De vierde man
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DIRECTED BY: Paul Verhoeven
FEATURING: Jeroen Krabbé, Renée Soutendijk, Thom Hoffman, Dolf de Vries
PLOT: A writer prone to waking nightmares encounters a mysterious woman who he hopes to use to reach a man for whom he lusts, but realizes that his urges may have led him into a dangerous trap.
COMMENTS: A sentence that has never been uttered regarding the career of Paul Verhoeven is, “I admire his subtlety.” His whole ethos is big, bold, and blatant. That made him particularly well-suited to transition from European art cinema to American box office. His refusal to put limitations on his excesses would ultimately cause its own set of problems, but let’s turn the clock back to Verhoeven’s pre-Hollywood days, when his budgets were smaller but his subversive imagination was still unbounded. That’s where we find him making The 4th Man, the enjoyably twisty psychological thriller that raked in millions of guilders and punched the director’s ticket for greener pastures in the States.
Based on the novel by Gerard Reve, the film stars Krabbé as a writer named Gerard Reve. (“Reve” is the French word for “dream.”) Gerard has a suitcase full of issues, including unchecked alcoholism, a voracious bisexual appetite, a long-term relationship that now fills him with disgust, an alarmingly low bank account, and a devout Catholic faith. These elements combine early on to produce striking images—peepholes become eyeballs, blood pours down the walls of a train car—as Gerard slips into waking nightmares that deliver visions of impending death. These have a corresponding comical mirror image as Gerard is confronted with the reality of his visions, such as when a wreath on a casket bearing his name is pulled back to reveal the actual occupant. Whatever the cause, Gerard is an exposed fuse, ready to spark at any moment.
The match turns out to be Christine. An archetypal icy Hitchcock blonde, Soutendijk plays up the self-evident sweetness and innocence of the character, even as Gerard keeps uncovering evidence that she may be secretly sinister. (Careful observers of the opening credits will note that Verhoeven provides a pretty on-the-nose metaphor.) If anything, Gerard is the more obvious villain, tripping clumsily over his honest feelings (during sex, he covers her breasts and tells her she looks like a beautiful boy) and blatantly wagging his tongue at a beefcake photo of Christine’s occasional boyfriend Herman. As he dives deeper, though, he learns more about her past husbands and the circumstances of their collectively untimely demises. The ensuing battle between his uncontrollable urges and his devotion to the protective interventions he is certain are coming from God and the Virgin Mary will send him hurtling to the shocking and amusing climax.
A lot of the tricks Verhoeven pioneers here will return in his Hollywood ventures. His affection for cartoonish violence will appear in Robocop and Total Recall, the defiantly cavalier attitude toward sex is a hallmark of Showgirls, and the whole noirish plot feels like a rough draft of Basic Instinct. His most important trick, however, is his state of mind. There’s no subtext that can’t quickly become text, and the sheer outrageousness of Gerard’s plight is what keeps viewers in suspense. For a little while, this approach would make Verhoeven one of the more unpredictable directors to top the global box office. It’s nice to catch him at a time when his audacity still had an undercurrent of hunger.
WHAT THE CRITICS SAY:
(This movie was nominated for review by TheRealFolkBruce. Suggest a weird movie of your own here.)
