Though she proves she has what it takes to become a respected member of the resistance movement, a mission goes terribly wrong, and Hannie and Hugo are forced into hiding. It’s not until she witnesses the murder of a boy that she decides she wants to be directly involved in the action and finds a mentor in Hugo (Peter Tuinman). Aware of her weakness, the group assigns her to work as a messenger. At first, due to her lack of experience, she is not taken seriously by the other members of the movement, and when she is asked to prove her dedication to the group by murdering someone, she chickens out. Set in Amsterdam during World War II, Het meisje met het roode haar tells the story of Hannie (Renée Soutendijk), a law student about to take her matriculation exam when she decides instead to join a resistance movement. Even though his fans loved the character of Willem Parel, Sonneveld started to hate his own creation, taking the chance to get rid of the character once and for all: In 1955 Gerard Rutten gave Sonneveld a break from his alter-ego when, in his film, had Parel step out of a promotional poster and embrace a life of his own. Although his part in My Fair Lady was hugely successful, Dutch audiences will always remember him for his character, Willem Parel, the son of an organ player, who often spoke in general about playing the organ as much as he talked specifically about playing an organ in a sexual sense. It premiered in Rotterdam in 1960 with Wim in the role of Professor Higgins. After seeing a production of My Fair Lady in the U.S., he was adamant about introducing the musical to a Dutch audience and had it translated by Seth Gaaikema. Wim Sonneveld became known in the 1940s and ’50s when he established himself as a brilliant actor, singer and cabaretist. Het wonderlijke leven van Willem Parel ( The Wonderful Life of Willem Parel) (1955)
Let’s look through our picks for the best 40 films from the Netherlands to figure out why.
So why is it that the people of Holland are so critical of their own films? Perhaps it’s because, like many other countries, the Netherlands have become spoiled by big, flashy Hollywood movies with lots of action and explosions or perhaps they feel like they’re still becoming comfortable with the medium. Rather baffling considering directors like Paul Verhoeven and Alex van Warmerdam have reached international acclaim with The Fourth Man or Borgman respectively.
The Dutch people seem to be their own worst critics in fact, it seems as though their movies have become a running joke, all: Well, what did you expect? or It was pretty good for a Dutch movie. It’s not hard to criticize Dutch cinema-just use the Dutch themselves as examples.
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