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Hugo Metsers — Willeke van Ammelrooij
Lex Goudsmit — Helmert Woudenberg
Pim de la Parra, 1973
from an original 6x9 transparency
all photos below had this quality
The fourth feature film I worked on, and my first directed by Pim de la Parra, who later went on to make what I believe are hundreds of movies. A rather agreeable production, if not very high brow. But then, it never was intended to be.
I used the trusty 6x9 cm SLR Rittreck and Ektachrome EHB, with B/W stills on the Contaflex Alpha, Zeiss lenses. The color internegatives, as usual, were cropped too close. They were made by Hoogwerff-Eikelenboom in Den Haag, at that time a very good lab, but still printed someplace I don't care to mention the name of. At least this time they figured out that they should print them emulsion side back, as they were dupes (maybe they learned from my reaction at all those dirty tricks they pulled with VD). Nevertheless, for Dakota I switched to color negative.
At the end of the production, wasted and tired up to the normal standard, I left all my material in a taxi. Really! But the driver brought it back after some publicity on this blunder. I flung him a purse of gold.
Later, the set of slides and internegatives were lost somewhere; as far as I know, I was not to blame for that - must have happened between $corpio HQ and one of the labs. When the movie was later sold to Italy, I had to make reproductions from the set I'd (for the first time) kept myself. I never saw the prints, but they must have been pretty godawful. I scanned the same set for the pictures below, and am certain that worked out much better; even if they are 30 years old by now.
The movie ran into trouble with the then still barely alive Dutch censors, which was the reason why the world premiere was in Curaçao, where we were shooting Dakota at the time. The trouble was not the sex, but the funeral of one of the characters: a party held on one of the sight-seeing boats of Amsterdam. A solid hit.
For the die-hard fans
who made it all the way down here
Yes, it just about sums it up.
Actually, this is a condition of acute hypermeotropia.
Catering was good —
looking as fat as a pig.
(Photo Martin van Bennekum)
Pim and Hugo clowning around Frans Bromet
he made that last still
while his camera kept rolling
No way I could get through
that mob of boozed-up extras.
screenplay - Pim de la Parra/Charles Gormley
editor - Rob van Steensel/Nel Kroonberg
camera crew - Peter Brugman
Hans Simons/Dirk Teenstra
chief light - Cor Roothart
lighting - Martin van Bennekum
special effects - Adriaan de Rooy
stills - Harrie Verstappen
make-up - Ulli Ullrich
art director - Mia Houweling
wardrobe - Els Mes
Willeke van Ammelrooij's costumes - Marielle Bolier
Hugo Metsers' costumes - Bob Kostermans
assistant director - Olga Madsen
props - Rodi Schmüll
accounting - Anneke van Doorn
catering - Maartje Bijl/André Machielsen
hair Willeke van Ammelrooy - Boy G
jeans - Lois
thanks to - Jelle Stema/Eva's Boetiek
title design - Jolijn van der Wouw Total Design
location manager - Oscar de Waard
assistant producer - Rosa Bromet
sound - Kees Linthorst
mix - Peter Vink
music - Antoine Duhamel
title song sung by Dave
Afro-Brazilian rhythms Michel Delaporte
production executive - Frans Rasker
producer - Wim Verstappen
director - Pim de la Parra Jr.
Eastmancolor — Cinetone
$corpio Films 1973
Willeke van Ammelrooy
Elsje de Wijn
Jan van Royen
Wim de Meyer
Eric van Ingen
Wim van de Pafort
Herman van Dalen
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