George Sluizer directed the brilliant, unforgettable Dutch/French suspense flick Spoorloos aka The Vanishing (not to be confused with the wretched 1993 American remake, which he was also directed--difficult as that is to fathom), a potent, haunting, and impressively nuanced thriller. . As for the original, it remains a remarkably effective psychological thriller and an obvious influence on films as diverse as Breakdown, Joy Ride and With a Friend Like Harry. Not to mention, the theme of disappearance has been attempted by many great directors (Hitchcock's The Lady Vanishes), but it has never been done as spooky as it is here. It belies how strange life is and how relevant our dreams are.
The film begins with a young Amsterdam couple on vacation in the south of France. They have apparently not been together for a long time as they are still getting to know each other, getting in tune with each other's rhythms. At one point Saskia relates to Rex a terrifying recurring dream she can't explain, which really haunts her when their car runs out of gas in the middle of a deep tunnel. Later, they stop at a park for a short time, and Saskia decides to go into a convenience store to get drinks. But she never returns. After awhile, Rex naturally becomes frantic and goes to the police.
Suddenly the film shifts its focus to the story of Raymond, an ordinary family man, a teacher who is also a self-absorbed intellectual. He is obsessed with the idea of good vs. evil and sets out to experiment with the possibility that he might have an evil side he has never tapped. How Raymond's experiments tie into Saskia's disappearance makes for a fascinating game that eventually takes on cat-and-mouse proportions but does not go down the roads you will expect.
This film is so well-crafted, that it is easy to get carried away and think that more is being said than what has transpired. But in the simplicity of its story, it becomes easy to identify with the Amsterdam couple and feel caught up in their dreamworld which intermingles with their real-life. A film that is very much in the Hitchcock suspense mode.
The film begins with a young Amsterdam couple on vacation in the south of France. They have apparently not been together for a long time as they are still getting to know each other, getting in tune with each other's rhythms. At one point Saskia relates to Rex a terrifying recurring dream she can't explain, which really haunts her when their car runs out of gas in the middle of a deep tunnel. Later, they stop at a park for a short time, and Saskia decides to go into a convenience store to get drinks. But she never returns. After awhile, Rex naturally becomes frantic and goes to the police.
Suddenly the film shifts its focus to the story of Raymond, an ordinary family man, a teacher who is also a self-absorbed intellectual. He is obsessed with the idea of good vs. evil and sets out to experiment with the possibility that he might have an evil side he has never tapped. How Raymond's experiments tie into Saskia's disappearance makes for a fascinating game that eventually takes on cat-and-mouse proportions but does not go down the roads you will expect.
This film is so well-crafted, that it is easy to get carried away and think that more is being said than what has transpired. But in the simplicity of its story, it becomes easy to identify with the Amsterdam couple and feel caught up in their dreamworld which intermingles with their real-life. A film that is very much in the Hitchcock suspense mode.