#keetje tippel

[rutgerhauercentral]

Katie Tippel

[kiurit]

#katie tippel #keetje tippel #rutger hauer

[peterpijls1965]

Neel Doff, een schrijfster uit Buggenum

De schrijfster Neel Doff werd in 1858 geboren vlakbij mijn ouderlijke boerderij in Buggenum. Ze werd vooral bekend met haar roman Keetje, in 1975 verfilmd door Paul Verhoeven als Keetje Tippel, met een hoofdrol voor Monique van de Ven als hoertje met een hart van goud.

In Buggenum werd een straat vernoemd naar Neel Doff. Sommige tijdgenoten vonden haar zo goed, dat ze in één adem genoemd werd met de Nobelprijs voor de Literatuur.

Neel Doff was het derde kind in een arm gezin van negen. Haar vader, een blonde Fries met blauwe ogen, was soldaat en paardenknecht.

Het gezin belandde in de verkrotte Amsterdamse Jordaan, waar Neel Doff op haar 14e werd verkracht door haar werkgever. Ze belandde in de prostitutie. Een huwelijk met een vermogende Belgische notaris haalde haar uit de misère. De artistieke kringen waarin ze belandde lanceerden haar als auteur. Het lompenprolerariaat dat haar milieu was, werd haar thema.

Ze was schildersmodel voor de decadente kunstenaar Felicien Rops, ik ben een bewonderaar. Of Keetje een goed boek is weer ik niet meer. Ik las het als adolescent, dat is het.

Neel Doff was nooit echt de talk of the town in Buggenum. Ze werd eerder in België dan in Nederland gezien en gewaardeerd, al kreeg ze ooit een tentoonstelling in het Leudal-museum. Ze overleed in Elsene, 84 jaar oud.

Ik vind dat ze een standbeeld moet krijgen in Buggenum, dat ook bittere armoede kende. Neel Doff was haar gezicht.

[movieposters1]

[80smovies]

[andrebannenberg]

Nauwelijks thuis na negen maanden de wereld rondgereisd te hebben of de telefoon ging. Ineke van Wezel, de rechterhand van producent Rob Houwer, wilde me graag in het productieteam van Soldaat van Oranje hebben, herinnerend aan de goede samenwerking die we hadden een paar jaar geleden bij het maken van de speelfilm 'Keetje Tippel'.

Kijk, dacht ik als eerste, ik heb naam gemaakt. Ze ruiken dat ik thuis ben.

Het Soldaat van Oranje- filmproductiekantoor/ kledingopslag/ decorbouw van Rob Houwer en regisseur Paul Verhoeven was tijdelijk gevestigd in het gigantische Palace Hotel in Scheveningen, dat over een tijdje gesloopt zou worden.

Ik heb wat nachten in dat Palace Hotel geslapen in de wardrobe-/ kledingzaal op en onder een flinke stapel dikke winterjassen, die voor de honderden figuranten waren bedoeld. Er was zoveel werk, dat het de moeite niet loonde om elke nacht voor twee, drie uurtjes naar Amsterdam heen en weer te racen. Het was mijn taak om de beschikbaarheid van de cast, tientallen acteurs en actrices, bij te houden. Die speelden 's avonds bijvoorbeeld toneel of waren dagenlang onvindbaar (Rutger Hauer, Rijk de Gooijer).

Vanuit mijn kantoorstoel en altijd aan de telefoon las ik wel eens met jaloezie de dagelijkse callsheet, het draaidagprogramma. Cast en crew, weliswaar geconcentreerd, maar toch lekker de hele dag op gevarïeerde binnen- of buitensets; in ieder geval een hoop meer creatieve spanning en sensatie dan op kantoor. Er werden bijvoorbeeld veel opnames gedraaid met Harley Davidsons uit de oorlogstijd, precies zoals ik een exemplaar had. Helaas waren er geen stand-ins nodig. Ik was duidelijk mijn plek aan het zoeken.

Wat ik nog steeds jammer vind, en met mij een hoop zich toentertijd de kolere gewerkt hebbende oudfilmcollega's is het feit dat onze namen niet in de Soldaat van Oranje-credits vermeld werden: alles wat er stond in de titelrol was op gegeven moment de naam EVA, wij werden EVA genoemd. En Vele Anderen. Maar vooruit, opnieuw had ik toch maar weer mooi meegewerkt aan een film die ook de buitenlandse bioscopen zou bereiken. Dat kon je reputatie geen kwaad.

The end.

#palacehotelscheveningen #soldaatvanoranjefilm #soldieroforange #paulverhoevendirector #robhouwerproducer #rutgerhauer #harleydavidsonliberator

[thenewwei]

You Don’t Nomi (2019, 2020 USA) (Part I of this post) is a critical overview of the controversial 1995 film Showgirls, which tanked critically and commercially when released but found a new life on DVD/streaming and has finally has been reclaimed by some as a misunderstood masterpiece or cult classic. The film coincides with its 25th year anniversary and is fairly balanced in terms of positive/negative appraisals from a slew of film critics and fans, from feminist, gay, queer, drag perspectives, and from revisionist musical actresses (it has found much success when adapted on this front). The film also evaluates the totality of director Paul Verhoeven’s entire oeuvre and how Showgirls falls within it, as well as previous camp classics like Valley of the Dolls (1967), Mommie Dearest (1981) and plenty of other films. I had a gay film professor at Wesleyan who swore this film was great and its director magnificent, and that eventually it would be reevaluated. As such I’ve seen the film many times and have seen all of Verhoeven’s films except for his very first Business is Business/Diary of a Hooker (1971), his shorts/TV work and the communally made/experimental Tricked (2012). Subject-wise, the film is certainly up my alley, in terms of its crime/sleaze/lower class/thought-provoking elements, but not at all to my taste in terms of its over-the-top campy style and musical genre. This film didn’t make me change my mind on my overall evaluation. While I can definitely see the argument, I’d say the film might be at best above average, and definitely not even near Verhoeven’s best films, let alone some great masterpiece. That said, the film does have its merits. It is well-paced, glossily shot, and for its intention, well-acted. The style is merely efficient, however, not particularly impressive. Most impressive and interesting are the ideas behind the film that are related through plot first and character second, not in the typically approved fashion of vice versa. The essential plot of the film [possible SPOILERS] is that the main character, Nomi, starts off as a drifter from Anywhere USA, becomes a stripper, and ultimately works her way to the top of the ladder of Vegas dancing and becomes the main Goddess of a major Vegas casino show, through a combination of hard work, knowing the right people, and plenty of manipulation, backstabbing and even violence. However, her street whore past ultimately catches up with her, and she realizes that whether a street whore or top Vegas diva, she’s still be a prostitute to the male capitalist superstructure regardless. At least as a street whore/drifter, she will be free and one with the common people. As an independent, that sounds fairly right to me. The only issue (not mentioned in You Don’t Nomi) is not only that the same basic plot has been tackled before, in All About Eve (1950) etc., but that there were independent films being released at the same time in the mid-90s that tackled the same exact subject, and more effectively, but with less production values and no controversy. Most specifically I can think of Matthew Bright’s Freeway (1996) starring Reese Witherspoon, a similarly hard-edged satire about a street whore who takes on a manipulative serial killer etc. with the assistance of some bad, but down-to-earth, hombres. Even “serious” films like Exotica (1994) and Leaving Las Vegas (1995), while completely different in terms of atmosphere and message, had a similar subject. Those films didn’t destroy the careers of its actresses (Reese Witherspoon, Elizabeth Shue etc.) or its directors, unlike what Showgirls did to Elizabeth Berkeley and Verhoeven, but rather elevated them. The difference with Showgirls seems to be the acting/film style, the conventional storyline/treatment and the fact that Showgirls was a $40 billion blockbuster and not classified as an indie film. There’s also the fact that Verhoeven’s little seen 1970s Dutch film Keetje Tippel (1975) deals with the same subject with the same message but without redemption of the main character, and in a more convincing way.

[moviesomnambulist]

THE MOVIE SOMNAMBULIST #5: Katie's Passion (Keetje Tippel)

The great rock critic Robert Christgau once said if KISS wasn't poised for maximum commercialization, they'd have called the band BLOWJOB. I believe the distributors of this film had a meeting and the title KATIE'S VAGINA was voted down to get showings in the South. This movie is about the cruelty of a capitalist system and also it's about Katie's vagina.

Katie is a young woman who moved with her family from the sticks to Amsterdam in the late 19th century. She travels by boat with her whole family, including many young siblings whose names we never learn (except Henry, but that's later) and an older sister whose name I chose to ignore in favor of the moniker "Asswipe". We first meet Asswipe when Katie discovers one of the crew bare-assed on top of her in exchange for a bacon biscuit. Katie, who thinks the whole business disgusting, smacks the sailor with her favorite book by Jules Verne. Since it's never mentioned in dialogue and it is a Dutch movie, I couldn't tell you which one (but it should be AROUND THE WORLD IN EIGHTY DAYS). The family makes their voyage and claims an extremely crappy single room for all ten or twelve of them to live in. There are rats, minor floods, and windows that could use some putty. It's so cold the first night that the patriarch of the family burns the children's wooden shoes for warmth. That Dutch kids/wooden shoes connection turns out to be a no-shit deal.

Now there are lots of movies about families enduring poverty together, working as a faithful clan to at least be happy that they're together. This movie was directed by Paul Verhoeven, so that's not what happens. Verhoeven's movies about Holland are always interesting (especially the amazing BLACK BOOK), because they are not at all compromising about how people behave. Even the worst characters in SHOWGIRLS are nicer to each other than some of these people. 

So even though it's a Verhoeven film, there are rules for this type of movie. A pretty girl with big dreams but little means can only go up, and either there's a fall or it's a Julia Roberts movie and it's all fine. Katie spends quite a lot of the movie trying to rise up. Her first job is in one of those wonderful Industrial Revolution era plants where women stand around a pool of toxic chemicals and dip wool in the green water. Everyone coughs like a consumptive and Katie's hands are burned when she touches the liquid. The other ladies laugh at her, while jamming their hands into the stuff and bleeding under the fingernails. At lunch, they demand Katie sing for them, so she sings about workers of the world uniting and they drown her out with a song about how awesome the monarchy is. And you thought we invented the Tea Party. 

There's a fight and Katie ends up sticking a coworker's face in the green liquid, blinding her. She is fired. The boss, a round jerk who stands in the doorway of the work floor so that all the women have to crowd around him while he makes low moaning sounds, suggests there's other work Katie could do. One of the workers tips Katie off that "work" is strictly a euphemism, so Katie spits in the boss' face and now, I dunno, she's double-fired.

Katie goes home to find her dad smoking a cigar and Asswipe in a new fancy low-cut dress. It took her a whole day to become a prostitute, and now she runs the family. She behaves like a complete pig, even ripping pages out of Katie's favorite Jules Verne book to wipe her ass with after using the chamber pot (see what I did there?). As the breadwinner, she's in control of the family. So Katie gets a job as a lackey in a ladies' hat shop. The comeraderie is better, and the boss seems ok. Katie even makes some design suggestions for one hat and improves it. She helps deliver a load of hats to the local whorehouse and finds it's the one Asswipe works in. Katie bumbles into a room where a customer is trying to decide between Asswipe and two other ladies. The customer decides he wants none of them, but who's this fresh-faced blonde? Asswipe begs Katie to do the guy or she herself will be fired from the whorehouse. Asswipe invokes the cute starving faces of their siblings and begs Katie to take one for the team. So, she does.

Katie goes back to the hat shop and the boss sends everyone but Katie home for the night. Katie starts playing shadow puppets against a wall and this is the amazing I-shit-you-not moment of the film. Go look at the picture post for this entry. You’ll know which one I mean.

That is not the boss' clever shadowpuppetry. That's just his dong. So the Hat Shop boss rapes Katie and she quits. As she leaves, she heaves a cobblestone through the window and produces a smile that lasts all of three seconds (I clocked it) before the weight of her shitty life mashes the corners of her mouth down again. Next day, she's walking around with Henry, one of her young siblings. They're starving, so Katie takes a flagpole and flips a bread wagon over. Everyone scrambles for bread and Katie takes a truncheon to the head from a cop. Off to hospital she goes. At the hospital, one of the other patients offers to sponge-bathe Katie. The other patient's arm goes waaaaay down Katie's gown and Katie innocently asks "You wash down there?" Everybody. Wants. Katie's. Vagina.

Katie is examined by an old doctor who puts a stethoscope next to her exposed nipple to listen to her lungs. He even brushes it a bit, real casual-like in extreme close-up. To keep the theme of "life is shit" going, the doctor tells Katie she has a lung ailment from her day in the green liquid factory. To survive, she needs medicine. But she can't afford the medicine. But she does have that vagina, and that's worth more than gold. She can get stuff with it at more places than AmEx. One of her former coworkers is also here, but she's too far gone and has no magic vagina-time to trade, anyway. The nuns place a lit candle in her hands for reasons I cannot fathom. She begs Katie to take it away as the wax burns her hands.

Things get worse. Now healthy, Katie spots little Henry selling looks at his little boy wanger to pervy creeps. Katie calls her little brother a tramp. He calls her a bitch. It seems like dialogue from another movie entirely. Katie goes home in a daze. Asswipe lost her whore-job (it sounded like because of drinking), so the mother of the family tells Katie to take Asswipe's whore-gear. Mom wants to turn Katie out as the new breadwinner of the family. 

On her first outing, Mom keeps watch for trouble as Katie does an old creep, but then takes off with the half-florin Katie makes so she can have a sausage. Katie wanders off on her own and meets an artist who only wants to paint her. I know what you're thinking. He isn't a serial killer. This actually surprised me.

From here the movie puts her in the hands of Hugo the banker (Rutger Hauer, who is doing here with his penis what he did throughout the 80s with a gun--whipping it out in every other scene he's in). Katie, Hugo, and Katie's first john pre-enact a scene from PRETTY WOMAN (it is nearly exact), and then Katie emancipates herself from her family. Katie comes back to get whatever parts of her favorite book haven't been used as toilet paper and tells her mother "They're your children. They're not my responsibility!" Katie moves in with Hugo and he leaves her for a rich woman. He offers to set her up in a little apartment, just so he can visit Katie's vagina every now and then. Katie takes her vagina and leaves, walking straight into and joining a workers' march. Yep, if anyone's been exploited by capitalist society, it's Katie. There's plot stuff at the end, but it's mostly loose end stuff. Katie ends up with Andre, who's very rich. So there you go.

It's a good-looking film. Verhoeven is always watchable, because he's utterly nuts. Much more sex is implied than shown, but this movie is more about degradation than sex. Wanger to hoohah ratio is about even. So is someone going to finance that life of Jesus movie Verhoeven wants to do already? What more proof do you need that he's the man for the job?

Stayed awake for the whole thing because I starting wondering how it could get worse; then I wanted to see if they were gonna pull the rug out from under Katie. Seven wide awake eyes for this one. (One eye equals 15 minutes of runtime.)

[mattpayton]

The Movies of Paul Verhoeven, Ranked

16. Hollow Man

15. Business Is Business

14. The Fourth Man

13. Flesh and Blood

12. Tricked

11. Spetters

10. Turkish Delight

9. Keetje Tippel

8. Black Book

7. Elle

6. Showgirls

5. Basic Instinct

4. Soldier Of Orange

3. Total Recall

2. Starship Troopers

1. Robocop

(more of this very important work here)

[andrebannenberg]

Na mijn debuut als setdresser in de film "Grote Klaas Kleine Klaas" van Pieter Verhoef niet zo lang geleden volgden er andere filmjobs, niet meer als setdresser, maar als productie-assistent. Veel bellen (mobieltjes bestonden nog niet) onderweg op straathoeken in een telefooncel (altijd kwartjes=25 cents muntstukken op zak hebben) en in cafés bij een slurpslurp kop soep en een broodje bal; veel en meestal snelsnelsnel rijden in allerlei soorten huurauto's van Ouke Baas naar en van kleurrijke lokaties en spannende studio's. Reclamefilms, commercials, vond en vind ik het boeiendst. Één draaidag met 30 man crew voor 15 seconden wasmiddel of chocolade was de norm. Alles werd gedraaid op peperdure celluloidfilm. En daarom werd iedereen op lokatie verondersteld een prof te zijn op zijn of haar vakgebied, niet alleen de crew achter de camera, ook de acteurs vóór de camera moesten hun moeheid verbergen en hun vakmanschap laten zien. Inspirerend allemaal. Ik paste wel in die ambiance. En het betaalde nog goed ook.

De eerste grote speelfilm waar ik aan meewerkte was Keetje Tippel van Paul Verhoeven (foto's boven), die net het succesvolle Turks Fruit had geregisseerd, ook met Monique van de Ven en Rutger Hauer in de hoofdrollen.

Zeer leerzaam dat filmvak. Al snel prefereerde ik de set boven het productiekantoor, ik zocht de meer artistieke kant van het film maken. Stagelopers van de Filmacademie waren vaak een sta in de weg op de filmset en waren zo dom hier en daar een advies te geven, 'want zo stond het dat het moest in de lesboeken op de academie'. Blij dat ik erin gerold was, in dat filmwereldje. En nog blijer dat 'mijn' film Keetje, Katie, Katy, Kitty Tippel zo beroemd werd in een hoop buitenlanden.

The end.

#keetjetippel #paulverhoeven

[moviesomnambulist]

THE MOVIE SOMNAMBULIST #5: Katie's Passion (Keetje Tippel)

[tragewegenluca-blog]

Plan mogelijke route met gelinkte plaatsen Verhaal.

1) Bakker : Brood --> armoede

2) Hoedenwinkel : Hoeden --> vrij belangrijk in het verhaal

3) Ateliers Vonk : Prostitutie --> op een kunstzinnige manier dit weergeven

4) Open ruimte in park : Schilderijen --> lege kaders ophangen in richting van landschappen 

5) Ingang park en zonneweelde : ? --> Van slons naar Dame

6) Begin Neel Doff straat : muziek (kort verhaal)

7) Plaats waar Villa Keetje Tippel Stond : Boeken --> totaal verhaal 

[earlyfallpicnicindolceandgabbana]

[rutgerhauer-favoriteactor]

Rutger Hauer in Paul Verhoeven’s “Keetje Tippel" (Netherlands, 1975)

[just-an-average-fuckup]

It's like an interesting reencarnation :D

1881 & 1973