HALLSTROM DIRECTORS, 4 EDItION Publications elsewhere. Alleman and Bi de beesten af were nominated for Acad emy Awards. Although the number of movie-goers in Holland ha By HAANSTRA: article sharply decreased, Haanstra's public has remained large and loyal In 1975 Haanstra made his first novel-based film Dokter pulder Gresprek met Bert Haanstra en prof dr G P. Behrends, withR du zaait papavers gives a subtle and detailed analysis of a number of Mee and others, in Skoop(Amsterdam), vol8, no 6, 1972. fundamental human problems: loss of love, social failure, aging, and Geen klachten over hoeveelheid aandacht voor Nederlandse film addiction to drugs and liquor. The film is psychologically convincing in Skoop(Amsterdam), February 1976 and full of tension. Een pak slaag, again based on a novel by Anton Interview with Freddy Sartor, in Film en Televisie+ Video(Brussels), Koolhaas, failed to interest the public. In 1983 Haanstra brought out November 1996 another feature film with Simon Carmiggelt as the main character On HAANSTRA: book Carmiggelt's ability to render this type of monologue had won a wide audience for his daily columns, which have appeared since 1945 in Verdaasdonk, Dorothee, editor, Bert Haanstra, Amsterdam, 1983. a dutch a Dutch newspaper. The film, Vroeger kon je lachen, was well received On HAANSTRa: articles- By virture of Haanstra's diversity of films and of his great reputation with critics and the public, Haanstra made an invaluable Director of the Year. in International Film Guide. London, 1966. contribution to the establishment of a dutch film tradition .He Cowie, Peter, ""Bert Haanstra, "in Focus on Film (London ), remains a very important representative of the Dutch documentary Spring 1972 school, which grew to fame in the 1960s and won countless awards at Bert Haanstra, in Film Dope (London), March 1981 international film festivals. Haanstra's own films have won over 70 Bertina, BJ,"Haanstra en het onverzorgde corpus van Dorothee prizes; he received an Academy Award for Glas, a short documentary Verdaasdonk, in Skoop(Amsterdam), December 1983/Janu 1984. film. As a director of feature films he convinced a large audience that "Niet van deze wereld, in Skoop, December-January 1987-1988. Dutch films can (and should) be judged according to the same Daems, Jo, ""Het beste van Bert Haanstra. Lang verborgen schat standards as important foreign films her)ontdekt, in Film en Televisie Video(Brussels), May His films, and also his cooperation with Simon Carmiggelt and Anton Koolhaas, show that Haanstra's work is firmly rooted in Dutch Hommel, Michel, and Hauffmann, F, "Hulot in de menigte. Twee culture, which, however, he transcended by taking it as an example of apiteins op een schip, in Skrien(Amsterdam), June-July 1991 more general aspects of human behavior. This is beautifully exempli Monster, Ruud, and others. 'Ecce homo. Hommage Bert Haanstra, fied in Bij de beesten af. Although his films do not contain explicit in Skrien(Amsterdam), August-September 1996 political statements, Haanstra was anything but a "neutral observer. Obituary, in Skrien(Amsterdam), December-January 1997-1998 By the art of montage he gave his films a deeper meaning which not infrequently embodied a critical view of human society and poignar Bert haanstra is one of holland s most renowned filmmakers. The twenty-eight films he made between 1948 and 1988 belong to various genres. His first films were documentaries. Typical of these, and hallmark of Haanstra's personal style, is the frequent use of rhyming images "and of images blending into each other. Critics HALLSTROM. Lasse sponded warmly to the lyrical and pictorial qualities of Haanstra's early work. In his films about oil drilling, commissioned by Shell Haanstra showed that instructional films can be of artistic as we Nationality: Swedish. Born: Stockholm, Sweden, 1946. Family Married actress Lena Olin; one daughter, Tora, 1995. Career: Made Haanstra's first feature film, Fanfare, was a comedy and a big hit 16mm film as a teenager that was eventually screened on Swedish at the box office. The film, however, was also praised for its artistic TV filmed and edited inserts for Swedish TV; directed program importance and considered by many as a turning point in Dutch film Shall We Dancefor Danish TV; director and producer of TV This film should set the tone for the future production of Dutch programs and feature films. Awards: Academy Award nominations, feature-films, wrote a critic. His second feature film, De zaak M. P, director and screenplay, for My Life as a Dog. Agent: International was very coolly received, however, and Haanstra turned again to Creative Management, 8942 Wilshire Blvd., Beverly Hills, Califor- making documentaries nia, 90211. U.S.A Discussions in the 1960s about the establishment of a tradition of influenced by the views on film expressed by the French nouvelle vague cineastes. Haanstra's long documentaries, Alleman, De stem Films as director an het water, and Bij de beesten af, show him perfectly able to catch the peculiarities of human behavior, especially those of the Dutch. 1975 A Lover and His Lass These three films still enjoy a firm reputation in Holland and 1977 ABBA-The Movie 416HALLSTROM DIRECTORS, 4th EDITION 416 Publications By HAANSTRA: articles— ‘‘Gresprek met Bert Haanstra en prof. dr. G.P. Behrends,’’ with R. du Mèe and others, in Skoop (Amsterdam), vol.8, no.6, 1972. ‘‘Geen klachten over hoeveelheid aandacht voor Nederlandse film,’’ in Skoop (Amsterdam), February 1976. Interview with Freddy Sartor, in Film en Televisie + Video (Brussels), November 1996. On HAANSTRA: book— Verdaasdonk, Dorothee, editor, Bert Haanstra, Amsterdam, 1983. On HAANSTRA: articles— ‘‘Director of the Year,’’ in International Film Guide, London, 1966. Cowie, Peter, ‘‘Bert Haanstra,’’ in Focus on Film (London), Spring 1972. ‘‘Bert Haanstra,’’ in Film Dope (London), March 1981. Bertina, B.J., ‘‘Haanstra en het onverzorgde corpus van Dorothee Verdaasdonk,’’ in Skoop (Amsterdam), December 1983/Janu￾ary 1984. ‘‘Niet van deze wereld,’’ in Skoop, December-January 1987–1988. Daems, Jo, ‘‘Het beste van Bert Haanstra. Lang verborgen schat (her)ontdekt,’’ in Film en Televisie + Video (Brussels), May￾June 1990. Hommel, Michel, and Hauffmann, F., ‘‘Hulot in de menigte. Twee kapiteins op een schip,’’ in Skrien (Amsterdam), June-July 1991. Monster, Ruud, and others,’’Ecce homo. Hommage Bert Haanstra,’’ in Skrien (Amsterdam), August-September 1996. Obituary, in Skrien (Amsterdam), December-January 1997–1998. *** Bert Haanstra is one of Holland’s most renowned filmmakers. The twenty-eight films he made between 1948 and 1988 belong to various genres. His first films were documentaries. Typical of these, and a hallmark of Haanstra’s personal style, is the frequent use of ‘‘rhyming images’’ and of images blending into each other. Critics responded warmly to the lyrical and pictorial qualities of Haanstra’s early work. In his films about oil drilling, commissioned by Shell, Haanstra showed that instructional films can be of artistic as well as informative value. Haanstra’s first feature film, Fanfare, was a comedy and a big hit at the box office. The film, however, was also praised for its artistic importance and considered by many as a turning point in Dutch film: ‘‘This film should set the tone for the future production of Dutch feature-films,’’ wrote a critic. His second feature film, De zaak M. P., was very coolly received, however, and Haanstra turned again to making documentaries. Discussions in the 1960s about the establishment of a tradition of Dutch feature films—a tradition lacking at that time—were heavily influenced by the views on film expressed by the French nouvelle vague cineastes. Haanstra’s long documentaries, Alleman, De stem van het water, and Bij de beesten af, show him perfectly able to catch the peculiarities of human behavior, especially those of the Dutch. These three films still enjoy a firm reputation in Holland and elsewhere. Alleman and Bij de beesten af were nominated for Acad￾emy Awards. Although the number of movie-goers in Holland has sharply decreased, Haanstra’s public has remained large and loyal. In 1975 Haanstra made his first novel-based film. Dokter Pulder zaait papavers gives a subtle and detailed analysis of a number of fundamental human problems: loss of love, social failure, aging, and addiction to drugs and liquor. The film is psychologically convincing and full of tension. Een pak slaag, again based on a novel by Anton Koolhaas, failed to interest the public. In 1983 Haanstra brought out another feature film with Simon Carmiggelt as the main character listening to the tragicomic monologues of various ordinary people. Carmiggelt’s ability to render this type of monologue had won a wide audience for his daily columns, which have appeared since 1945 in a Dutch newspaper. The film, Vroeger kon je lachen, was well received. By virture of Haanstra’s diversity of films and of his great reputation with critics and the public, Haanstra made an invaluable contribution to the establishment of a Dutch film tradition. He remains a very important representative of the Dutch documentary school, which grew to fame in the 1960s and won countless awards at international film festivals. Haanstra’s own films have won over 70 prizes; he received an Academy Award for Glas, a short documentary film. As a director of feature films he convinced a large audience that Dutch films can (and should) be judged according to the same standards as important foreign films. His films, and also his cooperation with Simon Carmiggelt and Anton Koolhaas, show that Haanstra’s work is firmly rooted in Dutch culture, which, however, he transcended by taking it as an example of more general aspects of human behavior. This is beautifully exempli- fied in Bij de beesten af. Although his films do not contain explicit political statements, Haanstra was anything but a ‘‘neutral observer.’’ By the art of montage he gave his films a deeper meaning which not infrequently embodied a critical view of human society and poignant tragicomic scenes. —Dorothee Verdaasdonk HALLSTROM, Lasse Nationality: Swedish. Born: Stockholm, Sweden, 1946. Family: Married actress Lena Olin; one daughter, Tora, 1995. Career: Made 16mm film as a teenager that was eventually screened on Swedish TV; filmed and edited inserts for Swedish TV; directed program ‘‘Shall We Dance’’ for Danish TV; director and producer of TV programs and feature films. Awards: Academy Award nominations, director and screenplay, for My Life as a Dog. Agent: International Creative Management, 8942 Wilshire Blvd., Beverly Hills, Califor￾nia, 90211, U.S.A. Films as Director: 1975 A Lover and His Lass 1977 ABBA—The Movie