The first successful film from Dutch provocateur Paul Verhoeven, famous for of course Robocop and Basic Instinct (and infamous for Showgirls) is a small scale, human relationship drama that not only established the careers of Verhoeven and start Rutget Hauer but signalled the new wave for the Dutch film industry. However Turks Fruit is nothing more than the Dutch Love Story, as moody artist Eric (Hauer) falls in love with Olga (Monique van de Ven) after the young lady pick him up from the side of a motorway. The film is littered with so much bawdy humour I'm sure Benny Hill was kicking himself somewhere for not thinking of it, in one particular cringe inducing scene Eric gets himself caught in the zip of his pants, the couple then has to drive around franticly to find a set of pliers. I'm sure this kind of schoolboy theatrics played well to the Dutch polo-neck brigade, but as the film shifts into more serious territory the humour only deflates any building melodrama that Verhoeven was probably shooting for.
Another problem with the film is Hauer's character Eric; he's too much of a chauvinist and bully, not only towards Olga, but even more so to the numerous women he sleeps with after she has left (You're fat is just one example of his pillow talk). We never feel anything for him, not that Hauer isn't good in the role he plays it very well, but playing butch carefree characters has never been too much of a stretch for him. Van de Ven is impressive as the liberated Olga, and she would go on to give another fine performance in Keetje Tippel, but she is used too much like an object and never really becomes likable enough. Definitely a product of its time, the sexual revolution was noticeably in full swing, as Eric goes from woman to woman without a seconds though about the consequences. It's this dating that also detracts from the film. Whatever Verhoeven was trying to say about relationships, and the constant power play between men and women, he just doesn't get the balance right. All in all, Turks Fruit is an impressive early feature that tries to belie it's exploitation roots and to become series storytelling just a little too late in the game. 6/10
Another problem with the film is Hauer's character Eric; he's too much of a chauvinist and bully, not only towards Olga, but even more so to the numerous women he sleeps with after she has left (You're fat is just one example of his pillow talk). We never feel anything for him, not that Hauer isn't good in the role he plays it very well, but playing butch carefree characters has never been too much of a stretch for him. Van de Ven is impressive as the liberated Olga, and she would go on to give another fine performance in Keetje Tippel, but she is used too much like an object and never really becomes likable enough. Definitely a product of its time, the sexual revolution was noticeably in full swing, as Eric goes from woman to woman without a seconds though about the consequences. It's this dating that also detracts from the film. Whatever Verhoeven was trying to say about relationships, and the constant power play between men and women, he just doesn't get the balance right. All in all, Turks Fruit is an impressive early feature that tries to belie it's exploitation roots and to become series storytelling just a little too late in the game. 6/10