Perché i gatti

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."

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 ****.

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.

It's another one of them 'rich kids who rape and kill for kicks' film, just like The Young, Violent and Dangerous, The Boys Who Slaughter, The Kids of Violent Rome, The Savage Three, Rome: The Other Side of Violence and Day of Violence. This one might pre-date most of them when I think about it, but the culprits involved are no less sleazy and arrogant.

In Holland, a bunch of fannies with tights on their heads break into a house and wreck the place, forcing the husband to watch on while a bunch of them rape his wife. The last guy doesn't want to, saying 'The Cats won't like it'. This becomes a key clue in the ensuing investigation, as Inspector Dutchguy finds clues that lead him to a small coastal town, and the further he digs, the more complicated and annoying things get.

He quickly tracks down the suspects to a gang called the Ravens, but we're not quite clued in on how they operate or what their main point is, and the Inspector finds himself up against their rich, uncaring parents, and a sinister barman with a pet crow that also likes mentioning cats for some reason. The Inspector does however find time to get it on with local attractive prostitute Dutchlady. You get to see his balls.

Apart from the disturbing opening, most of the plot concentrates on the Inspector's attempts to break this weird secret society he has found, and also to find out who the cats are that people are always blabbing about. Luckily for us viewers this is all carried out expertly, with loads of tensions as the cop is an outsider in the town, even amongst other cops. Of course, people are bumped off as he tries to get to the bottom of what's happening, and we get a pretty good flashback as we find out what the cats are all about.

A down point is that anyone famililar with the plots of these films will figure things out anyway, like I did.

It has been said of the 1960s, if you can remember them, you weren't really there; the same has on occasion been said of the 1970s. This film dates from 1973, and I must have been there because I watched it on Monday and didn't remember it, although shortly before he uttered them, I repeated the villain's last words verbatim – words that can't be repeated here.

I'd probably forgotten "Because Of The Cats" not because of the passage of 4 decades, but because it is such rubbish.

This is an off-beat film, even for the 1970s; the gang rape scene at the beginning is both extremely graphic and very realistic, but not really necessary; the gratuitous male nudity is inexcusable, as is the wooden dialogue. As for the terrible plot...was any police investigation in the UK, Holland or anywhere ever conducted like this? There was no DNA in the 70s, but the same cannot be said for fingerprints.

And the detective, this is not the Van De Valk I remember from the TV series. Unless you have an unhealthy fascination for pubic hair and/or male genitalia, give this one a miss.