De grot

This film, directed by Netherlands' Martin Koolhaven, is worth paying to see for the price of 8 bucks. It's a dramatic and character-driven tale, adapted from Tim Krabbe's novel. It's told by merging past and present events. The dialogue is cold and precise – appropriate to the characters. In this coming-of-age story, there's a strong corruption theme that leads to a couple of temporal crises -- drug running and mid-life! The adult and young actors are well matched for their character roles.

The thrilling flow of back and forth flash-takes offers different time frames, involving the lives of several characters. Fedja Van Huet as the adult Egon, and Erik Van der Horst as the young Egon, will leave viewers with very powerful food for thoughts about peer influences. Yep, a provokingly scary thought that a young man's destiny is determined by the strong forces of relationships – thematically similar to some of Thomas Hardy's works. Marcel Hensema as the adult Axel, and Benja Bruijning as the young Axel, energize the film with their charismatic, domineering, and psychological ploys. "People are lazy; they'd rather obey than have to think up something to want. They're grateful when you think of something for them." Axel's law? Perhaps! Axel truly belongs to the cheaters and seducers of society! With regard to their traits, manners, and ambitions, Egon and Axel couldn't have been better examples of two men sitting at the opposite ends of a pole.

The theme of opposites does come into play repeatedly. Attention should be given to Kim Huffman's Marcy and Kelly Touwslager's Marjoke to fully understand how the two relate at the end. Character development and motivation are well focussed throughout this film.

The concentration is on the 30-year Egon-Axel relationship to justify how persuasion could bring the downfall of a seemingly promising and sensible young man. For Egon to shake off Axel is like shaking off his own shadow. Done in a psychologically complex weaving of character presentations, this film does provide imaginative and suspenseful tension. It allows the characters to come together as young teens, settle them in separate frontiers, before re-uniting them for the final destinies.

Truly a satisfying psycho-thriller about friendship, desires, destiny and treason (amazingly, these themes came through with another film, "The Crime of Father Amaro", too!) It's fascinating to watch the characters trying to weigh their own identities. The film has some visually graphic sex scenes. Dialogue fluctuates between Dutch and English.

The movie starts in killing suspence and ends in a typical way according to the writer's style (Krabbe). A must see for every filmfan capable of speaking Dutch. The DVD has been released and is worth the effort of walking to the shops. Dutch movies are never a succes unless they are shallow and action-minded and so was this film a total flop.

Broaden your horizon and see this movie!

Though structured totally different from the book by Tim Krabbé who wrote the original 'The Vanishing' (Spoorloos) it does have the same overall feel, except for that Koolhoven's style is less business-like and more lyric. The beginning is great, the middle is fine, but the sting is in the end. A surprise emotional ending. As you could read in several magazines there is some sex in the film, but it is done all very beautifully. Never explicit, but with lots of warmth and sometimes even humour. It is a shame American films can't be as open an honoust as this one. Where Dutch films tend to go just over the edge when it comes to this subject, 'De Grot' stays always within the boundaries of good taste. 'De Grot' tells an amazing story stretched over more than 30 years. When you'll leave the cinema you'll be moved. What can we ask more of a film? Anyway, this film even gives more....

Tim Krabbe is the praised author of 'Het Gouden Ei', a novel that was put on the screen twice ('Spoorloos' and 'The Vanishing'). One of the Dutch writer's more recent works is 'De Grot', a psychological thriller about two totally different men, Egon and Axel, who meet at a youth camp and, surprising enough, become friends for dear life. Egon is a quiet, somewhat dull person, who spends his time studying and writing geography books. Axel, on the other hand, is a charismatic 'party-animal', a heavy drinking criminal whose everyday's concern is to get a woman into his bedroom. From the moment they meet, Axel has a strong influence on Egon, while the latter envies him because he has a good life without really doing anything (such as reading thick books like Egon); ultimately, Egon is even dragged by Egon into illegal practices himself, which leads to a fatal drug transport in a distant Asian country.

After having read the book last year, I was surprised the critics were quite positive about it. In my opinion, the book suffers especially from the complex structure. While Krabbe presents the story as an absorbing portrait of an uncommon relationship between two people, the plot becomes more of a puzzle: the many episodes are not presented chronologically, so that two successive scenes are seldom in the same episode. Because of this, the story feels surprisingly remote: you often need to know a character's background to really care for him or her. Another complaint was the fact that the main characters, Egon and Axel, are a little stereotypical. Egon IS 'the' dull intellectual, while Axel IS his exact opposite. In real life, such one-dimensional people rarely exist; in books and films, they always seem to be there, taking away a lot of credibility.

Despite all this, the film was a pleasant surprise, being much better than the book. The adaptation excels in its beautiful cinematography, humour and acting: Fedja van Huet (Egon) is one of the few Dutch actors who can make you forget he IS acting (which is, in my opinion, the highest an actor can achieve). The drawbacks of the film, however, are the same as the book's: mainly because the characters are one-dimensional, they are so predictable that it becomes annoying. Guess who wrote the script? Indeed, Krabbe himself. It is obvious that this talented director (that's what the movie makes clear anyway) is hampered by a deficient screenplay. Perhaps Koolhoven should just have chosen a better book.

7/10

'De Grot' is a terrific Dutch thriller, based on the book written by Tim Krabbé. Another of his books, 'Het Gouden Ei' was made into the great Dutch mystery thriller called 'Spoorloos' ('The Vanishing') in 1988. This one is not as good as that thriller (although much better than the American remake also called 'The Vanishing') but there are times it comes close.

Especially the opening moments are terrific. We see a man, later we learn his name is Egon Wagter (Fedja van Huêt), coming from a plane in Thailand. When he picks up his bags it is pretty clear that he is smuggling something across the border. These scenes are perfectly directed, photographed and acted. A kind of suspense is created that you would normally not have in an opening scene like this. Later we see how Egon makes his deal in Thailand with a woman, both stating that they have never done anything like this.

From this point the movie is constantly flashback and flash-forward. We see how Egon, still as a child (here played by Erik van der Horst), befriends a guy named Axel (as a kid played by Benja Bruijning). We learn how they grew up as friends, sort of, and how Axel (as an adult played by Marcel Hensema) became a criminal. Egon in the meanwhile goes to college and settles with a woman. Around this time he sometimes meets Axel but does not really want anything to do with him.

The movie is chronological in a way. It shows Egon and Axel as kids, than as students, young adults, and in their mid-thirties. But from time to time, like I said, the movie goes back to when they were kids and jumps forward again. Every time we see them as kids it explains something that happens when they are adults.

Minor spoilers herein.

The title means 'The Cave', and it is the cave that gives the movie its happy ending, although it is in fact not that happy. Like the beginning, the ending is terrific. The middle part of the movie is entertaining and in a way it distracts our attention of the first scenes, only to come back at that point in the end. It is the editing that gives the movie its happy ending, although we can say the dramatic ending is happy in a way as well.