Fekete könyv

Gyönyörűen leforgatva. A jelmezek, a díszletek, a 40-es évek hangulata, minden tökéletes. De e hollywoodi, dinamikusan szerkesztett homlokzat alatt egy hűvös, holland szív dobog, amely túlságosan is távol áll a hollywoodi formától. Az eredmény ellentmondásos. A szereplők helyenként úgy tűntek, mintha nem is emberek lennének, nem lennének érzelmeik, és csak az esemény motívumai alapján cselekedtek egy kitűzött cél elérése érdekében. Tartalmát tekintve a Fekete Könyv inkább egy felszínes, elkapkodott thriller-akció bohózat, mintsem egy olyan dráma, amely négy csillagnál többet megérdemlő stílusos szórakozással és a fantasztikus kivitelezés általi gyönyörködéssel kényeztetné az embert. (2010.01.03)

I like Paul. This is his first film, which I do not hesitate to call captivating. A perfectly balanced mix of action war adventure and human melodrama, dominated by the wonderfully fragile and fateful Carice van Houten... Verhoeven cements all levels of the story with a skillful and refined directing style, which may lack his propensity for extravagance, but still contains some typical features of the Dutch eccentric – explicitness, causticity, masochism... I was mainly afraid of the really long runtime, but the film keeps pace with the excellent integration of action sequences and does not disappoint even on the level of human destinies - their twists and turns may be readable, but I still enjoyed them. Surprisingly, neither Sebastian Koch's humane Nazi nor the moral appeal of the conclusion are awkward. For me, Black Book is a very nice stone thrown into the peaceful pool of war dramas. Paul has still got it. (2007.06.06)

Great atmosphere and impressive craftsmanship, but otherwise heavily detached and cold. There’s plenty of the traditional Verhoeven stuff (violence, explicit eroticism), but that doesn't necessarily make the film good as a whole. The attempt to go back to Holland, to be original and make a European-style film that seemingly unties the creative hands and allows for experimentation didn’t quite work. (2015.09.15)

Krieg ist Krieg und Schnaps ist Schnaps. I have a soft spot for resistance pictures. Especially for those that aren’t afraid of going straight to the core, but avoid the problem of the black-and-whiteness of the characters on both sides of the barricades. So I was worried about Black Book for a long time. Needlessly. In fact, now I’m annoyed that I ignored it when it was showing at the movie theatre. This may not be quite as good as the zenith of this sub-genre, but nor is it overshadowed by it. Not even in the scene that looks it’s come straight out of Melville’s masterpiece. It’s true that this is easier to “like", not very realistic, but suspenseful like during extra time at the Superbowl. Faultless acting, plus a bold, “provocative Verhoeven-style" screenplay which takes off and begins to get interesting precisely at the moment when similar pictures put their tail between their legs and end. Verhoeven traditionally doesn’t shy from illustrating anything, but this time it doesn’t seem at all gratuitous. And that’s something I haven’t noticed in his movies for a long time. (2008.11.15)

I can't say that I was bored by Black Book, but Paul Verhoeven's film vision simply went completely beyond me. I expect realism, credibility, rawness, and authenticity from this sort of film. Verhoeven offers the exact opposite - pure Hollywood style that is far from reality, for which no studio from the so-called Majors would have to be ashamed. Verhoeven, as is his custom, offers great visuals, attractive women who are not afraid to show more of their curves, and at the same time offers passion, intrigue, conspiracies, and quasi-war scenes, as is customary in such stylized Hollywood productions of war melodramas. It is artificial, contrived, and in some moments truly silly in both imagery and dialogue. But if someone wants a spectacle, they will get it here. For me, Black Book represents a perfect contrast to, for example, the excellent Czech war film Death Is Called Engelchen. That film earned 5 stars from me, while Verhoeven's film only gets two. Overall impression: 45%. (2011.05.05)