Night Ride (2006)

Directed by: Dana Nechushtan | 90 minutes | drama, crime, thriller | Actors: Frank Lammers, Fedja van Huêt, Peggy Jane de Schepper, Zita de Quay, Mohammed Chaara, Henk Poort, Hans Kesting, Fred Schrijber, Bob Schrijber, Jeroen Willems, Jaap Spijkers, Lukas Dijkema, Martijn Oversteegen, Bas Keijzer, Ko van den Bosch, Marcel Musters, Harry Slinger, Celia van den Boogert, René Riva, Hadewych Minis, Titus Goeman Borgesius, Frits Lambrechts, Alix Adams, Debbie Korper, Gijs de Lange, Barry Atsma, Nezha Karim

It is an interestingly dramatic fact: the taxi war in Amsterdam. And director Dana Nechushtan, known from the series ‘Dunya and Desi’, has used this highly flammable situation as a background for the personal drama of Dennis (Frank Lammers), who sees his dream of running a lemonade company fall into the water, and finds himself works so far into debt and trouble that his life, and even that of his loved ones, is in danger. Nechushtan has very successfully processed these elements into a grim and authentic story full of underworld practices, tearjerkers and no-nonsense attitudes.

Dennis has his dream together with brother Marco (Fedja van Huet), who shares his love for Dutch folk music, as becomes clear in a nice karaoke scene at the beginning of the film. What Dennis has in common with his brother is the love for his wife Elize, played by Peggy Jane de Schepper. This has the potential to drive a wedge between the brothers, and it seems to be heading for this in the film. It starts with some frolic and a fleeting kiss at the front door, but you sense that it won’t stop there. This drama is not played out in the expected way, but finds its effect in another area. Namely in the central problem of Dennis and his large debts with “Uncle Jan”, a criminal with Godfather-style, beautifully portrayed by opera and musical star Henk Poort. This one employs a bunch of free fighters to chase down defaulters, and make Dennis and Marco’s life quite difficult.

Van Huet may be the biggest name in ‘Nachtrit’, but it is Frank Lammers who has the most to do in the film and who also leaves the most impression, although both actors perform well. Above all, he has to look worried and insecure, but he also acts convincingly at times when he has to be fanatical or loving. Peggy Jane de Schepper doesn’t have that much to do in the film, but it still provides enlivenment and some extra dose of tension and drama. When she is slapped in the face by Marco in a domestic argument, we can see just how fierce he can be, and how dangerous it would be for Dennis to betray his trust, both personally and professionally. area. It’s good that this threat, as well as that of uncle Jan and his gorillas, is present, as the story about the (violent) taxi war and the financial problems it causes for Dennis and his dream, is not exciting or interesting enough on its own. Fortunately, all this is only the context in which or next to which the greatest problems take place. The mafia tinge that the film has now acquired ensures greater involvement in Dennis’ increasingly hopeless situation. We really feel sorry for this good lobster, who wants nothing more than to make his brother’s dream come true.

It also effectively plays with the viewer’s familiarity with mafia or gangster films. It is true that after a serious incident at the police station Dennis (and the viewer) is told that he is in danger if he goes back out on the street a little later, but because the viewer knows from experience that these types of people cannot be messed around with. the moment Dennis carefully looks out the door before taking the plunge, extra nerve-wracking.

Although not many characters are developed beyond a few simple traits and behaviors, there are more complex relationships in the film than you might think at first glance. For example, Maathoud, Dennis’ Moroccan colleague, is constantly the subject of silly jokes and allusions (in the beginning of the film he is called a “nato” – a North African type on sports shoes – and he is invariably addressed as “Ahmed”) , but this turns out to be mere appearance and play. At important moments we see that Dennis stands up for him and that Mahmoud turns out to be the only real friend Dennis can turn to.

In the midst of all the bleakness and gloom, there is still room for airy or inspired contrast. Often musically, by means of yet another tearjerker, but sometimes also by making use of threat in a special way. A good example of this is the scene in which uncle Jan’s two accomplices visit Dennis to “talk” to him. Very politely they exchange a few words with Dennis in front of his door, before going inside. There a Tarantino-esque discussion takes place about the delicious coffee Dennis makes, and how it makes it so tasty. It’s reminiscent of a similar scene in ‘Pulp Fiction’ but the trivial dialogue works even better here due to the danger the two free fighters pose. It makes the whole situation extra exciting. At the same time, in a wry way, there is also something friendly about it. As if the two men allow him this conversation for a while before they proceed to their horrific deeds.

An interesting addition from reality is the scene in which Dennis jams a competing driver to pull his passengers – one of whom is Theo Maassen – from the car, because he had seen them before and believes that his “colleague” is his customers. has stolen away. Funny and bizarre, but really happened. Also authentic (Amsterdam) are the dialogue, in which no mincing words are taken, and the characterizations of the characters. Fortunately, the ending manages to find an appropriate balance between (some) hope and tragedy; one that’s consistent with the tone of the rest of the film and doesn’t take the easiest way out. The last scene is perfectly executed, with a nice symmetry as Dennis makes two cups of coffee – made in the way he discussed earlier – for the visit that is due to arrive at any moment.

‘Nachtrit’ has become a skillfully made and acted film that effectively sets a personal drama against a background that is recognizable to the Dutch. The parts individually might not be very compelling, but combined they manage to successfully bind the viewer to the film and leave it with a satisfied feeling. The film is tragic, melancholic, humorous (of the black and sarcastic kind), and can even be called poetic in its direction. Dutch Film continues to do well.