Perché i gatti

A gang of six wealthy hoodlums break into a married couple's house and rape the wife while forcing the husband to watch. Thus begins a dogged investigation by a determined detective who quickly finds that their cult-like solidarity can be a serious obstacle to breaking them. Here's another little oddity that's been particularly hard to track down. This was originally released in the US with an X rating and was later re-edited for an R. All of the rips I have seen are 94 minutes, but the IMDb run-time for the film is 98 minutes. Thats a big discrepancy, even allowing for different frame rates. I will just have to keep looking for that illusive 98 minute cut.

Get a bunch of hormonally-stoked, wealthy, presumably-untouchable teen boys together in an iron-clad clique and let the proverbial sex and mayhem fly. Released in 1973, around the time David Hemmings had his hands full with "Unman, Wittering, & Zigo," and James Mason was dealing with "Child's Play," this youth delinquency story centers around a group of six well-to-do, but never-do-well teens who perpetrate rape and extreme vandalism. Bryan Marshall is the put-upon detective in Amsterdam who is assigned the case after a particularly graphic gang rape takes place in his metropolitan jurisdiction. All leads point to a Dutch seaside town and the six lads, who are seen as upstanding youth in the community, as the perpetrators.

The intriguing element about this otherwise slow-moving affair is the realistic bent director Fons Rademakers brings to the proceedings. The gang rape which opens the film has an air of frank reality not seen in many films during the '70s. His technique doesn't excuse the horrifying nature of the moment by using quick-cut editing, or slashing guitars on the soundtrack, or wild lighting and intense close-ups, all of which would be the way most commercial-driven directors of today would handle this sickly scene. We are forced to watch, along with the victim's husband, as she is taken by five of the six members of the gang. The vision of her just watching her husband with disgust is a hard image to shake.

Rademakers introduces naturalistic elements like this throughout. An interrogation scene of the boys' girlfriends by Marshall (which includes the barely-on-screen presence of Sylvia Kristel) is handled with nuance usually reserved for Hollywood A-type dramas. The natural, everyday-life approach to dressing and undressing (Marshall is seen full frontal, as is his prostitute girlfriend, the entrancing Alexandra Stewart)is executed in a manner completely devoid of any awareness of the camera. A Harrison Ford or Ben Affleck will always take care to cover their privates in a "bedroom" scene with a sheet or a back turn just at the right moment, which immediately makes an audience remove themselves from the story, thinking, "oh, that's right, he's a star; he doesn't want his ding-a-ling to show." Here, it's not cinema verite, but it is just natural.

Even though Marshall's not shy about revealing his shortcomings, it can also be noted he isn't shy about showing much range in his acting abilities. Both he and the criminal lads display a woefully limited amount of acting chops. On the other hand, the women in this film emote a more believable and compelling performance.

Unfortunately, the music score is oftentimes obnoxiously introduced. It sounds like the same cue is dropped in at varying points of transition without any thought of its dramatic effect or variance in rhythm or pitch on the scenes. It's quite distracting from any drama being built up on the screen by Rademakers.

Overall, the mystery of the story, which centers around a cult-like devotion amongst the boys, doesn't lend any surprises nor any suspense-filled moments. It's fairly threadbare. But the naturalness of certain scenes mentioned before, make it a step above the usual Euro-low-budget fare of the '70s. It's a naturalness like fellow Dutchman Verhoven exhibited in "Turkish Delight" and "Keetje Tippel", but without his over-the-top shock values. My rating ** out of ****.

In what seems to almost come out of today's headlines.....a group of rich boys decide to rape and terrorize people for a goof.

They rape middle-aged women in their own house while forcing their husbands to see it all. All this while destroying their personal property. You see paintings get slashed, furniture get ripped up, and personal items smashed just for the fun of it. And these are valuable items. And the rape scenes may be hard to watch for some.

Then we get a police drama. The inspector in question targets the group for imprisonment. We see a lot of technical details about police work. Euro-flicks like to do that it seems. (Remember "Man on the Roof?") These bits almost play like a documentary.

The pace seems to get slower as we move on, but the intriguing characters keep it in focus. And the culprits are almost likable despite their sliminess.

This film is hard to find. But worth a look. The director Fons Radermakers (spelling?) later won a Foreign Film Oscar for "The Amateur."

It looks like "A Clockwork Orange"(1971) made in Bloemendaal, North Holland, two years later. Of course it's different and it's not even close to Kubrick's masterpiece, although the scene of collective rape is very well done. I wanted to see it due to the presence of the beautiful Alexandra Stewart. And, I had the surprise to see also Sylvia Kristel in one of her first roles.

This slightly odd thriller is another of the early 70's movies which played upon the fears generated by the Manson Family murders of 1969. These 'counter-culture gone bad' movies often focus on cult groups who commit crimes and this movie is no different in this regard. Set in Amsterdam, a detective investigates a series of vicious house invasions committed by a gang of rich youths. They don't need money, so the source of their crimes turns out to be cult based.

Opening with a disturbing attack on a married couple where the woman is gang raped while the husband is forced to helplessly look on, this is a movie which doesn't pull its punches. Its sexual frankness is at least partially down to its Dutch origins I am guessing, seeing as this nation was, and remains, one of the most sexually liberated in the world. This results in a film with a great deal of matter-of-fact full-frontal nudity throughout but also the graphic opening attack sequence. So the film definitely falls into the exploitation bracket, although it isn't all that excessive beyond this particular scene. It soon afterwards boils down to a detective story running parallel to one detailing the dramas surrounding the criminal youths. It's not in all honesty all that dynamically told to tell you the truth and it is a little uneventful overall. I thought also that the whole cult side of the story could have been magnified more, as this type of thing never really gets old but it was underplayed here somewhat. Still, this is still a reasonably distinctive film, probably mainly on account of it being a counter-culture themed film from the Netherlands, which is not exactly the norm. Definitely worth a watch but it's nothing too essential.