that he had much walked on a leash by the producer and made a year later the small, fast turned 06, adaptation of a play about two people who have a relationship over the phone.
No violins
The human condition, the desperate search for love, by the ill-driven characters, which was increasingly the land on which Van Gogh moved. “It is not my intention that everyone is to look in the eyes with tears. I’m looking chill. No violins for me, “he said of the tormented characters from” False Light “.
Gijs van de Westelaken as solid producer and Theodor Holman as solid screenplay he had in recent years a solid background. After various wanderings he seemed to feel totally surrender to ‘the violent film instinct that marked his debut. The latest Van Gogh would be premiered in a month: ’06 -05 ‘, about the murder of Pim Fortuyn
(By: Mark Moorman).
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