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Click above to purchase "The 4th Man" at amazon.com
The 4th Man
review by Anthony D.
Studio: Anchor Bay Entertainment
Running Time: 102 Minutes
Starring Jeroen Krabbe, Renee Soutendijk, Thom
Hoffman
Written by Gerard Souteman
Directed by Paul Verhoeven
Retail Price: $29.98
Features: Director Commentary, Theatrical Trailer,
Talent Bios, Storyboard Art
Specs: 1.66:1 Anamorphic Widescreen, Dolby Digital
Mono, English Subtitles, Chapter Search
Gerard Reve is a man with a problem, or two...maybe even
three. You see, Reve may or may not be "The 4th Man," in
director Paul Verhoven's symbol-laden thriller. Based on a
novel by Gerard Reve (!), this is a stylish, erotic,
Hitchcockian film made with a European sensibility which
would garner a NC-17, if not X-rating were it to be filmed
in Hollywood. "The 4th Man" was my own introduction to
Verhoven, whose American career leaves me cold with the
inanities of "Showgirls," "Hollow Man," and, yes, "Basic
Instinct." Verhoven captured me with "The 4th Man" as well
as his other Dutch films ("Turkish Delight" Soldier of
Orange" "Spetters"), and I have carefully sought out any and
all his films with a passion. Even if it weren't my initial
trek into Verhoven's filmmaking, "The 4th Man" would still
have been a very special film.
Jeroen Krabbe carries the film as Gerard, an alcoholic,
bisexual novelist who becomes entangled in a web of dreams
and violent reality when he takes up temporary residence
with a seductive widow (the impossibly irresistible Renee
Soutendijk) who awakens his bisexual longings, but who may
have other plans for him. Tossed into the mix is a
mysterious man who appears in Reve's dreams, and also
happens to be Christine's German lover (Thom Hoffman).
Relying on references to Hitchcock films, with shades of
"Shadow of a Doubt," "Notorious," and most noticeably,
"Spellbound's" Dali-designed dream sequences, the film holds
sway over the viewer with its memorable mixture of murder,
sex and reverie. Not a film for the faint hearted, "The 4th
Man" conjures up images once seen, not easily forgotten: a
spider spinning a web around an iconic crucifix, a blue
slicker clad woman with red roses, a red Speedo-wearing
Christ on the cross, three bovine carcasses dripping
bloodily into milk tins, showers of red rose petals
obscuring the view, and acres upon acres of naked male and
female flesh. Gerard's descent into his hell is evident in
the film's opening scene as he rises, naked from the waist
down, from bed and goes down the steps into the parlor where
his male lover is playing a violin. Gerard shakes with
alcohol withdrawal as his hands reach out to a bra left
hanging in the bathroom, and taking the bra attempts the
strangulation of his lover. But the strangulation is only a
daydream - - the first of many reversals of reality versus
reverie that "The 4th Man" has up its sleeve. Verhoeven
carries through further still when he reveals a dream within
a dream in one of the film's more violent episodes, as
Gerard dreams of the mysterious woman in blue, and his own
castration at the hands (and scissors) of Christine. (OUCH!)
The crux of the film is whether or not Christine is a
"Black Widow," who has murdered her three previous husbands,
and to whether Gerard or Herman (Hoffman) will be her next
victim. All clues point to her being a murderess, whether
symbolically as in the flickering neon sign outside of her
seaside residence which in Dutch spell out "spider" when on
the fritz, and "sphinx" when working properly. Christine is
indeed an enigmatic character as the sphinx reference will
bear out, and Soutendijk is properly as beautiful and
enigmatic as Egypt's own Great Sphinx. This is one actress
who could easily make the transition from foreign films to
Hollywood product in one easy trans-Atlantic flight. Her
performance may indeed carry the film, but she certainly
benefits from the commitment which Krabbe and Hoffman bring
to their roles and from Verhoeven's sure-handed direction.
Don't be alarmed by the total darkness at the beginning
of the program, these thirtysome seconds enable the viewer a
chance to settle back for the remarkable feature which is to
follow. Anchor Bay Entertainment has achieved the nearly
unthinkable task of presenting "The 4th Man" in an
anamorphically enhanced, close to pristine production which
fully captures the film's deliberate color and lighting.
Opening credits aside, it would be very difficult to find
fault in this stunning presentation. Properly framed at
1.66:1 (a standard European aspect ratio), "The 4th Man"
practically leaps off the screen. A story which would have
worked effectively in black and white (as the flashback
sequences in "Dead Again" did), is made all the more
lifelike with Verhoevon's directorial choices in the color
realm. Of course, the vision is not entirely Verhoeven's:
the cinematography is by Jan de Bont, who is now recognized
as an action director here in these United States.
Accurately rendered colors are a necessity where this film
is concerned, and Anchor Bay's presentation holds up
admirably. Even with the strange lighting choices, and the
use of multiple-filtered shots, these colors shine through
with a trueness unique to the digital format. Watching "The
4th Man" in a completely darkened room, I perceived very
little, if any grain evidenced even in exterior night
scenes. The contrast level is such that even diffused
lighting effects are never problematic. Flesh, and there's
an awful lot of it on display, is rendered as accurately as
the filtered camera work will allow - - whether the hero is
looking sort of green with alcohol poisoning, or being
bathed in other-worldly neon glow. Reds are remarkably
stable, whether the red be the blood-dripping carcasses or
the swimwear sported by "Herman/Christ" in a scene which
could never be shown in an American made film (see Chapters
9 and 17, respectively).
"The 4th Man's" Dolby Digital mono soundtrack is
serviceable, though nothing spectacular. Bass response is
quite good, as those few seconds in darkness at the start
verify. Once the dialogue begins, it's all in Dutch,
anyway....but the musical score is strong, with hints of
Wagner, and shades of Bernard Herrmann.
Anchor Bay has thankfully put as much effort into their
special features as they have into the feature itself. Paul
Verhoeven delivers an energetic scene specific audio
commentary which elaborates on the symbolism of the film,
the actors themselves and the influence of Hitchcock on the
final product. I enjoyed listening to Verhoeven, and look
forward to hearing his commentaries on the rest of his
foreign language films. The Original Theatrical Trailer is
nearly five minutes long, and keeps the film's mystery
intact. Text Talent Files are given for Jeroen Krabbe, Renee
Soutendijk, and Verhoeven, and these files are more
extensive than most, giving complete biographies and
filmographies for all. Beautifully presented, accompanied by
reference shots from the film, are Paul Verhoeven's Original
Storyboard Art several pages of the director's sketches.
Also noteworthy is the inclusion of a two-page essay on
the making of "The 4th Man," which can be found by removing
the cover art from its protective sleeve. Written incisively
by one Mark Wickum, whose notes detail the casting choices,
the career of Verhoeven and the works of writer Gerard Reve.
Viewers who think they know Paul Verhoeven from his
American films will be quite surprised by "The 4th Man."
This was the film that brought him to Hollywood, where his
excursions into sci-fi ("RoboCop" "Starship Troopers"), and
sex ("Showgirls" "Basic Instinct") would wow audiences with
their audacity. With the exception of "RoboCop," "The 4th
Man" actually breaks the envelop which his other American
films could only push. Verhoeven is one director I would
like to see return to his roots, physically or
cinematically, where his boundless imagination wouldn't be
hindered by American Puritanism. Hitchcock fans as well,
should check out this remarkable hommage, as it plays just
as well as an unfettered Hitchcock production would have.
For an intellectual suspense film, "The 4th Man" is an oasis
in the desert of sinister cinematic treasures. An evening of
erotic nightmares, and stark mysteries awaits for those
willing to see just how brilliant a director Paul Verhoeven
can be when working without the impositions of a studio-made
product.
 (4.5/5 - NOT included in
final score)
(4.5/5)
 (3/5)
 (2.5/5)
 (4/5,
NOT an average)
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