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- <text id=90TT2851>
- <title>
- Oct. 29, 1990: History With A Saucy Smile
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1990
- Oct. 29, 1990 Can America Still Compete?
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- CINEMA, Page 115
- History with a Saucy Smile
- </hdr>
- <body>
- <p>By RICHARD CORLISS
- </p>
- <qt>
- <l>THE NASTY GIRL</l>
- <l>Directed and Written by Michael Verhoeven</l>
- </qt>
- <p> German films aren't funny. German films lack charm. German
- films avoid the Nazi past like the plague it was.
- </p>
- <p> Be prepared to junk preconceptions with The Nasty Girl,
- Michael Verhoeven's exhilarating true-life adventure about a
- Nazi hunter in modern Bavaria.
- </p>
- <p> A decade ago, Anja Rosmus was just another bright
- 20-year-old student in the town of Passau, where Hitler had
- lived and Eichmann was married. Anja was a good Catholic with
- no political ax to lodge in the town's guilty past. Then she
- decided to write an essay about Passau's resistance to the
- Nazis--and was surprised to find the gentry amassed against
- her. Librarians blocked her research; the limit of
- confidentiality on documents was suspiciously extended from 30
- years to 50. When her phone wasn't jangling with anonymous
- insults ("Jewish whore!"), neo-Nazi louts were tossing bombs
- into her bedroom. Official Passau saw her as das schreckliche
- Madchen, a troublemaker in a skirt. But Anja was determined not
- to be nice. It takes a nasty girl to go after the Nazi boys.
- </p>
- <p> Verhoeven could have made a straightforward documentary on
- the subject; in fact he did, as a companion piece to The Nasty
- Girl. But in this movie he dresses fact up as fable. Passau
- becomes Pfilzing, and Anja Rosmus is now Sonja Rosenberger, a
- precocious sprite full of life and full of herself. The movie
- takes its spirit from Sonja; it is bold, nettlesome and great
- fun.
- </p>
- <p> Verhoeven zips through his tangled story with all the brio
- of Brecht on a sunny day; his style is comic, ironic, daringly
- distanced. The girlhood scenes are played for easygoing farce
- and shot in black and white. Then the film bursts into snapshot
- color when Sonja falls in love with her teacher (Robert
- Giggenbach). Her hometown's streets and churches are stylized
- back projections. The Nasty Girl moves like an eccentric
- dancer, ever shifting its pace and mood, never losing its
- poise.
- </p>
- <p> Lena Stolze made her film debut nine years ago as a student
- opposing Hitler in Verhoeven's The White Rose. As Sonja she is
- greatly winning, and the film bathes in her saucy radiance. She
- whistles when Sonja is happy, and when the crusade finally
- turns her way, she can't repress an exuberant yodel. Sonja
- wants to be Joan of Arc, but she's really Nancy Drew, doggedly
- sleuthing until she cracks a dark mystery. She can tolerate
- everything--the aged Reichmongers cloaked in propriety, the
- goons who threaten her children--everything but acceptance.
- When the town finally acknowledges her achievements, she must
- push it away. Who wants to be embraced and embalmed by Bavarian
- burgher smugness? Not our nasty girl.
- </p>
- <p> For Verhoeven, this chipper satire may be part
- autobiography; his father Paul directed movies--operettas,
- mostly--during the Nazi era. So The Nasty Girl has perhaps
- allowed a gifted filmmaker to shake and break the bones of a
- family skeleton as well as a national one. German moviegoers
- have taken The Nasty Girl as if it were good medicine; they
- have made it a big homeland hit. But to Americans, the dose
- will taste like sugar candy with magical nutrients. Rarely does
- a history lesson evoke a 95-minute smile. This one does.
- </p>
-
- </body>
- </article>
- </text>
-
-