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I attended the North American premiere of "Black Book" at the Toronto International Film Festival. Although my main interest lies in independent film, and I did see many indies as well as foreign films and documentaries in Toronto, I also saw a few of the "Gala" selections. Of those "big movies" on my list, the one which impressed me the most was this Dutch production from Paul Verhoeven. Set in Nazi-occupied Holland during World War II, the film centers around a young Jewish woman named Rachel, who changes her name (and hair, and personality, and more) to Ellis and enters an odyssey of determination and sheer luck in an effort to survive what would otherwise be certain death.

Make no mistake about it: this is an epic in the true sense of the word. The visuals are stunning. Everything about the production from the sound to the effects to the score says "big budget." The story is chock full of more twists and turns than just about any film I've seen in this genre. And just when you think that, perhaps, Verhoeven is beginning to stretch the bounds of credulity, you realize (at the end credits, if not before) that "Black Book" is based on fact.

Most of all, the film's power is due to the magnificent acting of Carice van Houten. Her Rachel/Ellis is a character so unique, so original, that it holds up against the great heroines of contemporary cinema. Combine her marvelous performance with a wonderful story and superb production values and you end up with a thrill ride from start to finish. "Black Book" left me breathless.

Saw it at Toronto Int. Film Festival with Paul Verhoeven and Carice van Houten on stage. This movie has Verhoeven's trademark stamp all over it. It's evident this film was a more personal project for him. Non stop action and good acting, especially from the lead actress, Carice van Houten. I've seen other films (American and French) about Resistance fighters during WWII, but non of them gripped me by the throat like this one. I admit Verhoeven is at times a bit heavy-handed, especially the sound effects of German machine guns, but the story never sags. It's a "By the seat of your pants" type of movie. After you leave the theater, the impact of the story stays with you for days. Go and see it when it comes to your local cinema in North America. I highly recommend it.

Director Paul Verhoeven's self-confessed aim is to combine art and business, appeal to a broad audience, and yet still have some endurance. The fame of films like Basic Instinct and Total Recall is lasting, yet they court criticism with their use of sexuality or by playing to the (easily dismissible) sci-fi genre. Graphic sex and violence are common in his movies and, when you add the occasional major flop such as Showgirls, the work of Verhoeven often fails to be taken seriously. Yet Black Book deserves respect. It is a wartime resistance movie on an epic scale, freed of the conventions of British and American war movies, yet bringing their typically high production values to a uniquely Dutch film.

Israel 1956. A Holy Land Tours bus stops off at a Kibbutz. One of the passengers recognises a teacher there, Rachel, from times they had shared during the war. As her friend leaves, Rachel thinks back to Holland in 1944. She was an accomplished cabaret singer but also Jewish. She was in hiding, waiting for the war to end. But chance misfortune means she has to try to make a getaway with some other Jewish people. They are ambushed, and she is almost shot. A little later she starts working for the resistance ('terrorists' as the Nazis call them) and infiltrates the Gestapo, seducing a high ranking officer called Muntze.

What follows is a frantic game of cat and mouse, espionage and counter-espionage. Rachel (now called Ellis) is torn between the horrors inflicted on her friends close-by and the elaborate deceits she tries to play to save them. Gradually it becomes clear that Muntze, anticipating the end of the war, is risking his neck to try to minimize death and suffering on both sides, and one or more of the resistance fighters is selling out to the Nazis to reap rich profits. Muntze, like Rachel, has had to overcome great losses. Their humanity is a bridge that brings them closer.

Rachel/Ellis is played by Carice van Houten, a leading actress of the Dutch screen. Her presence is luminous and charismatic (for British/American audiences, there is the curious sensation of watching someone unknown who radiates star quality with every breath). Her character has to adapt to many contrasting situations yet there is an underlying determination and fast thinking that shines through and makes such changes seem in character and unscripted. We share her emotional struggle and watch her pit her wits against the Gestapo (who are not exactly stupid). The movie is worth seeing for her performance alone.

On the one hand, the film has been minutely researched, based on actual events and characters; on the other it still has the slightly larger than life gloss we might associate, say, with a James Bond film. The escapes are in the nick of time, the sex scenes are steamy, and the plot twists increase exponentially as we get closer to the end.

Not content to portray the unique conditions of Holland during the occupation, Black Book goes on to catalogue post war atrocities and Rachel's eventual journey to Israel. The style and delivery will not appeal to everyone, but Black Book is Verhoeven on top form, delivering grand entertainment that shows his talents (and those of the remarkable Carice van Houten) at their finest.

Who said that they don't make films like they used to? A couple of weeks ago, I declared that "The Departed" was the best film of 2006. Last week, I replaced the Scorsese epic with Sofia Coppola's luscious biopic of "Marie Antoinette". I never would have guessed that Paul Verhoeven (Yes, the Paul Verhoeven who directed "Total Recall", "Basic Instinct" & "Showgirls"!!!) would challenge them both with a gripping, edge-of-your-seat World War II yarn.

I use the old-fashioned term, yarn, because "Black Book" is very much a film that feels like it was made decades ago. The lush visuals, orchestral music, European styling, wartime romanticism and cliffhanging chapters all add a certain 1950's charm to the white-knuckle plot. One gets the feeling that the ghosts of Gregory Peck, Hedy Lamarr, Ava Gardner, Spencer Tracy & Jean Harlow are embodying the cast of this classic espionage drama.

The film begins in 1956 with Rachel Steinn, a school teacher at an Israeli kibbutz, being accidentally found by an old acquaintance, who is on vacation with her husband. The meeting brings back painful wartime memories and Rachel heads to a quiet place by the river to recollect our central story.

So back we travel, to occupied Holland, circa 1944, and we see a more youthful Rachel, diligently practicing a bible passage in order to earn a meal from the family who is hiding her from the Germans. She, like many Jews at that time, were surviving by any means necessary in order to outlast the Nazi tyranny. However, one day, while flirting with a young man sailing on the nearby lake, her safe zone is destroyed in one fell swoop by a low flying bomber. Rachel is immediately on the run, aided by her new sailor friend.

So much of this film relies on surprises and shocking twists that it would be unfair of me to detail too many plot threads. And my goodness, there are a tons of them. This is truly a definitive epic, in every cinematic sense of the word. Rachel is crossed and doubled-crossed and triple-crossed, eventually winding up as a member of the famed Resistance. Via cunning and fortunate circumstance, she manages to transform herself into Ellis de Vries, a blond bombshell who infiltrates the German command in the area. She uses a quick wit, a gorgeous voice, some feminine charms and a collection of Queen Wilhelmina stamps to crawl her way into the arms of Herr Müntze (Sebastian Koch).

From deep within the Nazi camp, she is able to strategically plant a microphone and to use tidbits of acquired knowledge in order to provide the Resistance with vital information and plans. While evolving into a brave spy, she must learn how to reconcile her own personal vendettas and her surprising romantic feelings for Müntze.

There are no more exciting themes for me in movies than tragic romance, espionage and escape. I have loved them all with a passion ever since I was a small child. Throw in a magnificent screenplay, marvelous cinematography, a plot that churns along with the efficiency of a Swiss watch, and the added bonus of a gorgeous actress -- the result is sure to be a huge winner for me. "Black Book" satisfies everything that I truly want from a film. It is the reason I go to the movies. I was utterly swept away by the intrigue, drama, romance and tragedy. This emotionally weighty film even manages to deliver a few wonderfully witty moments to break the supreme tension of it all.

The cast is immense. Every one of them exudes authenticity. It is one of the best ensembles of the year. However, I struggle to call it an ensemble because it would be ignoring one of the singular performances in recent memory. Carice Van Houten is not a household name to most. She is a Dutch beauty who, if this role is anything to go by, is on the verge of a magnificent career. Her grasp on the emotional turmoil of Rachel/Ellis is of profound proportions. It is a stunning turn that flatly demands award consideration. The range on display in this movie is astonishing. Rarely have I ever been as moved by a character's heroism and charm and guile and wits. She is able to create a sympathetic creature... one that we will root for until the end... one that we trust and believe in.

I cannot leave this review without admitting to my utter admiration for Paul Verhoeven, a director whose films I have often enjoyed and panned in equal measures. This is the work of his lifetime. It is the film he should list above all others on his résumé. This is a thoughtful, poignant and tremendously thrilling adventure. For attentive viewers, the final scenes of the film act as a provocative meditation on the relationships between war and justice, peace and insularity, the actions of the past and the promises of the future. "Black Book (Zwartboek)" is not only a riveting WWII adventure, but a superb contrast of morality -vs- reality.

TC Candler IndependentCritics.com

I seem to be the first in the US to comment on this film after having seen it at a regular theater.

There's no sense in talking about the movie's plot as so many others have already done so.

My fiancée is German and tends to be interested in those artsy foreign films. Tonight she decided we should go see this one. I'm glad we did.

I've seen a number of Paul Verhoeven's films and have found some of them quite entertaining, if a bit tacky and unrealistic. I wasn't expecting much from a Dutch film by a guy known for making big budget, tacky films.

I was pleasantly surprised by this film.

Yes, it most certainly IS a Paul Verhoeven film. Gratuitous nudity and violence seem to be his hallmarks and they're certainly not lacking. Do they detract from the movie? A little, but not enough to lose sight of the message of the film - or to make it any less enjoyable.

We had recently seen "The Lives of Others" which starred Sebastian Koch. It made his character oddly familiar. I'm certainly a fan of his after seeing his performance in both of these movies.

As for Carice van Houten... well, one of the marks of a true STAR is that you just can't take your eyes off of him or her. It isn't just beauty; there are plenty of beautiful women in the world who don't possess that same star quality. It isn't just talent, either; there are many very talented actresses out there who just don't draw you in in the same way. Carice van Houten has it all: she's beautiful in a very real way and an amazing talent - and has that something special that makes you look at her every second she's on screen. I hope the directors of the world take note of her because she deserves the stardom she has exhibited in this film.

It is good to see a film that depicts how the hunted can easily turn into the hunter. My fiancée's mother was a young girl during WWII who's family lived in Poland (near Gdansk aka Danzig). Towards the end of the war, they were forced to leave their home in fear for their lives - both from the advancing Russians and the local Poles exacting revenge for what other Germans had done. The film said it in a slightly different sentence, but it is right in bringing across the message that people seem to never learn: that it is NEVER right to hurt others no matter what they might have done in the past.

I wonder if Paul Verhoeven's family is Jewish because he really seems to identify with the never ending succession of attacks against the Jewish people. It saddens me that only ONE other review even mentioned the scene at the end where Rachel's community (in Israel) was being attacked. Part of the film's message is that we seemed doomed to repeat our inhumanity to our fellow man.

Was this a perfect movie? Certainly not. Is it a masterpiece ala "Schindler's List" or "Full Metal Jacket" or "Saving Private Ryan?" Probably not. But I'll say that in the several hours since I've seen it, I can't stop thinking about it. And I certainly enjoyed every minute of that 2-1/2 hour film while watching it. I'd watch it again if I had it on DVD.

When I read all the comments about Zwartboek, it becomes clear to me that either you like the movie or you kind of hate it. What is that with good and bad that we want to make an exact line... This whole movie is about not knowing if you can do bad things (kill, betray or whatever) to achieve the good. Or the other way around off course. I must admit that the movie is (again) explicit, but aren't all the Dutch movies? What strikes me most is that some people expect to get a movie in which everything is clear. I think this is a movie which should set us to thinking: what would I do if I were in the same situation. Paul Verhoeven made clear with this movie that in the end, lots of people act for their own prosperity. It's just what you make people around you believe... I think in lots of countries people acted like this, none of the countries however dared to make a movie out of it. To me this movie is again (as Soldaat van Oranje and for instance De Tweeling)a beautiful one about WWII without getting boring. A smart story with two faces. Although some of the actors don't really fit into a masterpiece like this, I give it a great compliment. Get over the explicit name calling (ever seen Pulp Fiction??) and appreciate the scenery and nice camera-work, the great plot change and you'll have a great time and may even reconsider your own ideas about the resistance!

I saw this film last night at the Toronto International Film Festival and enjoyed it quite a bit. I wouldn't describe it as excellent, but it's definitely entertaining, and my interest never waned despite the nearly 2.5 hour length.

The film concerns one young Jewish woman's attempt to stay alive during WWII by any means necessary. Through a series of allegiances which shift with dizzying speed, she does whatever she has to do to survive.

Without giving away any plot details, I'll briefly describe my impressions of the film. The lead actress was great - not only is she stunningly beautiful, but she completely made the movie for me. She's very easy on the eyes, and proves to be a remarkable actress, completely believable and sympathetic.

The plot moved along swiftly and never lost momentum, although the ever-shifting loyalties and allegiances became overwhelming after a while. Having said that however, the plot did seem a bit predictable and obvious to me, a sort of paint-by-numbers approach to script writing. I didn't find it very suspenseful, although our heroine is such a sympathetic character that I found myself rooting for her throughout, wondering how she'd make it through (since the film is one long flashback, one already knows she'll make it).

For a European film it was surprisingly Hollywoodesque, with lots of gratuitous violence and nudity - although I didn't mind the nudity. There were a few scenes which seemed particularly gratuitous and unnecessary: two words - "shit bucket". But luckily these didn't distract too much from the plot.

All in all it was an above average movie and well worth seeing if you're a fan of WWII films and don't mind watching a beautiful young woman light up the screen for two hours or so.

I have been eagerly waiting to see 'Zwartboek' the past months. Finally it premiered in Holland today and i immediately rushed to cinema to be one of the first to see it. Beforehand i didn't watch any trailer nor read any review so i went in completely not knowing what to expect.

The movie starts a bit messy. Not knowing what it wants and where it wants to go. But as soon as things are set the roller-coaster ride begins. Carice and Sebastian are simply outstanding. Together they really carry the movie. The story however is predictable at times, but the awesome production quality (for dutch standards) and fast paced action really make up for it.

The overall message (which i will not give away) is something to think about. See the movie and judge for yourself.

I have heard this will be sent in for the Oscars. As much as i would want Paul to win i don't think it will happen. There will be other movies with a story less predictable and more surprising. However, my heart would want him to win this and walk out with a big figurative finger pointed at all them critics.

Zwartboek is in my opinion the best dutch production in 20-30 years, maybe even the best dutch movie since Soldier of Orange. It doesn't disappoint, it doesn't bore and it will give you a ride which you won't forget. It is also the breakthrough of Carice van Houten. Rave reviews from Venice compare her to Scarlett Johansson, but even better. Future will tell...

For now, go see this! And for Paul: please stay in Holland and make dutch cinema proud again.

It took me about an hour after having seen the film to find any enthusiasm to write this review. The film Black Book, or Zwartboek in Dutch, is very impressive, with an excellent feeling for the complexity of inter-human relationships.

The story is about a Jewish girl that finds herself in a powerless situation in a war that tends to bring out the worst in all, 'good' or 'bad'. So much for what we know without seeing the film for ourselves. The film starts out rather typical, informing us with what we already new about the war: people where poor, hungry and trying to survive. However, the second part of the film shows a less well known part of Dutch resistance history: that the war brings out the worst in everybody. Without losing sight of the importance of the resistance against the foreign repression, Paul Verhoeven confuses his audience by visualizing how ones own well-being seems to go at the cost of the well-being of another. No black and white, no bad or good, but only the individual choice, that is tormented by the will to survive and a feeling for morality.

The film is daring for showing the dark side of the Dutch national history. However, the most valuable of the film is that it captivates its audience and sensitizes its audience for the misery of the historical event of World War II, but also the contemporary difficulties that affects human beings rather than countries. A must see, even though it makes you feel miserable.

Paul Verhoven isn't ever known so much for subtlety as a director, and Black Book doesn't really make any big steps to change that. It is, unlike his films from the past dozen or so years, not intentionally sleazy or overridden with lots of gruesome carnage. There's even a sense that he's probably quite passionate about making a film loaded with gripping history and lots of 'cinematic' characters (not totally real, not totally fake either). But it's also one where melodrama reigns over real incisive dramatic skills, and unlike the recently re-released Army of Shadows there's almost an exhausting quality to the twists and turns, the core being more about direct audience manipulation as opposed to more subdued theatrics. Not that this is the worst thing a director like Verhoven can do, and Black Book is loaded with the kind of entertaining goodies that other directors would shy away from. That it's not a great film- like it might think it is- is hard to ignore.

Carice Van Houten puts in a breakthrough performance (breakthrough in that it calls for some greater things for her in Hollywood) as a Jewish woman who loses her family during a shooting via the Nazis. She joins up with the resistance, and her part in it will be, primarily, to sleep with enemy to get information. A little implausible? Not quite, as it's supposedly based on true events (whether it was a Jewish woman sleeping with the enemy or just in the little details of the Dutch resistance is up for argument), and soon the story unfolds in double-crosses and criss-crosses where you're never too sure after a while (and after the war ends) who's really a good guy or not, as for the most part few are. In general, Verhoven puts these double crosses- which end up making the film slightly bulkier than it needs to be- as a cynical but poignant point about loss of trust and all morals in times of war coming to a head. Rachel "Ellis" Stein (Van Houten) also falls into what the script entails, of her falling in love with the main commanding officer she has to sleep with, which is rather circumspect in logical terms.

But then again, after a while, looking at Black Book, ironically for it's veneer being that of an old-fashioned good versus evil story, things become subversive for a reason. The resistance itself, for example, is quite corruptible even with its higher ideals of eradicating all of the Nazis (the ugly side of which personified in the character of the portly Franken, who originally killed Rachel's family), and even have a double side to dealing with the Jewish people; does one value a Dutchman over a Jew becomes one of the central questions for the resistance fighters. And throughout Verhoven is on top of his game directing scenes strongly, with just what is needed for each scene, however convoluted, and the performances usually right on the money (The Lives of Others' Sebastian Koch is a believable Nazi turncoat). It is, more often than not, a satisfying entry in the filmmaker's career, and even a return to form after running out of steam with his big Hollywood sci-fi productions. That it's also quite shallow, and with more than one or two really ridiculous scenes (one scenes subtext might be 'is that a gun popping under the bed, or are you just happy to see me?'), is maybe to be expected considering the track record of the filmmaker.

This is definitely one of the best films ever made in Holland. Paul Verhoeven has created a real masterpiece. In my opinion, even if you dislike WW2 movies, you really should see Zwartboek, this movie is about so much more than just the war.

A very philosofical sentence in the movie is 'Does is never ends?'. Men could say it illustrates the writer's longing for worldwide peace, also regarding the end of the movie which illustrates the Middle East conflict.

Carice van Houten and Sebastian Koch are simply great in this movie. Without them Paul Verhoeven couldn't have done this with such a magnitude. I'm sure that we will hear more from this two actors in the future, maybe in a Hollywood production? They really deserve it.

I must admit that I don't like to watch dutch movies that much. Most of the time the acting is pretty bad and if they use some kind of cgi in the movies its one from the 1980's.

This movie really surprised me. Quite good acting from most of the actors. And the general view of the Alliance is good and the Germans are bad isn't presented. The movie shows both sides, the good the bad (and the ugly) behaviors of the people during the war.

Although he didn't have a very big budget to make this movie (between 16-20 million dollars) which is nothing for Hollywood matters, he'd made quite a good movie from it.

If you want to watch a movie about WWII that isn't like most of the movies made about this war, go and watch this one. You wont be bored for the next 2,5 hours.

Some people might skip this movie because it's mostly not in English, as the story is about Dutch resistance and spy operation in WW2. But they shouldn't... you'll really be missing out. Apparently this is inspired by true events. Everything screams big budget and Hollywood, even when it's a Dutch production.

The less you know about the story beforehand the better. But basically it's a clever spy thriller about infiltrating the Nazi headquarters in Haag, in 1944. This movie has no boring moment, no wasted shot, no wasted line of dialogue. Bit of action too. Just when you thought you figured who double-crossed who, there's a new surprise.

The acting is top notch, Carice van Houten is so damn good heroine. Pretty, witty, charismatic, and great in portraying emotions boiling underneath.

All the other parts are well acted too. I've seen this at least 5 times (I love how you can see hints about the plot early on, if you know what to look for), and I don't usually care for movies that aren't English spoken to be honest.

This movie is running in Amsterdam from last 16 weeks and it had to be on my list of movies. It is a multi-lingual movie with Dutch, German and English dialogues used – the common link is the Dutch sub-title. The movie is made by Dutch director with mostly Dutch cast.

The story is said to be based on true events. The movie is about a Jewish girl staying in Netherlands during the Second World War – when the Germans attack and occupy Netherlands. The girl's home is bombarded and most of her friends and relatives killed by Germans. The story is about her survival and the help she provides to the anti-Nazi militia force to fight the Germans – by secretly working in a German's army base.

The movie is well made. The main protagonist – the girl – Carice van Houten has done an excellent job. This movie seems a big break for Carice, and she would surely be a forerunner in winning best actress awards – at least in European region. Like all the WWII movies some events shown are quite disturbing and nauseating. There are explicit sex scenes shown to depict how a girl can survive by using her beauty and body and being smart. The movie also shows the type of corruption that went on within the Dutch society during WWII, were some people assembled treasures from deceased Jews family.

It is a long movie that satisfies you totally with the width of events that it provides like an epic. It also presents the movie in a commercial format – with all spices added at appropriate points to keep the interest alive and kicking throughout the movie. At the end of the movie you as audience feel happy. For me it was difficult to understand the dialogues, but I felt happy seeing the movie. I can imagine how happy and proud Dutch people would feel by seeing such a well made Dutch movie.

A really interesting mix of American movie - driven by a strong narrative, complete with car chases and tense thriller moments - and European film - multilingual, with strong sense of historical moment and complex characterisation. The lead performance by Carice van Houten is compelling and charismatic. Overall the film does not amount to a big emotional experience - the centre of the emotion, however, is subtle and focused on the scenes of Ellis (the Jewish heroine, undercover among the Nazis) and Muntze (the German officer) in bed together. A complex and believable love develops between them which is the heart of the film. Great to see Verhoeven back in Europe on a project of passion, bringing back some American know-how to a fairly large scale film, albeit for a pretty modest budget (c$20M I believe).

Decadently indulgent when romanticizing it's entertainment factor, Paul Verhoeven comes back from the abyss to present this mini-epic, showcasing an action-packed, erotically-charged, plot-twisting ride packaged as an adult spy thriller, taking place during the holocaust in Holland. As escapist entertainment the film should work wonders, especially for the adult female demographic that should particularly appreciate an intricate spy-thriller fused with a heated romanticism. Anyone trying to take this elaborate (for dutch standards) production for more then the classy popcorn muncher it is may have a hard time holding back the laughs however. In a demanding lead, Carice van Houten certainly does not bomb, though definitely lacks the charisma and depth to portray the elaborate characterization as it was written. Instead, (as the wise pairing of Verhoeven would suggest) Black Book becomes premier fluff; the rare semi-classy, though devoid of sincerity, mainstream entertainment which can be a guilty pleasure even for some film cynics. Of course such well constructed glossiness would be imported, despite America's death-grip on the form.