When the Ordinary Becomes Extraordinary

Simone (Cox Habbema) and Freek (Hugo Metsers) are pulled into a labyrinth of mysterious happenings in THE ARRIVAL OF JOACHIM STILLER (De Komst van Joachim Stiller), a 1976 Belgium film by Harry Kumel.

Most people have a daily routine from the time they get up in the morning to the time they go to bed at night. For many of us that would involve a considerable amount of time spent at work, whether at an office or at home, and this would also include the daily repetition of uneventful tasks like taking the trash out, opening the mail or brushing your teeth. But when the daily routine gets disrupted or something odd or peculiar occurs, it usually results in a more memorable day. It could also be just the beginning of a series of occurrences that change your life and the way you look at the world. This is what happens to Freek Groenevelt (yes, it’s a weird name), the protagonist of De Komst van Joachim Stiller (English title: The Arrival of Joachim Stiller), a magical realism fantasy based on a novel by Belgium writer Hupert Lampo and adapted to film by Harry Kumel. 

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How to Wreck a Hollywood Soiree

You don’t have to go back that many years to compile a long list of Hollywood films in which white actors are cast as Native Americans, Asians, Hispanics, African Americans, Pacific islanders, Arabs, etc. In fact, this controversial practice continues into the 21st century with such conspicuous portrayals like Jake Gyllenhaal as an Afghan orphan in Prince of Persia: The Sands of Time (2010) and Johnny Depp as Tonto in The Lone Ranger (2013). If you were creating a top ten hall of shame, however, it’s a good bet that Blake Edwards’ The Party (1968) starring Peter Sellers in brownface makeup as Indian film star Hrundi V. Bakshi would be near the top of the list. Yet, the film is considered by many film critics and movie lovers as one of Edwards’ best comedies and has a cult following that has nothing to do with racial stereotypes. It is also considered a radical departure from other comedies of that time for its improvised, almost experimental approach to the genre.  

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