It is tempting to integrate the title (Dutch for 'Nothing Special') in the film's assessment. The film is a nice stylistic exercise, with a little story about it. Screenwriter Jan van Mastrigt, who also wrote the previous film of Paul Verhoeven Eén hagedis teveel (1960), plays the leading role in this Nouvelle Vague-like film about a man who, one evening, thinks among the people and thinks about his own relationship. himself with his girlfriend sitting at a table, and also charmed by a "rare beauty" in the cafe, which he decides to ask for dance.
Jan van Mastrigt is indeed, as Paul Verhoeven notes on the DVD itself, photogenic and knows how to take the viewer by the hand with his contemplative gaze, which is important because he appears in virtually every shot and has to fascinate the viewer with his story. And this story is not much more than some short comments, directly addressed to the public. We see the man walking down the street, pointing to some pictures of movie stars with questions like: "Do you like Doris Day too?". The most interesting moment, in terms of content, takes place when he talks about what would happen if you were to see yourself intimately with your girlfriend, after which we actually see this happening in the café. He is constantly talking about the good relationship he has with his girlfriend, which is almost a kind of over-confirmation, against better judgment.
It's all fun because of the light-hearted way Jan van Mastrigt talks and his quasi-nonchalant intonation, and the jazz music that is used effectively, just like in Eén hagedis teveel (1960). The camerawork shows, as mentioned, Nouvelle Vague influences, especially the iconic À bout de souffle (1960). The camera is mobile, walking and maneuvering with the main character, with occasional fast spins, for example when shots of the girlfriend and the beautiful woman follow each other in a flash. All in all a pleasant successor to "lizard".
Jan van Mastrigt is indeed, as Paul Verhoeven notes on the DVD itself, photogenic and knows how to take the viewer by the hand with his contemplative gaze, which is important because he appears in virtually every shot and has to fascinate the viewer with his story. And this story is not much more than some short comments, directly addressed to the public. We see the man walking down the street, pointing to some pictures of movie stars with questions like: "Do you like Doris Day too?". The most interesting moment, in terms of content, takes place when he talks about what would happen if you were to see yourself intimately with your girlfriend, after which we actually see this happening in the café. He is constantly talking about the good relationship he has with his girlfriend, which is almost a kind of over-confirmation, against better judgment.
It's all fun because of the light-hearted way Jan van Mastrigt talks and his quasi-nonchalant intonation, and the jazz music that is used effectively, just like in Eén hagedis teveel (1960). The camerawork shows, as mentioned, Nouvelle Vague influences, especially the iconic À bout de souffle (1960). The camera is mobile, walking and maneuvering with the main character, with occasional fast spins, for example when shots of the girlfriend and the beautiful woman follow each other in a flash. All in all a pleasant successor to "lizard".
