哈瓦尔登先生

We need other people to define ourselves. And if these people think we are someone else we feel lost. Harry Kumel uses techniques from Griffith, the sober mise-en-scene from Carl Theodor Dreyer and the themes of Sternberg( whom he dedicates the film to) to tell this story. But he makes of all these different visions a very personal film. It is his first movie and he already shows that cinema is capable of complex feelings. He shoots Belgian landscapes of pure beauty and frenzied walks through the forest and he lets all these images emphasize the isolation of the heroine. The only real weakness of this movie is that the people who call the disguised woman 'monsieur Hawarden', had to be given a guide-dog for their blindness. But if you throw away Hollywoodstandards for 100 minutes and prepare yourself for some art from the Netherlands and Belgium, then you will not be disappointed.