FILM REVIEW
In the Netherlands, where it originated as a play, "1-900" was called "06," the exchange for phone-sex numbers in that country. Surprisingly little has been lost in translation, considering that the movie consists entirely of phone conversations, in Dutch with English subtitles, between a man and a woman. In fact, "1-900" is all too familiar. Like Nicholson Baker's phone-sex novel, "Vox," the film wants to be respectable, titillating and psychologically weighty. Like "Vox," it succeeds only in being a respectable and titillating stunt.
The film, directed by Theo van Gogh (known as a provocateur among film makers in his own country, and the great-nephew of Vincent), has two characters, Thomas and Sara, both middle-aged and middle class. Despite the English title, neither is employed by a phone-sex company; they find each other when Thomas answers the telephone equivalent of Sarah's personal ad.
As the camera moves back and forth between his apartment and hers, the audience can see that Thomas works at home as an architect and that Sarah lives in a small, stylish apartment with leaded-glass windows. It is also obvious that they lie, especially about their looks. He says he is "broad-shouldered and slim at the waist." She describes herself as having dark curly hair. But the actors, Ad van Kempen and Ariane Schluter, resemble Nathan Lane and Teri Garr.
There is much potential for playfulness and sly characterization, here, but "1-900" doesn't capitalize on it. Watching the film is like eavesdropping on a couple's uninventive, soft-core sex talk. Mr. van Gogh offers discreet but unmistakable images to accompany these blunt conversations, as Sarah and Thomas masturbate while on the phone. In the same way that the characters share sex without ever meeting, Mr. van Gogh attempts a visual equivalent by showing that sex without nudity. In a typical encounter, Thomas talks about his philosophy of community housing; Sarah pretends to listen while stroking her leg with a peacock feather.
Though the film leads us to assume that Thomas and Sarah are single and lonely, we know too little about their lives to be certain; and that doubt, potentially the film's shrewdest weapon, is never developed. Toward the end of the movie, there are glimpses of wit and insight. Sarah tells of a brief lesbian encounter and Thomas is outraged at her infidelity; they are, he insists, "going steady." But all this comes too late to turn the film into a character study. At the very end, a melodramatic twist adds the psychological jolt the drama has needed all along.
"1-900," which opens today at the Quad, is the first of Mr. van Gogh's six films to be shown in this country. He has great facility, and gives this two-set, two-character piece an airy feeling. He varies camera angles and lighting without being gimmicky. If only the story were as gimmick-free as his style. 1-900 Produced and directed by Theo van Gogh; written (in Dutch, with English subtitles) by Johan Doesburg, Marcel Otten, Ad van Kempen and Ariane Schluter, based on the stage play "06" by Mr. Doesburg; director of photography, Tom Erisman; edited by Ot Louw; music by Ruud Bos; released by Zeitgeist Films. At the Quad Cinema, 13th Street west of Fifth Avenue, Greenwich Village. Running time: 80 minutes. This film is not rated. WITH: Ariane Schluter (Sara) and Ad van Kempen (Thomas)
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