If you ever wondered how the Netherlands became a seemingly forsaken land that is mainly associated with great legal weed, prostitution, euthanasia, government subsidized sex changes, and virtually any and every form of disgustingly degenerate neo-liberal socio-cultural rot, the little known Dutch feature 1000 Rosen (1994) aka 1,000 Roses aka Duizend Rozen directed by Theu Boermans will certainly lead you in the right direction. In fact, it is the only film I can think of that tells it like it is and—instead of portraying Americans as the great liberators—exposes the fact that the United States turned Western Europe into its own museum-cum-whorehouse after the World War II. Based on the 1990 play of the same name by Austrian playwright Gustav Ernst—a man probably best known in the cinema world for penning the Austrian cult flick Exit... nur keine Panik (1980) aka Exit... But No Panic and its sequel Exit II - Verklärte Nacht (1995) aka Exit II - Transfigured Night—the film was fairly critially successful in the Netherlands where it won three Gouden Kalf in 1994, including Best Actress, Best Actor and Best Film, yet it remains completely unknown even among seasoned cinephiles outside the Dutch speaking world. Indeed, despite winning the Dutch equivalent of an Oscar in three major categories and various other coveted prizes in other festivals, Boermans’ film, like the seeming majority of great Dutch cinema, has never been released outside of the Netherlands, which is rather unfortunate considering it features an absolutely scathing socio-political message that is very much relevant to contemporary Western Europe and various other parts of the world.
A political parable disguised as a black dramedy featuring bittersweet moments of lusciously colored magical realism that somewhat ironically symbolizes the collective death of an entire population and its history, 1000 Rosen depicts the swift and savagely painful yet nonetheless beauteous death of a long dying town as a result of a devilishly duplicitous American company coming to town and completely dismantling the entire place. Depicting a necrotizing microcosm plagued by rampant fatherlessness, alcoholism, pedophilia, and various other forms of all-too-common social dysfunction and cultural decay, Boermans’s striking debut—a cinematic work based on a play that the director began performing in 1990 with a troupe of actors that would partly make up the film's cast—is a pleasantly political incorrect work that depicts American hegemony and globalization as something akin to a nuclear holocaust, albeit somewhat more aesthetically pleasing. A fairly amazing debut for a theater actor and stage director with seemingly nil film directing experience, the film can be certainly compared by cinematic works by Alex van Warmerdam, Adriaan Ditvoorst, and Roy Andersson in terms of their aesthetics and darkly comedic depiction of the decline of the Occident, yet Boermans’ film can hardly be described as derivative, even if seem Dutch film critics have criticized it for being supposedly too contrived and formulaic. Ultimately, 1000 Rosen reveals why Francis Parker Yockey was right when he wrote in 1953 in his book The Enemy of Europe regarding the decidedly deleterious effect of America on Europe, “The Europe of 2050 will be essentially the same as that of 1950, viz. a museum to be looted by barbarians, a historical curiosity for sightseers from the colonies; an odd assortment of operetta-states; a reservoir of human material standing at the disposal of Washington and Moscow; a loan market for New York financiers; a great beggars' colony, bowing and scraping before the American tourists.”
A political parable disguised as a black dramedy featuring bittersweet moments of lusciously colored magical realism that somewhat ironically symbolizes the collective death of an entire population and its history, 1000 Rosen depicts the swift and savagely painful yet nonetheless beauteous death of a long dying town as a result of a devilishly duplicitous American company coming to town and completely dismantling the entire place. Depicting a necrotizing microcosm plagued by rampant fatherlessness, alcoholism, pedophilia, and various other forms of all-too-common social dysfunction and cultural decay, Boermans’s striking debut—a cinematic work based on a play that the director began performing in 1990 with a troupe of actors that would partly make up the film's cast—is a pleasantly political incorrect work that depicts American hegemony and globalization as something akin to a nuclear holocaust, albeit somewhat more aesthetically pleasing. A fairly amazing debut for a theater actor and stage director with seemingly nil film directing experience, the film can be certainly compared by cinematic works by Alex van Warmerdam, Adriaan Ditvoorst, and Roy Andersson in terms of their aesthetics and darkly comedic depiction of the decline of the Occident, yet Boermans’ film can hardly be described as derivative, even if seem Dutch film critics have criticized it for being supposedly too contrived and formulaic. Ultimately, 1000 Rosen reveals why Francis Parker Yockey was right when he wrote in 1953 in his book The Enemy of Europe regarding the decidedly deleterious effect of America on Europe, “The Europe of 2050 will be essentially the same as that of 1950, viz. a museum to be looted by barbarians, a historical curiosity for sightseers from the colonies; an odd assortment of operetta-states; a reservoir of human material standing at the disposal of Washington and Moscow; a loan market for New York financiers; a great beggars' colony, bowing and scraping before the American tourists.”
While I have never even visited the Netherlands, I have known my entire life that something horrible happened to the tiny Lowland nation as a result of the Second World War because my grandfather was a Dutchman who regrettably left his homeland for the United States of America in the 1950s. Indeed, I was always told as a child that my grandfather came to the U.S. because he was thoroughly depressed by what had become of his homeland, but it was only until I was much older that I truly began to realize how the Netherlands degenerated from a relatively powerful empire with colonies all around the world into becoming an overcrowded neo-liberal hellhole that is being invaded by third world barbarians and savages that would love nothing more than to exterminate the country and people that subsidize their mostly parasitic existences. While the Germans—a longtime foe of the Dutch despite their shared blood and history—typically gets the blame for the Netherland’s decline due to the Nazi occupation during the Second World War, 1000 Rosen demonstrates in a wonderfully wicked sort of way that it was ultimately the Americans that raped and destroyed the country and turned it into, not unlike the rest of Western Europe, a servile vassal state with no true sovereignty of its own. In its depiction of a classically tall, dark, and handsome Clark Kent-esque American businessman from Minnesota named Mr. Marshall who comes to a destitute Dutch town as an elusive all-powerful savior and ultimately proves to be the worst sort of wolf in sheep’s clothing by buying out the main factory and deindustrializing the entire area, the film reveals in a fantastic allegorical fashion how the so-called Marshall Plan (aka the European Recovery Program, ERP) dismantled the country’s infrastructure, industry, culture, traditions, and self-determination, among other things. Indeed, 1000 Rosen is anything but a tribute to the false song of globalism and it's assorted social afflictions like multiculturalism, pop culture, feminism, and various other forms of deracinating nation-destroying degeneracy.
Depicting a morally inverted world where unmarried mothers put their own petty concerns over that of their much loathed fatherless bastard daughters and featuring an extra eerie conclusion where a little girl and a pedophiliac banker that is obsessed with said little girl are the only survivors and thus leave town together in what is indubitably a hauntingly sardonic conclusion, 1000 Rosen might be rather dark and depressing yet it also quite entertaining, humorous, and aesthetically pleasing, not to mention a rare quasi-mainstream Dutch flick that dares to reveal that post-WWII Netherlands became the desperate whore of the pernicious bloodsucking pimp that is the United States of Zion. Indeed, a rare piece of anti-American cinema that, quite unlike a bombastic agitprop piece by archetypal American liberal slob Michael Moore, is not innately insipid, juvenile, or cynical in an impotent leftist sort of way, the film depicts in a semi-surreal fashion the last gasp of the land that produced Rembrandt and both van Goghs in a manner that can be understood by children yet appreciated on a deeper level by pretentious art fags. While I hate to quote the old bitter kosher commie culture-distorter, the film is also thankfully a rare cinematic work that manages to contradict Adorno's statement regarding modern art, “[A]rt no longer has the task of representing a reality that is preexisting for everyone in common, but rather of revealing, in its isolation, the very cracks that reality would like to cover over in order to exist in safety; and that, in doing so, it repels.” In fact, 1000 Rosen features both literal and figurative cracks of a rather grim reality regarding the slow and painful secret ethnic cleansing of Western Europe by generic looking American men with phony smiles that operate under the pernicious guidance of hidden forces that would love to transform every church into a McDonald's and replace every native Dutchman with an automaton-like Indian or Chinese slave-wager.
Rather fittingly, 1000 Rosen begins relatively wholesomely with an unseen dipsomaniac putting the finishing touches on a wooden mouse maze. The maze was created by a working class zero named Harry (Jaap Spijkers) as a birthday present for his longtime girlfriend’s daughter Liesje (Tessa Lilly Wyndham). As the film eventually reveals, no one seems to know who Liesje’s biological father is, but it is hinted that her so-called ‘uncle’—a sleazy and creepy bank director named ‘Otto’ (Hannes Demming)—might be the little girl's true progenitor. Likewise, it is also hinted that Otto is the father of Liesje’s mother Gina (Marieke Heebink), as he apparently has a sexual history with both the mother and daughter. Indeed, not only is Otto a predatory capitalist, but he is a also a unabashed sexual predator who has no problem feeling up a prepubescent girl while in the company of said little girl's grandmother. As a self-absorbed bitch that lives a pathetic existence and wants someone to blame, Gina naturally resents her daughter Liesje because she has no life as a result of getting pregnant at 18 and being forced to work at the local wiring factory instead of pursuing her dream of studying languages and traveling abroad. Despite loathing her life, Gina is better off than most people in the area since she is the manager of the local factory, which is the town's main source of income. Not surprisingly, Gina’s mother (Marianne Rogée) also resents her for similar reasons, though she loves her granddaughter Liesje and even confesses to the little girl, “When you were born, I knew right away…that the best part of my daughter was you.” As the mouse maze at the beginning of the film alludes to, all of these characters are trapped in a perennial maze of insufferable redundancy and, not unlike the mice, they will inevitably die mostly slow and painful deaths in their proletarian prison, though not before suffering the misguided delusion that they might escape after the yanks come to town and ostensibly save the day.
The film is set in an anachronistic world with aspects of both the early 1960s and early 1990s where Low German (aka ‘Nederduits’)—a dialect of Northern Germany that can be understood with relative ease by Dutch people—is spoken and children are virtually nonexistent. Little Liesje—an inordinately adorable yet tragic child that has already clearly suffered much suffering in her short and seemingly rather static life—seems to be a mute as she does not speak at all and seems to be quasi-autistic yet at the same time she displays almost mystical insights that, quite unlike the dysfunctional adults that surround her, give her the capacity to realize that her town is on the brink of a catastrophic disaster. Obsessed with staring at a painting of a red rose on her blood-colored bedroom wall, Liesje notices everything that the adults cannot seem to see, including random appearance of quasi-apocalyptic cracks in the earth and plants sprouting in the most random of places. When a group of Americans led by an almost mythical figure named Mr. Marshall (Rik Launspach)—a shadowy yet handsome and seemingly all-powerful character that is always symbolically depicted standing behind doors and windows—the plants become more prominent and random citizens begin coughing up blood for seemingly no reason as if consumed by some sort of mysterious plague that ultimately seems to be more metaphysical than physical in origin.
Indeed, the unexpected arrival of the Americans, including a couple well dresses negroes, completely corrupts the equilibrium of the town, especially in regard to romantic and familial relationships. For instance, Liesje’s mother Gina soon drops her longtime boyfriend/pseudo-husband Harry—a sub-literate forklift driver that seems to mean well but is just too much of a dumb and dangerous drunk to ever be a truly decent husband/father figure—for a meek, weak, and pathetic white knight computer nerd named Kernstock (Bert Geurkink) who is married to a large, masculine, and grotesquely overly domineering nurse named Rita (Marisa Van Eyle) who calls him “little bear” and gives him unwanted blowjobs. Aside from giving distinctly disgusting blowjobs where it seems like she might suck off her husband Kernstock's cock, Rita does think think twice about giving passive handjobs to elderly patients while simultaneously carrying out wifely duties like frying eggs. As Kernstock reveals regarding his life ambitions, “I always thought one half of me would work…and the other half would prepare for a Canary Island. One half sold to the factory and the other half able to live.” Unfortunately for Kernstock, like virtually everyone in the town, his dreams are about to degenerate into a horrendous nightmare that makes the final days of the German occupation seem like a gentle stroll in the park by comparison.
Indeed, the unexpected arrival of the Americans, including a couple well dresses negroes, completely corrupts the equilibrium of the town, especially in regard to romantic and familial relationships. For instance, Liesje’s mother Gina soon drops her longtime boyfriend/pseudo-husband Harry—a sub-literate forklift driver that seems to mean well but is just too much of a dumb and dangerous drunk to ever be a truly decent husband/father figure—for a meek, weak, and pathetic white knight computer nerd named Kernstock (Bert Geurkink) who is married to a large, masculine, and grotesquely overly domineering nurse named Rita (Marisa Van Eyle) who calls him “little bear” and gives him unwanted blowjobs. Aside from giving distinctly disgusting blowjobs where it seems like she might suck off her husband Kernstock's cock, Rita does think think twice about giving passive handjobs to elderly patients while simultaneously carrying out wifely duties like frying eggs. As Kernstock reveals regarding his life ambitions, “I always thought one half of me would work…and the other half would prepare for a Canary Island. One half sold to the factory and the other half able to live.” Unfortunately for Kernstock, like virtually everyone in the town, his dreams are about to degenerate into a horrendous nightmare that makes the final days of the German occupation seem like a gentle stroll in the park by comparison.
Aside from Liesje, her grandmother, who is a stereotypical old-timer that hates change of any sort, seems to be the only other person that has a strong feeling that the Americans will bring disaster to the town. Indeed, grandma even reacts violently when her daughter Gina buys a used computer from Kernstock for accounting purposes at the wiring factory. Grandma has dedicated her entire life to working at the factory and as she proudly screams at Harry and Gina regarding her seemingly indomitable work ethic, “At your age I was up at five! You’re weaklings! No Bones! […] I’ve stood all my life! I never laid down! Even when I laid down! I remember myself as only being upright.” When Gina goes behind her back and gets a large loan from ‘uncle’ Otto so that she can buy her own land and house, grandmother kicks her out of her home, which is incidentally located inside the same building as the factory, and throws all of her belongings into the street, thus forcing her to sleep in her work office. Not surprisingly, Gina does not seem to concerned with the fact that her daughter Liesje continues live inside her mother's home. Meanwhile, Harry is left seriously hospitalized after crashing his work truck into a billboard after getting in a fight with Gina over her relationship with Kernstock and her refusal to move inside his Winnebago. While Harry originally purchased the Winnebago so he would not have to live under the same roof as Gina, Liesje, and the grandmother, the loss of his ladylove to Kernstock finally made him realize how important she was to him, hence his desperate suicidal decision to crash his truck into a billboard advertising to “invest now” in the dubious American corporation. Of course, Gina is one of the fools that opts to invest and her banker uncle Otto even gives her a fairly decent sized loan which she suspects is an attempt for him to make amends for the fact that he molested her when she was a little girl, though he charges her 11% interest because, as he matter-of-factly states in a slightly sinister fashion, “Only death is for free.” Needless to say, Gina and virtually everyone she knows will receive this once-in-a-lifetime freebie by the end of the film.
Not long after hotheaded Harry's rather convenient accident, Kernstock gets completely fed up with his raunchy ratchet wife Rita and leaves her for good after she gives him a rather nasty involuntary blowjob from under his computer desk. Notably, while receiving the completely grotesque unwanted face-fake, Kernstock states to Rita in a rare moment where he displays some level of testicular fortitude, “It’s slim legs I think of, if you must know…and tight cunts I think of…and not your barn hole.” To add insult to injury, Kernstock not only takes Harry’s woman but also takes residence in his beloved Winnebago. When she and her mother later visit Harry in the hospital, Liesje confirms that Gina is fucking Kernstock, even though they have not technically sealed the sexual deal yet (as is quite apparent throughout the entire film, Gina has her eye on Mr. Marshall and is simply using poor cuckold Kernstock as a sort of slavish life-planner due to his supposed economic intelligence and prowess behind a computer). Eventually crippled Harry and Rita proceed to begin a grotesque ‘rebound relationship’ where they both declare to take murderous revenge against their ex-lovers. Indeed, while Harry vows to kill Kernstock in a most gruesome fashion, Rita brags in a rather venous fashion how she plans to kill her hubby in his own bed whilst giving him one of her infamous handjobs. Meanwhile, Gina and Kernstock are so happy about their would-be-bright future together that they literally slow dance together on top of graves in the local graveyard in a darkly humorously symbolic scene that seems to reflect the absurdly misguided, blind enthusiasm that the post-WWII Dutch had for mindlessly of disposing their nation's entire history and culture and forgetting their ancestors in the hope that they would monetarily benefit from the Americanization of their homeland. Of course, in the end, the scheming Americans, who have no organic kultur and are solely monetarily motivated and thus anti-Occidental, not only bring them deindustrialization and destitution, but death and total destruction.
Not long after hotheaded Harry's rather convenient accident, Kernstock gets completely fed up with his raunchy ratchet wife Rita and leaves her for good after she gives him a rather nasty involuntary blowjob from under his computer desk. Notably, while receiving the completely grotesque unwanted face-fake, Kernstock states to Rita in a rare moment where he displays some level of testicular fortitude, “It’s slim legs I think of, if you must know…and tight cunts I think of…and not your barn hole.” To add insult to injury, Kernstock not only takes Harry’s woman but also takes residence in his beloved Winnebago. When she and her mother later visit Harry in the hospital, Liesje confirms that Gina is fucking Kernstock, even though they have not technically sealed the sexual deal yet (as is quite apparent throughout the entire film, Gina has her eye on Mr. Marshall and is simply using poor cuckold Kernstock as a sort of slavish life-planner due to his supposed economic intelligence and prowess behind a computer). Eventually crippled Harry and Rita proceed to begin a grotesque ‘rebound relationship’ where they both declare to take murderous revenge against their ex-lovers. Indeed, while Harry vows to kill Kernstock in a most gruesome fashion, Rita brags in a rather venous fashion how she plans to kill her hubby in his own bed whilst giving him one of her infamous handjobs. Meanwhile, Gina and Kernstock are so happy about their would-be-bright future together that they literally slow dance together on top of graves in the local graveyard in a darkly humorously symbolic scene that seems to reflect the absurdly misguided, blind enthusiasm that the post-WWII Dutch had for mindlessly of disposing their nation's entire history and culture and forgetting their ancestors in the hope that they would monetarily benefit from the Americanization of their homeland. Of course, in the end, the scheming Americans, who have no organic kultur and are solely monetarily motivated and thus anti-Occidental, not only bring them deindustrialization and destitution, but death and total destruction.
In the last 30 minutes or so of the film, 1000 Rosen takes a sort of fantastic apocalyptic turn for the worst that has its genesis in the American corporation secretly dismantling the industry of the entire town literally over night and leaving to go back to the United States in what is undoubtedly a symbolic depiction of America's pernicious predatory effect on a rather vulnerable post-WWII Western Europe. When Liesje’s grandmother witnesses firsthand the dismantling of the factory that she has slaved away at her entire life, she hysterically screams, “I knew it! I knew it right from the start!” and then sets her eyes on treacherous banker Otto and rightly yells at him while he watches pathetically from the comfort of his office window, “And you did too! You’ve ruined us! All of us. The town, me, Gina! You and your bloody friends!” just before killing herself by throwing herself in front of one of the trucks that is hauling away the equipment from the town as her haunted granddaughter looks on. Notably, while all this is going on, Gina is spending a splendid vacation at the beach where she finally gives Kernstock what he wants by less than passionately fucking him. Indeed, instead of being there for her traumatized daughter Liesje, who has just witnessed the brutally tragic suicide of her grandmother, Gina is busy riding the cock of a cuck that she seems to have nil sexual or emotional interest in, but of course one should not expect anything less from a modern liberated woman who puts self-interest above all us.
The next day after the Americans have completely abandoned the area and shipped all of the local factory's machines and equipment to some shithole on the Dark Continent (notably, when Gina later asks Otto why the Americans would be interested in such “junk” machines and equipment, the sleazy pedo banker replies that they are, “Good enough for Africa”), the town is in a fully apocalyptic state where every single person is trying in vain to evacuate the region before they croak. Indeed, when Rita finally arrives back to town from her vacation with Kernstock, she is somewhat startled to find corpses hanging from ropes, dead bodies in the street, buildings on fire, and everyone in acting with the utmost animalistic desperation. In the film’s somewhat surprisingly ultra-violent and forebodingly atmospheric climax, little Liesje takes a sort of prophetic revenge against the adults that failed her by locking her mother Gina, pseudo-father Harry, Kernstock, and Rita in the abandoned factory and unleashing two black hellhounds on them. Notably, before the Americans left the area for good and the entire town went to hell, Liesje seemed to have a premonition of the tragedy that would ensue after looking at the maze mouse she received for her birthday and discovering that all the mice were dead. Both distressed and angered by the sight of the dead mice, Liesje smashed the maze to bits in a rather violent fashion, as if she had a reluctant emotional longing for the destruction of the people and entire world that failed her.
Now trapped in the mazelike factory like scared rodents, the adults in Liesje’s life have become the mice and of course now they must die, or so Liesje seems to believe as demonstrated by her actions. Indeed, after Harry brutally slaughtering Kernstock with a chainsaw, Liesje’s dogs maul Rita to death while she is sobbing and caressing the corpse of her dead hubby. When Gina dares to rebuff his love and declares she is making a new life for herself in America after he corners her in the factory, Harry, who has become murderously lovesick, uses a forklift to crush her body against a wall. As for Harry, his fate is no less gruesome as Liesje blows his brains out with his own shotgun, which is somewhat ironic considering he was the one responsible for teaching the little girl how to shoot in the first place. In the end, the entire town transforms into a sort of inordinately beauteous and dreamy graveyard after it is completely overgrown with wild plants and red roses. As for little Liesje, she tragically but not surprisingly follows in the footsteps of her grandmother and mother by becoming Uncle Otto’s whore and leaving the town with him in what is ultimately a hauntingly stunning conclusion to a deceptively dark and morbid film where lecherous humor and raunchiness is cleverly utilized to make the prospect of the slow and painful American-funded extermination of an entire Dutch town easier to swallow.
The next day after the Americans have completely abandoned the area and shipped all of the local factory's machines and equipment to some shithole on the Dark Continent (notably, when Gina later asks Otto why the Americans would be interested in such “junk” machines and equipment, the sleazy pedo banker replies that they are, “Good enough for Africa”), the town is in a fully apocalyptic state where every single person is trying in vain to evacuate the region before they croak. Indeed, when Rita finally arrives back to town from her vacation with Kernstock, she is somewhat startled to find corpses hanging from ropes, dead bodies in the street, buildings on fire, and everyone in acting with the utmost animalistic desperation. In the film’s somewhat surprisingly ultra-violent and forebodingly atmospheric climax, little Liesje takes a sort of prophetic revenge against the adults that failed her by locking her mother Gina, pseudo-father Harry, Kernstock, and Rita in the abandoned factory and unleashing two black hellhounds on them. Notably, before the Americans left the area for good and the entire town went to hell, Liesje seemed to have a premonition of the tragedy that would ensue after looking at the maze mouse she received for her birthday and discovering that all the mice were dead. Both distressed and angered by the sight of the dead mice, Liesje smashed the maze to bits in a rather violent fashion, as if she had a reluctant emotional longing for the destruction of the people and entire world that failed her.
Now trapped in the mazelike factory like scared rodents, the adults in Liesje’s life have become the mice and of course now they must die, or so Liesje seems to believe as demonstrated by her actions. Indeed, after Harry brutally slaughtering Kernstock with a chainsaw, Liesje’s dogs maul Rita to death while she is sobbing and caressing the corpse of her dead hubby. When Gina dares to rebuff his love and declares she is making a new life for herself in America after he corners her in the factory, Harry, who has become murderously lovesick, uses a forklift to crush her body against a wall. As for Harry, his fate is no less gruesome as Liesje blows his brains out with his own shotgun, which is somewhat ironic considering he was the one responsible for teaching the little girl how to shoot in the first place. In the end, the entire town transforms into a sort of inordinately beauteous and dreamy graveyard after it is completely overgrown with wild plants and red roses. As for little Liesje, she tragically but not surprisingly follows in the footsteps of her grandmother and mother by becoming Uncle Otto’s whore and leaving the town with him in what is ultimately a hauntingly stunning conclusion to a deceptively dark and morbid film where lecherous humor and raunchiness is cleverly utilized to make the prospect of the slow and painful American-funded extermination of an entire Dutch town easier to swallow.
While undoubtedly a decidedly dark and grim cinematic work that might possibly drive more sensitive and vulnerable minds to suicide, 1000 Rosen is unequivocally a classic of Dutch comedy, though it would be unfair to describe it as simply a comedy as it totally transcends both genre conventions and expectations as an unpretentious arthouse work that seamlessly weaves elements of comedy, melodrama, romance, fantasy, and even horror in an elegant yet nonetheless ultimately brutal fashion. In terms of depicting a post-WWII Dutch town as a culturally and morally decaying hellhole in a strangely humorous fashion that reminds the viewer why the Netherlands has never recovered from the Second World War but instead mutated into a virtual Americanized graveyard, the film is comparable to works like Adriaan Ditvoorst’s quasi-biblical anti-liberal epic De Mantel der Liefde (1978) aka The Mantle of Love, Rudolf van den Berg’s somewhat uneven Gerard Reve adaptation De Avonden (1989) aka Evenings, Alex van Warmerdam’s De Noorderlingen (1992) aka The Northerners, and Martin Koolhoven’s Suzy Q (1999), yet it also features surprising moments of magic realism comparable to the films of Belgian auteur filmmakers like Harry Kümel and Baron André Delvaux (incidentally, the film was mostly shot in the historical town of Bois-du-Luc in southern Belgium). Interestingly, contemporary Belgian auteur Koen Mortier—a filmmaker whose debut feature Ex Drummer (2007) takes a darkly comedic approach to depicting the abject moral and cultural deterioration of contemporary Belgium—worked on 1000 Rosen as a location manager and it seems that being involved with this film inspired his entire approach to filmmaking. It should also be noted that auteur Theu Boermans was born in the ‘Dutch Caribbean’ of Netherlands Antilles, thus he probably has a somewhat different and distinct perspective on the decline on the Netherlands. Boermans, who is certainly better known as an actor and stage director than as a filmmaker, would demonstrate his versatility with Dutch dialects by portraying a tragic Limburg farmer in Frouke Fokkema’s underrated anti-Heimat piece Kracht (1990) aka Vigour, which features a number of the same actors as 1000 Rosen and was produced by the same production company. If Ex Drummer, Kracht, and 1000 Rosen all have something in common, it is that they depict a sick, senile, and decrepit Europa where even small towns and villages in the countryside are not immune from the spiritually, culturally, and economically deleterious effects of Americanization.
In his arguable magnum opus Histoire(s) du cinéma (1988-1998)—a highly personal 8-part video project about the history of cinema that the auteur took over a decade to complete—French alpha-auteur Jean-Luc Godard brings forth the rather reasonable yet rarely acknowledged historical thesis that both Germany and the United States were in competition during World War II for total world domination, or as kosher film critic Richard Brody noted in a typically whiny Judaic fashion in his tome Everything Is Cinema: The Working Life Of Jean-Luc Godard (2008), “Though Godard was obsessed with the Holocaust as an unparalleled horror, he relativized the monstrosity of the political force that brought it about. As Godard asserted in ALL THE STORIES, the war resulted in not one but two attempts at world dominion—Germany’s unsuccessful military conquest, and America’s successful cultural one: just as ‘after the First World War, Hollywood destroyed French cinema, after the Second World War Hollywood destroyed all the cinemas of Europe with television and money.’ On-screen, Godard flashes the word Endlösung (final solution), suggesting that, while Hitler had used the cover of war to try to exterminate the Jews of Europe, the United States had used it to wipe out the national movie industries of Europe. He shockingly presented these two deeds as parallel, as motivated by a similar sense of national self-righteousness and drive for hegemony. Thus, rather than considering Germany alone to have been the invaders and the United States the liberators, Godard saw wartime France and the other European nations as innocent victims caught between these two behemoths.” Of course, Brody’s glaring hysterical Hebraic outrage aside, Godard is mostly right, hence the importance of a film like 1000 Rosen that dares to propose that America has had a largely catastrophic effect on Europe and European culture. It should also be noted that Godard rightly believes that Hollywood is largely run by Jewish gangsters and criminals, so naturally Americans movies should be considered nothing more than toxic culture-distorting trash that is used be an alien people to not only deracinate and debase Europeans with degeneracy, but also the American white majority and virtually every other group of people in the world.
Indeed, while the United States might have officially won the Second World War, it was ultimately a loss for Western Europe and European-Americans in the long run as they came under the influence of a hostile anti-Occident people, or as Francis Parker Yockey noted in his magnum opus Imperium (1948), “The result of all this is a powerful spiritual influence on the American people. This people reads the books which aliens write or edit for it. It sees the plays and cinemas it is allowed to. It thinks the thoughts that are put into its head. It is thrown into wars against American interests, which it can only lose. The issue of war and peace, life and death, is decided for America by the Cultural alien. America has been given a semitic countenance. Americans who hold power hold it in the deference to the alien. To oppose him dare no public men. Americans were told that they must be concerned with the partitioning of Arabia, and no national channel existed through which an American could deny fundamentally the world-picture which supported such a policy.” While Yockey wrote these words in 1948, they clearly ring true today.
Notably, Godard, himself a lifelong leftist and ex-Maoist, also believed that the Third Reich had the last truly and organically European cinema, even once stating in a 1991 interview with Le Monde, “The German cinema under Nazism is the only cinema that wanted to be European . . . The German cinema is the only one that fought against America, that did what Jack Lang would like to do.” Undoubtedly, one of the things that makes 1000 Rosen such a liberating cinematic experience is that it is innately anti-Hollywood and, in turn, totally Judenfrei (somewhat ironically, the French politician that Godard mentioned, Jack Lang, is descended from a family of Jewish freemasons, thus hardly someone that you would expect to be an advocate for a Renaissance of a truly French cinema).
Indeed, while the United States might have officially won the Second World War, it was ultimately a loss for Western Europe and European-Americans in the long run as they came under the influence of a hostile anti-Occident people, or as Francis Parker Yockey noted in his magnum opus Imperium (1948), “The result of all this is a powerful spiritual influence on the American people. This people reads the books which aliens write or edit for it. It sees the plays and cinemas it is allowed to. It thinks the thoughts that are put into its head. It is thrown into wars against American interests, which it can only lose. The issue of war and peace, life and death, is decided for America by the Cultural alien. America has been given a semitic countenance. Americans who hold power hold it in the deference to the alien. To oppose him dare no public men. Americans were told that they must be concerned with the partitioning of Arabia, and no national channel existed through which an American could deny fundamentally the world-picture which supported such a policy.” While Yockey wrote these words in 1948, they clearly ring true today.
Notably, Godard, himself a lifelong leftist and ex-Maoist, also believed that the Third Reich had the last truly and organically European cinema, even once stating in a 1991 interview with Le Monde, “The German cinema under Nazism is the only cinema that wanted to be European . . . The German cinema is the only one that fought against America, that did what Jack Lang would like to do.” Undoubtedly, one of the things that makes 1000 Rosen such a liberating cinematic experience is that it is innately anti-Hollywood and, in turn, totally Judenfrei (somewhat ironically, the French politician that Godard mentioned, Jack Lang, is descended from a family of Jewish freemasons, thus hardly someone that you would expect to be an advocate for a Renaissance of a truly French cinema).
While 1000 Rosen subtly credits the Marshall Plan as destroying Western Europe, the film fails to mention a much more pernicious and malefic conspiracy known as the Coudenhove-Kalergi Plan that entails the ‘passive extermination’ of the indigenous European peoples as envisioned by the demented and philosemitic half-breed Austrian-Jap aristocrat Richard von Coudenhove-Kalergi, who might be best described as the spiritual father of the dystopian anti-imperium known as the ‘European Union.’ Like many racially mongrelized individuals, von Coudenhove-Kalergi—a staunch philo-semite whose friendship with Baron Louis de Rothschild led to him being funding in his anti-Occidental political pursuits by Judaic banker Max Warburg—was rather sensitive about his dubious pedigree and arrogantly sought for the systematic destruction of the indigenous European races via race-mixing while at the same time hypocritically advocating Jewish racial purity as reflected in his unhinged words like, “The man of the future will be of mixed race. Today's races and classes will gradually disappear owing to the vanishing of space, time, and prejudice. The Eurasian-Negroid race of the future, similar in its appearance to the Ancient Egyptians, will replace the diversity of peoples with a diversity of individuals […] Instead of destroying European Jewry, Europe, against its own will, refined and educated this people into a future leader-nation through this artificial selection process. No wonder that this people, that escaped Ghetto-Prison, developed into a spiritual nobility of Europe. Therefore a gracious Providence provided Europe with a new race of nobility by the Grace of Spirit.” Rather curiously, von Coudenhove-Kalergi’s hateful anti-Aryan dreams have largely become true and it should be no surprise that he was the first to be awarded the so-called Charlemagne Prize, which has been only awarded to the most treacherous of Zionist-approved leaders like Henry Kissinger, Tony Blair, and Angela Merkel.
While 1000 Rosen does not depict the flooding of Europe with hostile aliens from the third world, it does hint at the racial hostility of the shadowy leaders of the United States in a scene where American negroes in fancy business suits pay off the leaders of the town with suitcases full of cash, thus reflecting the racial treachery of the U.S. and how white Americans disgraced their own peoples by treating them lower than American blacks after the Second World War. Needless to say, the film has never been released in the United States despite the various prestigious awards it has won as such a provocative film goes against the interests of left-wing and largely Jewish-owned foreign film distribution companies like the Criterion Collection, Kino Lorber, and Cohen Media Group. Of course, it is no surprise that the Netherlands is also the country that produced Theo van Gogh, who was assassinated for directing a short that simply exposes the brutally misogynistic character of the Koran. Van Gogh was notorious for his vocal criticism of both Jewish and Muslim influence on the Netherlands, thus making his death all the more tragic yet unsurprising. Likewise, the nation is also responsible for Edwin Brienen whose feature Revision - Apocalypse II (2010) features a female protagonist that argues that contemporary neo-liberal West is worse than any of the horrors of the Third Reich. After all, although they might have been deeply impacted by American hegemony, the Dutch are among the most brutally blunt people in the world and largely lack the naivety and delusional guilt that plagues their German neighbors, though the country still certainly has it's fair share of leftist lunatics, cucks, and exceedingly emasculated ethnomasochists. In its delectable combination of morbidly dark humor, uncompromising anti-American political incorrectness, magical realism, brutal violence, and beautiful surrealist flower arrangements, 1000 Rosen is not only one of the most important and entertaining Dutch films of its era, but also a pure and unadulterated reflection of the best and worst aspects of the Dutch national character, thereupon making it mandatory viewing for anyone with an interest in true Western European cinema.
-Ty E
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