Rating: 
Summary: Powerful Love Story
Review: Ranks as one of Verhoeven's best films with hypnotic and electrifying performances by Monique Van De Ven and Rutger Hauer. I was completely blown away by the images in this film and its frank honesty. This is a must see film that is easily of the best love stories ever captured on celluloid.
Rating: 
Summary: Verhoeven's answer to Love Story...
Review: Replete with bawdy sex, mental anguish and supposedly comic set-pieces that could have easily sprung from an episode of Benny Hill, Verhoeven's first international success is an unashamedly liberated tale of a tortured artist recounting an anguished affair that happened some years earlier. The narrative set up has shades familiar from Arthur Hiller's former classic Love Story, what with the notion of young love tragically cut short, coupled with many scenes of a fresh-faced Hauer pensively pouting for the cameras ala Ryan O'Neil in the abovementioned weepy. However, here Verhoeven is able to advance on the story, in his typically bold and brash fashion, with a giddy juxtaposition of new-wave techniques that bring to mind French filmmakers like Godard, Truffaut and Louis Malle with a deeply cold and cynical subtext that has more in common with someone like Ingmar Bergman.
Right from the start Verhoeven is challenging the audience as he would with later films like Spetters, The Fourth Man and even Robocop, by presenting images and ideas that seem to mock bourgeois, middle-class values by analysing characters that live on the fringes of society (here, the semi-bohemian). A good example of this ideology can be seen in the opening scenes of the film, in which, we are first introduced to Hauer's character Erik, here engaging in anonymous sex with a series of disposable women, one of whom, he expels naked into the street for being overweight. As the film unfolds we discover the reason for Erik's tempestuous attitude and how he came to meet and fall in love with the film's heroine Olga. Even this initial scene is shot like a sketch, with Erik and Olga making love on their very first meeting, which of course ends in tragedy, when Erik accidentally gets the tip of his member caught in the zip of his pants.
From this point on, the film seesaws constantly between bawdy comedy and serious drama; something that could be said about any Verhoeven film from Business is Business right up to the universally despised Showgirls, and although this film never quite plumbs the depths of that picture, the lack of continuity in mood and theme is a serious problem for a film of this delicate nature. It is obvious that Verhoeven was striving for a tragicomic reality that has been done exceedingly well by filmmakers like Mile Leigh, Ken Loach and John Sayles, and of course, was largely the foundation of the French new-wave, though here, it never really comes together. Some scenes pop with a vibrancy and real, believable sense of drama, particularly in the scenes involving Monique van de Ven as the tragic Olga, but other scenes, particularly those that hinge around the climactic revelations are more forced and can be a little trying for those unwilling to suspend disbelief.
However, for the most part, Turkish Delight is an enjoyable romp, and does have a certain amateurish charm about it... in the same way that European TV dramas did in the 1970's. In fact, this could easily be mistaken for a TV drama, what with the confinement of the locations, the size of the cast and the reliance on character drama over actual narrative unfolding. Unlike his recent films in Hollywood, Verhoeven here seems confident with his actors and with the technical aspect of the production, though the obvious limitations in budget give the proceedings an improvised, 'shot-on-the-run' feeling of spontaneity, though this is hardly a major problem. In fact, those who see Verhoeven as a director only capable of big-budget action films and Hollywood sleaze should really think about going back to these early Dutch films, particularly The Fourth Man, Spetters and Soldier of Orange to see the kind of sensitive, intelligent and low-key work (by his U.S. movie-making standards) he was once capable of.
Most impressive here is his use of the close-up, which throughout the picture gives us a suffocating sense of claustrophobia, and illustrates those abovementioned ties with Bergman very well. Turkish Delight isn't one of Verhoeven's best films (well, it's fifty times better than Hollow Man, Starship Troopers and Showgirls, but I'm talking generally about his early Dutch work) though it is enjoyable in a way, with an interesting premise and some thoughtful performances, particularly by Hauer and the excellent van de Ven. It's a product of it's time without question, so therefore many viewers will no doubt be put off by the film's librated approach to sex, gender roles and the human form, though it will easily appeal to film connoisseurs and devotees of challenging European cinema.
Rating:
Summary: Oldie but a goodie
Review: Rutger Hauer in a Dutch role playing a man who falls in love with a woman who gets cancer. This film takes you through this man's life. A man not necessarily likable, until his heart is stolen by a woman. A tale of irony and romance. A wonderful performance by Hauer and a great opportunity to see what Amsterdam used to look like. Other famous people noted in the credits are Paul verhoeven and Jan de Bont as cameraman.
Rating:
Summary: Verhoeven's best work
Review: The Turkish Delight in the title is devoured quickly by the handful near the end of the film and reflects a delirious but short marriage between a reckless young sculptor and a beautiful childish and free spirited young rich girl. The sculptor accepts no boundaries for his appetites and takes an impish delight in upsetting the norm, but his love and kindness are boundless as well. His young bride is alternately captivated and rebellious, as his consuming passions leave no room for other plans, and sudden blackouts leave her confused and angry. The film, more than anything else, is about an uncompromising man who will not bow to fate, propriety, or to maudlin sentimentality but still loves more faithfully than most. Verhoeven does an excellent job defining the artist's moods and the loving relationship in flashbacks and with a singular angry fantasy that brackets much of the story. It is an altogether well crafted and intelligent work by an accomplished director.
Rating: 
Summary: A "Verhoeven" Expression of Love
Review: There are many ways in which love and passion can be manifested in a relationship, but if it is to prevail, it is essential that both sides complement one another, physically, emotionally and psychologically; the feelings borne on the wings of romance must above all else be mutual and deeply instilled on both sides. When they are not, the end result must necessarily be estrangement; it is a law-- not of man, but of nature. In "Turkish Delight," director Paul Verhoeven dissects a relationship born of passion, examines the ramifications of the attitudes and actions of the individuals involved-- as well as the couple they become-- and offers the results to his audience for consideration. Is it, though, a story of love and passion? Yes. But it comes via a route more analogous to the sensibilities of David Cronenberg than Ang Lee; it is decidedly more Craven than Capra. So don't come to this film expecting tender moments; instead, prepare yourself for an offering that is provocative, that is sexually explicit, and finally, graphic in it's more violent moments. This is a film for neither the fainthearted nor the modest, but for the discerning viewer only.In the first few minutes of this film, we are introduced to Eric Vonk (Rutger Hauer), an artist with a passion for his work, but even more so for experiences that lean more toward the wanton and carnal in aspect. We instantly become voyeurs as he proceeds to overindulge in a series of lusty encounters, an extreme display of irresponsible debauchery that cannot but impel a most unpropitious and subjective first impression on behalf of the viewer, who is forced to bear witness to a man of obvious and insatiable appetites and a tentative moral code. Or so it would seem, initially. As the story unfolds, however, we begin to understand Eric and what it is that compels him thus; and it begins with a photograph of a beautiful young woman named Olga (Monique van de Ven), the woman with whom Eric once shared his life, love, passion and, yes, his lust. It is obvious from the outset that she is no longer with him, which evokes the question that has to be asked: "Why?" And from that inauspicious beginning, a picture emerges that may not be pretty, and is, in fact, fairly disconcerting. By the end of the film, though, all questions pertaining to Eric Vonk and the mysterious Olga have been answered. The screen grows dark then; but the images to which the viewer has just been made privy are ones that are going to remain in the mind's eye for some time afterwards. Working from a screenplay by Gerard Soeteman (adapted from the novel by Jan Wolkers), Verhoeven establishes himself as the antithesis of Nora Ephron, presenting his "love" story in terms that are decidedly raw and primitive. Though he does manage to establish the fact that Eric does have deep love for Olga, it is lust that seemingly dominates the picture, and though there is a dramatic twist to the story, it all comes across more like a twisted fairy tale than anything else. Verhoeven uses violence to express the same sentiments Ephron, for example, does through compassion and empathy. But that is his style. It's his prerogative; it's his turf; it's his film. And Verhoeven as much as says to his audience that if you don't like it, you can leave. It's not as if he doesn't have respect for his viewer, though; rather, it seems as if it's something he simply has not considered. If you can get past the baggage with which Verhoeven inexplicably saddles his own film, there is an interesting, if not riveting, story to be found. But, like Cronenberg's affinity for slime and things that ooze, Verhoeven apparently cannot escape his affinity for violence, even when it works to his detriment. In the case of this film, it results in certain scenes that are too avant-garde to be effective within the context of the overall film. These are scenes in which Eric is hallucinating or day dreaming about particular aspects of his relationship with Olga. They are abrupt insertions into the narrative that simply do not mesh with the flow of the film. The seam left by the weave, as it were, is just too apparent. Beyond the shock value (which is minimum), it just doesn't work. On the positive side, Verhoeven does extract worthy performances from his stars, Hauer and van de Ven. Hauer, in his feature film debut (and at this point some eight years away from his American film debut in "Nighthawks") displays a natural ability in front of the camera and seems comfortably uninhibited, which enables him to use his rugged good looks to the best advantage. Eric is a complex character of single minded intent, which Hauer conveys quite ably in his performance. Van de Ven also makes her motion picture debut here, and beyond her obvious beauty there is a definite indication of the talent that would soon bring her international acclaim (though her star has yet to rise above the American landscape). Her portrayal of Olga is convincing, and her myriad charms are neither misplaced nor misused by Verhoeven here. And commendably, she manages to transcend the mere use of her physical attributes and create a memorable character with a truly affecting performance. The supporting cast includes Tonny Huurdeman (Moeder), Wim van den Brink (Vader) and Dolf de Vries (Paul). This film is definitely not for everyone; it fails as entertainment, but succeeds as an examination of the extremes to which we, as humans, are susceptible. "Turkish Delight," then, will be received in any number of different ways. Some will be shocked and appalled by what they see on the screen; others will be offended. And still others will understand that what is depicted here is a very real reflection of things that go on in a very real world, as interpreted by Paul Verhoeven.
Rating:
Summary: Instinct (Basically)
Review: Wow! When Paul Verhoeven is on, he is really on. This film has one of those openings. Fantastic, sucks you right in, and then you find out what the film is really about. From what has been previously written about this film, suprisingly, it was not what I expected. In a film that opens with extreme violence and sex (Verhoeven staples) it quickly evolves into an interesting and insightful character study on love and death. Eric (Rutger Hauer) is a sculpter who lives impulsively and freely until one day, on one of his impulsive adventures, he meets Olga (Monique van de Ven). It takes Eric about a minute to "convince" Olga that he loves her and their meeting ends with a bang, literally (I don't want to give too much away). There relationship goes through the normal ups and downs, oh, and there's plenty of "affection" in the relationship. The film takes some unexpected twists and turns and there are several bizarre scenes involving Olga's mother (she was great) and her family which culminate in an unusual (if not unpredictable) ending. This film scores on many levels. The acting, the story, and the cinematography are all top notch. Rutger Hauer's character is especially engaging (I love how he molds trash into art) and he turns in one of the best performances of his career. What really sets Turkish Delight apart from other films though is Verhoeven's willingness to go to the extreme. The graphicness of his films (i.e. violence, sex) is something he has fought the censors and the critics on his whole career. But with good reason, it makes his films more interesting and it sets them apart from conventional cinema. He wants to show it all, and while some of his American films may have been graphic or risque, they are tame compared to Turkish Delight. He held nothing back as a filmmaker on this one. I can understand why this film ruffled some feathers when it was released in 1973. Somewhere around this time Pauline Kael was writing her famous article for the New Yorker exclaiming Last Tango in Paris as a revolutionary film and Turkish Delight would certainly fall into the same catagory as it. However I think it is even more provocative (in terms of the sex scenes) than Last Tango. Definitely not what I was expecting, but a very good film regardless.
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