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Van de Koele Meren des Doods

The Cool Lakes of Death

Netherlands 1982
produced by
Matthijs van Heijningen for Sigma Film Productions
directed by Nouchka van Brakel
starring Renée Soutendijk, Erik van 't Wout, Adriaan Olree, Derek de Lint, Peter Faber, Claire Wauthion, Krijn ter Braak, Lettie Oosthoek, Kristine de Both, Siem Vroom, Rudolf Lucieer, Thera van Homeijer, Robert de Jonker, Ijsbrandt Carmiggelt, Huub Stapel, Clara Brak, Ds. Wim Janssen, Willem van Rinsum, Wiske Sterringa, Anna van Beers, Liliane Kuyer, Vivien Heilbron, John Sandford, Dave Calderhead, Patricia Allen, Bernard Graczyk, Sandrien van Brakel, Yvette Merlin, Jacques Viala, Christiane Ramseijer, Bram Jesserun, Gérard Vivane
screenplay by Ton Vorstenbosch, Nouchka van Brakel, based on the novel by Frederik van Eeden, music by Peter Faber, Erik van 't Wout, Erik van der Wurff

review by
Mike Haberfelner



The Netherlands, late 19th century: Born into a rich family and raised by a rich but cold father (Krijn der Braak) and a strict gouverness (Siem Vroom), Hedwig (Renée Soutendijk) grows up knowing very little of life, and less of love even as it's taken as a given that she'll one day marry righ and become a set woman. So when young Johan (Erik van 't Wout) falls madly in love with her, she doesn't even know whether she loves him back or is only fond of him, and when she soon after marries rich Gerard (Adriaan Olree), she without wanting it drives Johan to suicide. However, her marriage to Gerard remains joyless as he's a closet homosexual who has married her to keep up appearances and fails to perform in bed. Hedwig eventually falls for pianist Ritsaart (Derek de Lint) and after much to and fro lets him seduce her under the assumption that alone would tie the knot between them - but for the longest time he treats her like nothing more than his mistress, and when Gerard finds out he wants to kill Ritsaart, a plan that's abandoned only when she tries to commit suicide. In an attempt to duck scandal, Hedwig and Ritsaart relocate to England posing as husband and wife, with Ritsaart's concerts soon granting them access to the best families - all of which is eventually sabotaged when Hedwig confides the true nature of their relationship to a known gossipper. Ritsaart and Hedwig move to the country to get out of the line of fire, and Ritsaart soon goes on a "concert tour" he's less than likely to ever return from while Hedwig has their child, a sickly baby that's less than likely to survive more than a few days - and that's when Hedwig starts to totally lose it, as she throws the already dying baby into a bag and rather spontaneously travels back to mainland Europe, where her bag is stolen, she has a mental breakdown, is sent to an asylum, and when she's finally released, she's addicted to morphine, and to support her habit, she soon becomes a low level prostitute in the streets of Paris - and from here there seems to be only one way, and that's downwards ...

 

A very compelling story about sexual frustration that despite its period settings still rings true today thanks to a directorial effort that favours subtleties over spectacle and always shows empathy for its lead character, even and especially when she loses it. And Renée Soutendijk gives a very strong central performance, portraying Hedwig as not just a drama queen but a woman caught between naivity and vulnerability, and she's supported by an able ensemble, making this a film that will stay with you for days after watching.

 

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review © by Mike Haberfelner

 

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In times of uncertainty of a possible zombie outbreak, a woman has to decide between two men - only one of them's one of the undead.

 

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special appearances by
Debra Lamb and Lynn Lowry

 

directed by
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written by
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produced by
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