Among the most celebrated filmmakers of his generation, Paul Verhoeven has made films that cover a wide range of genres, including science fiction (Robocop, Starship Troopers, and Total Recall), war (Black Book and Soldier of Orange), erotica (Basic Instinct and Showgirls), thrillers (Hollow Man and Elle), historical drama (Benedetta and Flesh + Blood), and romance (Turkish Delight). From his extensive and diverse body of work, the 1983 psychological thriller The 4th Man is an underrated gem that contains some of his most graphic depictions of violence and sexuality to date.
The plot revolves around an alcoholic, bisexual novelist named Gerard Reve (Jeroen Krabbé), who has frequent visions of death and is invited to Vlissingen to give a lecture to the city’s literary club. While attempting to board a train at the Amsterdam railway station, he notices a young man on another train and is immediately attracted to him. In Vlissingen, he meets the club’s treasurer, Christine (Renée Soutendijk)—a wealthy widow who also runs a beauty salon—and they have a one-night stand at her place. The next day, Gerard sees a photo of Christine’s boyfriend, Herman (Thom Hoffman), who turns out to be the same man he saw at the Amsterdam train station, and persuades her to bring him in with the secret intention of seducing him. While Christine leaves to visit Herman in Cologne, Gerard is left alone in her house, where he drinks and discovers tapes of three men who were all married to her and died in horrific accidents. As the film progresses, Gerard’s hallucinations get worse, and he finds it increasingly difficult to distinguish between reality and fiction, leading him to suspect that Christine is not who she claims to be. Is Gerard losing his mind? Or is he right in his suspicions of Christine?
The film opens with a scene in which Gerard awakens from a slumber and strangles his male lover, who is playing the piano. However, the clever and smooth editing reveals that he is experiencing a hallucination. Right from the outset, Paul Verhoeven informs the audience that the person from whose point of view we are viewing the film is unreliable. In the lengthy sequence that follows, Verhoeven blends dark humor with a detailed account of Gerard’s journey from Amsterdam to Vlissingen to establish the protagonist’s character. Throughout the sequence, Gerard tries to steal a magazine from a newsstand, makes a sexual pass at a random guy but is rejected, gets into an argument with the train waiter, and experiences a bizarre hallucination (premonition). As a result, he comes across as weird, eccentric, and troubled, making him an untrustworthy character and adding to the audience’s confusion about whether or not to believe him, particularly during the events of the final act.
Following Gerard’s involvement with Christine, sex becomes a prevalent theme, and the screenplay masterfully keeps it ambiguous as to who is truly seducing whom. Is Gerard seducing Christine to get sexually involved with Herman? Or is Christine seducing Gerard by deliberately trying to keep him close to her, as the makers provide subtle hints that imply she has ulterior motives? Additionally, Paul Verhoeven and cinematographer Jan de Bont create a surreal, dreamy atmosphere by using oversaturated light and colors and frenetic camera movements, adding to the mystery of what is real and what is in Gerard’s head. As for the film’s graphic nature, it features an abundance of graphic scenes of violence (such as eyes poking out of sockets and a scene involving a horrific death) and sexual imagery (such as characters masturbating while two others engage in intimate activities), which can be unsettling to watch.
By making Gerard a Catholic, Paul Verhoeven is able to explore the theme of Catholicism and express his views on religion. According to him, Christianity is one of many interpretations of reality in which people seek meaning and rationalization for their chaotic lives by placing their faith in God. This is evident in Gerard’s character, as he feels Mary helped him avert his doom and fully believes the events he witnesses to be his version of reality (whether they are actually real or not is up to the viewers to decide). Jeroen Krabbé expertly captures Gerard’s mental state and delivers an outstanding performance as a troubled man who gradually spirals out of control. He is charismatic and likable, and despite his unreliable nature, he makes an excellent lead for the viewer to follow throughout the film.
The 4th Man movie links: IMDB, letterboxd
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