Wan Pipel (1976)

Directed by: Pim de la Parra | 111 minutes | drama | Actors: Willeke van Ammelrooy, Asha Bharosa, Borger Breeveld, Grace Calor-Ooft, Paragh Chotkan, Diana Dobbelman, Genti, Steven Gill, Emanuel van Gonter, Henk Gopali, Ro Jackson-Breeveld, Irène Jitan-Harpal, Ruben Jitan, Amalia Macnack , J. Madho, Bhagwandei Mokkumsingh, José Mungroo, Juan Mungroo, Joyce Mungroo-OOft, Ruud Mungroo, Purcy Muntslag, Diana Gangaron Panday, Eugène Ramdin, Etwarie Ramdin-Jhawnie, Dick Scheffer, Djardj Soekhlall, Sieuwpal Soekhlall, from aerde,

‘Wan Pipel’ is a special, somewhat underrated film by director Pim de la Parra. The director, who had many successes with his partner in crime Wim Verstappen, deviates with this film from the crazy, sexually charged films of previous years. Interesting Dutch film with a lot of depth and symbolism and good leading roles by both Borger Breeveld and Willeke Van Ammelrooy. The beginning of ‘Pipel’ looks rather careless and hasty: we learn that Roy’s mother, an Amsterdammer of Surinamese descent, is dying in Paramaribo. In between we meet his girlfriend, Karina, and before you know it Roy is already on the plane to his native country. Once in Suriname, the whole thing takes a nice turn. There an interesting story is created in which close family ties, budding love, conflicting feelings and a realistic view of Surinamese society fight for priority.

None of the storylines lose their power, leaving ‘Wan Pipel’ curiously appealing. The inner struggle Roy undergoes when he sets foot in his native land is one of the film’s most compelling things. Roy, who has lived in Amsterdam for years and has apparently adapted to the Netherlands, is introduced to the history of him and his parents and ancestors in Suriname. Gradually he feels more and more connected to the country that has such a ‘special’ relationship with the Netherlands. But anyone who thinks that Suriname is an ideal country, with bounty beaches and a carefree existence, is wrong. Director De la Parra shows us a country with an enormous diversity of population groups; ‘wan pipel’ stands for ‘one people’, which Suriname should be, but the mutual differences are nevertheless large. It is striking that Roy’s father, a man who clings to traditions, likes Roy’s white girlfriend from Amsterdam and doesn’t like Rubia, the Hindu girl that Roy also likes. Perhaps Roy’s father sees Karina (Van Ammelrooy) as the ‘highest attainable’ factor for his son and the family; in ‘Pipel’ many Surinamese see the Netherlands as the promised land where you should go, if you get the chance.

At the same time, De la Parra takes us into the world of the Hindu community, which is steeped in ancient customs and rituals and is self-centered. The fact that Rubia has association with a Negro, a Creole, is a disgrace in their circles, which proves that discrimination exists among all peoples. Borger Breeveld impresses as Roy. His acting is sometimes a bit wooden, but the doubt he radiates about his origin and about love is convincing. Van Ammelrooy is as good as ever, both sensual and sassy, ​​and doesn’t strip down like in many of her earlier films, including ‘Frank & Eva’ from 1973. Also Emanuel van Gonter’s role, as Roy’s traditional, overprotective father, is worth a mention. He wants the best for his son, but he cannot stand his fickleness and unfamiliarity with the old Surinamese customs. The rest of the cast is largely of Surinamese descent, which is refreshing for the credibility of the story. A beautiful and fascinating Dutch film, which deserves more attention.