Turkish Delight

The first successful film from Dutch provocateur Paul Verhoeven, famous for of course Robocop and Basic Instinct (and infamous for Showgirls) is a small scale, human relationship drama that not only established the careers of Verhoeven and start Rutget Hauer but signalled the new wave for the Dutch film industry. However Turks Fruit is nothing more than the Dutch Love Story, as moody artist Eric (Hauer) falls in love with Olga (Monique van de Ven) after the young lady pick him up from the side of a motorway. The film is littered with so much bawdy humour I'm sure Benny Hill was kicking himself somewhere for not thinking of it, in one particular cringe inducing scene Eric gets himself caught in the zip of his pants, the couple then has to drive around franticly to find a set of pliers. I'm sure this kind of schoolboy theatrics played well to the Dutch polo-neck brigade, but as the film shifts into more serious territory the humour only deflates any building melodrama that Verhoeven was probably shooting for.

Another problem with the film is Hauer's character Eric; he's too much of a chauvinist and bully, not only towards Olga, but even more so to the numerous women he sleeps with after she has left (You're fat is just one example of his pillow talk). We never feel anything for him, not that Hauer isn't good in the role he plays it very well, but playing butch carefree characters has never been too much of a stretch for him. Van de Ven is impressive as the liberated Olga, and she would go on to give another fine performance in Keetje Tippel, but she is used too much like an object and never really becomes likable enough. Definitely a product of its time, the sexual revolution was noticeably in full swing, as Eric goes from woman to woman without a seconds though about the consequences. It's this dating that also detracts from the film. Whatever Verhoeven was trying to say about relationships, and the constant power play between men and women, he just doesn't get the balance right. All in all, Turks Fruit is an impressive early feature that tries to belie it's exploitation roots and to become series storytelling just a little too late in the game. 6/10

Turkish delight is a book by the Dutch true artist Jan Wolkers: a painter, a sculptor, a writer. Symbol of sexual liberation in the 60's and 70's with a series of books about his youth, freeing himself of protestant chains and the general revolt against the bourgeoisie, Wolkers made himself big. But he became larger than life with his contribution to Dutch culture and the understanding of the Dutch mind. The movie itself is a delight with scenes shot in Amsterdam and the greater Amsterdam area: all that is fashionable passes by, not just sexual freedom and the confrontation with society. And the beauty of both Rutger Hauer and Monique van der Ven, is a well deserved extra.

"Turks fruit" has been voted best Dutch movie recently. I can see why, "Turks fruit" is a delicious treat and perfectly mixes an heavy love story with dramatic and realistic moments life is filled with.

"Turks fruit" is fine example of good storytelling. The movie is carried by the characters that are very realistically portrayed. Rutger Hauer, Monique van de Ven and Dolf de Vries really are some fine actors. Paul Verhoeven shows with this movie that he also is a great actor director. This movie marked the first real big movie-role breakthrough for both Hauer and van de Ven and also for Verhoeven himself.

The movie is filled with some typical and subtle Dutch humor which I really enjoyed in this movie. Some of the characters might seem a bit odd but I can assure you that all of the characters are very realistic and are nothing uncommon here in the Netherlands.

The movie is really daring, especially for its time and is not afraid to show some 'skin' and some explicit scene's. But all of it is done with lots of style so the movie never becomes offensive. The movie is also filled with what later become some typical trademark Verhoeven gore. But all of it serves a purpose in the movie, so it never feels forced like its deliberately put in the movie, to shock the viewers. Verhoeven is a master in this. This is the first Verhoeven movie were he uses the same style which he still puts in his movies these days. The first typically, recognizable Verhoeven movie you can say.

The nice little soundtrack is composed by Rogier van Otterloo who later also worked on "Soldaat van Oranje" and "Keetje Tippel", with Verhoeven again. The harmonica solo's are recognizably done by Toots Thielemans who might very well be the best harmonica player of all time. The cinematography is done by Jan de Bont and gives an at times nice and realistic view of the Netherlands in the '70's.

Not THE best Dutch movie of all time (in my opinion that still is "Soldaat van Oranje") but this movie absolutely, most certainly is a romantic/dramatic masterpiece with lots of symbolism and unforgettable and powerful moments in it, that perfectly shows the early talent of Verhoeven, Hauer and van de Ven.

10/10

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Best Dutch film ever.

A pre action movie Rutger Hauer proves he can act.

The full romantic scrambles this film shows probably hit home for so many people. Hence it's success.

It continues to be successful. It recently played Tokyo again in a few art houses and people were lined up. Not just the Dutch expats either, EVERYBODY.

It well deserved its nomination. If the Genius Kurosawa hadn't been nominated, this would have won.

Rutger, we hardly knew ye. HAIL!

Slightly before the "frizzling" Frenchmen started their famous Emmanuelle-series, the tardy Dutch had Turkish Delight already available and attracted millions of viewers... Well, they are not directly comparable, but movements and changes in views that began to form in the 1960ies enable to realise such creations for "ordinary" people as well. The film in question is pleasantly moody, showing various angles of love-sex-relationship, and courageous character actors (particularly Monique van de Ven as Olga Stapels, Rutger Hauer as Eric Vonk), skillful directing (Paul Verhoeven) and cinematography (Jan de Bont) provide this not-so-extraordinary script additional values and undertones.

At the same time, I have doubts that Turkish Delight is a timeless film, that it approaches and influences future and current people as well, as many attitudes have changed, and many would consider depicted fashion and hairiness as odd (mildly speaking). And those accustomed to Internet have seen much "bolder" stuff...