Because of the Cats

This is a rather good drama, very much of its time, that begins with a graphic gang rape, becomes a meandering cop story before hurtling us into the sex and violence underbelly of communes cum cults cum dogmatic nihilism. For the most part naturalistic and frank, which in part means we get the cop full frontal as well as all the girls (including a very early appearance from Sylvia Kristel) but also a feeling that we are witnessing nothing too forced. Only the later glimpses of the darker activities with the psychedelic edge hint at anything particularly stylish, but the film is none the worse for that. All performances are fine and even the scenes with the 'posh' kids and their parents are well done. A film that could not be made today and an intelligent look at counter culture of the day.

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.