“Black Book”
Director Paul Verhoeven
SONY PICTURES CLASSICS
(Out Of 5)
It’s hard not to scoff at the idea that the man who brought us “Robocop,” “Starship Troopers” and “Showgirls” has made a serious World War II film.
But, believe it or not, writer-director Paul Verhoeven has made a compelling film that rightfully earned its place as the Dutch submission to the Academy Awards.
“Black Book” examines the role of the historically overlooked Dutch Resistance in the face of German occupation during World War II. Through the lens of a fictional narrative, the film follows Rachel Steinn, a young Dutch Jew who is forced to assume the false identity of Ellis De Vries in order to avoid persecution.
But, when presented with the opportunity to do more than survive, she doesn’t hesitate to ingratiate herself with a ranking German officer and go undercover in the midst of the enemy. Putting herself at great risk, Rachel finds that knowing who to trust is both difficult and dangerous.
Pay little mind to ads that tout this film as some sort of “erotic thriller” in the vein of Verhoeven’s previous effort, “Basic Instinct.”
Yes, there is a notable amount of sexuality that is painted in broad strokes through the film. Sleeping with the enemy is something Rachel commits to doing for the greater good.
Nevertheless, the core of the film lies more in the humanity of its characters than their primal urges.
“Black Book” treads a thin line, as do many period films. Not all audiences desire to see the oppressively grim and stark reality of war, nor do others wish for a romanticized, sugarcoated fantasy.
While it stumbles to maintain the balance at times, the film strives valiantly to present a narrative purposefully lacking in clearly delineated good and evil characters, where the risk of betrayal is ever-present.
Every character has ulterior motives, often contrary to cinematic tropes to which we are most accustomed. It’s surprising to see the Dutch Resistance portrayed as heroic Catholics opposed to Nazi occupation yet highly unmoved toward the plight of the Jews.
Similarly, the sympathetic German officer whom Rachel is charged with seducing is a level-minded realist who seeks to negotiate a separate peace with the Resistance to avoid bloodshed on both sides. Even the most blatantly malevolent German officer is seen in brief moments as a man with passions like any other, given to bouts of song and drink.
The historical accuracy of “Black Book,” as with many period movies, is up for debate. But it deals more in heart than facts.
The sex and violence will come as no surprise to anyone who’s seen Verhoeven’s American films. But it’s the gravity of the events and the decisions the characters are forced to make that define this movie. The film even manages to end on a note of caution, warily reminding us of the persistence of racial strife to this day.
“Black Book” is a solid success by being entertaining while provoking reflection in its audience, without having to compromise significantly in the pursuit of either.