Para um Soldado Perdido

The Film " For A Lost Soldier " has established itself as a classic. Based on the autobiography of Rudi van Danzi who writes of his early experiences in war torn Europe. He shares his boyhood and how he was separated from his family, sent to the dutch countryside for safety. A lonely, shy youth, he shares the freedom of his liberated country with Canadian soldiers. One of which realizes the boy's 'special' loneliness and befriends him. In the process, the two share a brief forbidden love, establishing the later adult memories which Danzi uses to revitalizes his depleted inspiration. Seen by some, as perverted, the film is nevertheless readily accepted by many others as a heartwarming and sympathetic view of youthful homosexuality. The author, director and actors earn fulsome praise. *****

I have watched this film many times and I recently viewed it again. The only really interesting part of the movie is the relationship between the young boy and the soldier. Everything else that happens in the film is really just to establish why this young man would be drawn to someone kind and caring. What I wish would have been delved into more was how the soldier came to feel the way he does about the kid. He talks a little about his past with his father and mother but never really explains himself personally. He does not look like he would have ever had a problem getting a girl, so his "prediliction" becomes even more a mystery.

I really applaud the fact that the film maker was able to tell this story so sensitively without it being lurid. It is a shame I think that a film like this could never have been made in America, "the land of the free".

VOOR EEN VERLOREN SOLDAAT (FOR A LOST SOLDIER) is a startlingly frank look at a young boy's love affair with a Canadian soldier during the last days of World War II. Thirteen-year-old Jeroen (Maarten Smit) is sent by his parents from his home in Amsterdam to the countryside because of the food shortages in the cities. He is there when the Allied troops liberate the Netherlands, effectively ending the war for the Dutch people. Jeroen meets and is immediately attracted to Walt (Andrew Kelley), one of the Canadian soldiers. The resulting love affair is handled with extraordinary sensitivity and frankness; this story would never have been filmed in the US. Despite Jeroen's being underage, there is no suggestion of child abuse; indeed, at certain points the film makes clear that the young boy is pursuing the older man. Told in flashback, this achingly romantic film has a dreamlike quality that leaves you wanting more.

Loosely based on the autobiography of Rudi van Danzi, FOR A LOST SOLIDER tells the story of a Dutch boy's emotional and sexual relationship with a young adult American solider during World War II. The film presents the relationship as a loving and often magical one--and asks the viewer to consider if such relationships are intrinsically abusive or if they might, in extraordinary instances, have validity and even integrity.

It should be very obvious that the subject and issues raised are likely to provoke a knee-jerk reaction in most people--but even so, FOR A LOST SOLDIER has remarkable delicacy. The film is not explotational in any way, it is beautifully acted and filmed, and the difficult material is handled by the director, writer, and cinematographer with considerable grace.

All of this said, however, the film is so careful to avoid the obvious pitfalls that in some respects it fails to make any significant statement. What ultimately emerges is a memory--the film is presented as an extended flashback--but exactly how that memory reverberates in present time is vaguely expressed at best. And while the film does not consider this particular relationship to be deliberately abusive, it begs but never answers the question of intrinsic abusive, leaving the viewer to do battle with that knotty issue entirely on their own.

Those who watch FOR A LOST SOLIDER thoughtfully and with an open mind will find it forces them to define their own ideas about what is and is not abusive. This may actually be point of the film, to motivate an examination of personal values--but if so it is a point made by a very, at times almost impossibly indirect implication. Recommended for sophisticated viewers, but even they are more likely to find it more problematic than substantial.

Gary F. Taylor, aka GFT, Amazon Reviewer

It's unlikely that a movie like "For a Lost Soldier" would be made today. Some might say we live in more 'protective' times; others might say we live in more puritanical times. I have no intention of getting into arguments over the Me2 Movement or indeed about how cinema and the world at large has become more censorial on what we can see or say or do. "For a Lost Soldier" is by no means an explicit film but its theme is clear. It's about a 12 year old boy in war-time Holland who not only develops a friendship with an older Canadian soldier but also falls in love with him as well and, we are lead to believe, probably experiences something sexual with him, too. The boy grows up gay, (he is played in adult life by Jeroen Krabbe), though I would suggest he was always gay and was simply acting on his nature.

Since the film was made in 1992 the age of consent has gone down and the world in general is thankfully much more accepting of gay relationships in all forms though children are still protected in law from exploitation and rightly so, though someone seeing "For a Lost Soldier" might argue no exploitation takes place while others will argue that Walt, the soldier's relationship with the child is predatory since it is he who initiates the sexual element and may argue that the abuse is at least emotional. Some, on the other hand, will see him as innocent as the boy.

Of course, what the film basically is is a love story; a tale of first love, the difference being that both protagonists are male and one of them is a child. It was controversial when it was made and it's just as controversial now. It discusses issues that most people still find repugnant and it will always be a film that will have difficulty finding its audience. It isn't that well-made; director Roeland Kerbosch isn't the most proficient of film-makers and the acting is adequate at best but it remains a brave and challenging film and ultimately a very touching one. Unfortunately, times being what they are, it's now almost impossible to see.