Problem: Write a positive movie review.

Answer: Viewing DE VIERDE MAN (aka THE FOURTH MAN) is a slightly unsettling and rather fascinating experience. It's a very tight and intense psychological mystery/thriller from Netherlands's Paul Verhoeven. He directed this film just before he got big with his "free-ticket to Hollywood"-movie FLESH + BLOOD. In a lot of user-comments on this site I noticed the mentioning of Alfred Hitchcock. Indeed, this movie might very well be Hitchcockian, but I also noticed touches of early Cronenberg (the visceral), flavors of David Lynch (surreal story-linked visuals) and even Roman Polanski (plot-wise set-up). Funny thing is that the movies by those directors I was thinking of while watching DE VIERDE MAN weren't made until after 1983, the year of release of THE FOURTH MAN. So go figure.

Very much credit indeed must be given to the story of the original novel by Gerard Reve this movie is based on. Gerard Reve is also the fictional name of the main character (a tormented writer, played by Jeroen Krabbe, balancing on the dangerous line of a severe psychosis). Now, has anybody stopped and thought about the fact that the word "reve" is French for "dream"? And the film does feature a lot of dream-like/nightmarish sequences, often to that extend that you don't always know for sure if Gerard is awake or dreaming himself. Could this be coincidence...? Maybe it's just me, but I don't think so. Renee Soutendijk is pretty amazing as the leading lady (in a rather demanding role). She sometimes seems to be guilty of over-acting (in a subtle way). But that aspect was clearly intentional to portray the character she plays, since as this movie progresses, you become unsure about what to actually think of this lady and her intentions. Proves again what an excellent actress she is. I might add that the movie contains also several scenes portraying full frontal male & female nudity, as well as some rather explicit sex-scenes (and you will even notice that some scenes and aspects clearly were the blueprints of scenes later to be shot for Verhoeven's BASIC INSTINCT).

Another aspect this movie has is a lot of symbolism and biblical references/images, which supposedly made the film thoroughly hated by some conservative/catholic movements at the time of its European release. Either way, it makes the movie worthy of a second viewing. Now, someone recently told me he had grave misgivings about DE VIERDE MAN. One of them being that the film supposedly manoeuvers itself into a position where it needs the divine intervention of the Virgin Mary to resolve itself. I myself have big issues with the way Catholicism has been, and still is sometimes, portrayed in many movies in any genre (so not only when it comes to religiously themed horror movies). But surprisingly, I had no misgivings whatsoever when it comes to THE FOURTH MAN. Although the Virgin Mary-aspect in the plot did make me scratch my head at one point, I also had fun with it, in a way. I think the keyword as to why it didn't bother me at all is 'duality'. Because, this movie works on two levels. Although 'divine intervention' might have resolved the plot-line from the protagonist's point of view... on the other hand: the movie implies that all this might have been the delirious ramblings of a raving madman. And that's the fun part: You never know for sure. And then there's the question: Could it be that Gerard Reve was somehow receiving distorted visions of things to come... like receiving omens? At one point in the movie, Gerard even tries to fool Christine into believing he is clairvoyant. The way he is playing Christine in that particular scene is exquisite to behold.

So with its compelling story, convincing acting performances and adequate direction, DE VIERDE MAN is a very much recommended viewing indeed (especially if you enjoy a solid European psychological horror film). But make sure you see the original Dutch version (not the dubbed one).

Problem: Write a positive movie review.

Answer: This is very much not the sort of movie for which John Wayne is known. He plays a diplomat, a man who gets things done through words and persuasion rather than physical action. The film moves with a quiet realism through its superficially unexciting story.

For the open-minded, the patient and the thoughtful, this movie is a rich depiction of an intriguing part of history.

There are two intertwining stories. The big story is of internalised, isolationist Japan and externalised, expansionist America clashing when their interests conflict. The small, human, story is of an outsider barbarian (Wayne) and a civilised Geisha's initial hostility and dislike turning to mutual respect and love. The human story is a reflection of the greater story of the two nations.

The movie is very well done and all actors play their roles well. The two lead roles are performed to perfection. John Wayne is excellent as Townsend Harris, striking exactly the right blend of force and negotiation in his dealings with the Japanese. Eiko Ando is likewise excellent as the Geisha of the title, charming and delightful. The interaction between her character and John Wayne's is particularly well portrayed. This is exactly how these two individuals (as they are depicted in the film) would have behaved.

The script is very well written. It lacks all pomposity. and is a realistic depiction of the manner in which the depicted events may have occurred. The characters are real people, not self-consciously "great" figures from history. Furthermore, the clash of cultures and interests is portrayed with great skill and subtlety. Indeed, the clash of a traditionalist, and traditionally powerful, isolationist Japan and a rising, newly powerful nation from across the ocean is summarised very well in one exchange between John Wayne and the local Japanese baron. Wayne complains that shipwrecked sailors are beheaded if they land in Japan, and that passing ships cannot even put into port for water. The Baron responds that Japan just wants to be left alone. Wayne's character replies that Japan is at an increasingly important crossroads of international shipping, and that if things continue as before the nation will be regarded as nothing more than a band of brigands infesting an important roadway. A very real summary of the way in which the two countries each saw themselves as being in the right, and saw the other as being in the wrong. The resultant clash between two self-righteous peoples with conflicting interests has its reflections throughout history, a continuing theme that echoes into the present and on into the future.

Cinematography and the depiction of mid-nineteenth century Japan, before the accelerated growth towards industrialisation that was to follow later in the century, is excellent. A visual treat, and an enlightening insight into Japan's ancient civilisation.

I highly recommend anyone, whether a John Wayne fan or not, to watch this film if you get the chance. Just be aware that it isn't an action film. It is a representation of an interesting place and time in history, and a slow-boiling love story which (much to their surprise) comes to dominate the personal lives of the two main characters. Watch this film on its merits, without preconceptions, allow yourself to be immersed in its story, and you will thoroughly enjoy it.

All in all, an excellent film.

Problem: Write a positive movie review.

Answer:
If you have never viewed this film and like old time veteran actors, this is the film for you. Seeing Frank Sinatra when he was very young and extremely thin with sunken in cheeks and a wonderful voice which sang some great old songs. Michele Morgan, (Millie Pico) gave an outstanding performance with plenty of dance and musical numbers. Leon Errol, (Cyrus Drake) gave a great supporting role along with Victor Borge, (Sir Victor Fitzroy Victor) who performed classical piano and no slap stick comedy like he did in his career. This is not a great musical, but Frank Sinatra was a great joy to see at the beginning of his career in the 1940's.