Throwback: Black Book (dir. Paul Verhoeven), 2006

I have never quite dipped into the Paul Verhoeven cinematic universe, save for a sliver of his work in the United States during the late 1980s and early 1990s. Upon a recent outing to see his new film, Benedetta, I felt inspired to revisit some of his more recent works I had missed. Black Book was not my first choice (or my second, quite frankly). My interest in film began roughly fifteen years ago, right around the time Black Book was released. The film was selected as the Dutch entry for the then-titled Foreign Language film category at the Academy Awards and, while shortlisted, was never nominated. Regardless, I recall reading chatter about the film and seeing move stills pop up in end-of-year lists. That all said, then and recently I had no real desire to see Black Book, a war-thriller and espionage tale about a Dutch-Jewish woman who joins the resistance and is tasked with infiltrating the Nazi-ranks by seducing a Gestapo officer. In all honesty, the cinematography looked too glossy and World War II films have, for quite a while, fatigued me. Yet, this past Tuesday evening, Black Book was the only Verhoeven film available free on a streaming service (Amazon Prime). I had even debated skipping a film altogether, but decided I could half-heartedly watch. Maybe it was Jeff Bezos-induced fate?

Black Book has reminded me that there is nothing more enjoyable than reluctantly pulling up a film you know little about, from a genre you dislike, and having all your unfair expectations subverted. What I had initially thought would be a two-and-a-half hour, predictable slog was one of the most surprisingly engaging and genre-bending cinematic experiences. Despite the crispness of the cinematography, the color hues and lighting were oddly fitting for the time period. So much so, I felt as though I were watching a restored 1940s epic. Or, at least until the waves of gratuitous nudity and human excrement remind me this film has Paul Verhoeven written all over. Lead actress Carice van Houten, who gives an effortlessly layered performance, embodies the charisma and charm of Golden Age Hollywood in a manner so few actresses have been capable. In Black Book, she has the comedic-timing of Carole Lombard and the dramatic prowess of Joan Fontaine. And, to be fair, the entire cast equally as terrific.

Black Book feels like the last true war-thriller epic with a winking eye of occasional deviance. Perhaps my blinders are on, but rarely does a film capture the essence of an epic these days. So, I use the term quite literally. During the height of Nazi-occupied Holland, singer Rachel Stein transcends from a hidden Jewish woman to resistance agent Ellis de Vries, with a few other layers best kept secret for first-time viewers. Part of the beauty of Black Book is the subtle deviation of the genres and themes, which provide an almost-updated and modern day look at what film noir could have been with all the sex and profanity that the Catholic Church had sucked out of post-code Hollywood.

While unfortunate it took me fifteen years to finally indulge in Black Book, perhaps the cinematic edging heightened the end result: the utter surprise and joy at how the film subverted a tired genre and, into it, breathed new life and perspective.

Rating: 10/10