‘The Dutchman’: A Slick Remix To a Classic Play —SXSW

Before the premiere screening of The Dutchman at SXSW, the presenter stated the film “toys with expectations” when compared to its original 1964 play entitled Dutchman. One does wonder, though, how many people will have seen the play or the 1966 film of the same name. The movie, starring Al Freeman Jr. (Malcolm X) and Shirley Knight (As Good As It Gets), is not available to stream, and DVD copies are rare. Beyond the lack of availability, the original film may be difficult for audiences of today to digest. 

The ‘60s were a decade of turmoil, culminating in the tragic murders of President John Kennedy, Malcolm X, and Dr. Martin Luther King. Also, it led to the rise of Black nationalism and pride movements, including the creation of the Black Panthers in Oakland, California. The original play is a reflection of the time, elevated Black consciousness clashing against a country that bemoaned their existence. The play and the original film hold no punches; while wrestling with the Black male identity, racist and bigoted insults are at the tip of everyone’s tongue, and violence is a justifiable means to an end. The current film, like its predecessor, is a reflection of the current moment. While the racist insults are somewhat cooled and violence toned down, racial tension is still the bedrock of the film. 

The Dutchman starts with Clay (André Holland, Exhibiting Forgiveness) and Kaya (Zazie Beetz, The Joker) in marriage counseling. Clay is having trouble with his work life as a campaign manager for a climbing politician, Warren (Aldis Hodge, The Invisible Man), while reeling from his wife’s affair with another man. During the session, Clay admits to difficulty with balancing his professional life against questioning the meaning of it all. While leaving the session, therapist Dr. Amiri (Stephen McKinley Henderson, Civil War) advises Clay to read the stage play Dutchman to give him guidance, though his initial suggestion is ignored. 

For films that adapt plays, it is very rare for that film to outwardly acknowledge the play it is based on beyond a sprinkling of Easter eggs. The play is one act and single stage, all taking place in a subway car. While the subway is prevalent in The Dutchman, we visit multiple locations during this chaotic night. Similar to the play, our antagonist is introduced via a meet-cute from Hell. 

Clay, needing to blow off steam from the seemingly failed session, takes the subway alone. Before heading into the station, a slight occurrence happens, as if Clay is unknowingly stepping into a strange new universe. Though he is not, his reality is bent and folded in subtle ways. After boarding a subway car, a mysterious woman studies Clay. They catch eyes, but he refuses to acknowledge the woman’s obvious flirting. The subway doors close, the train pulls off, the woman is left standing on the platform, and Clay thinks nothing of the incident. While the train is in motion, Lula (Kate Mara; Friendship) emerges from another car. She sits close, trying to strike up a conversation, but Clay tries to end the conversation by switching seats. Ignoring his declines, Lula becomes more aggressive, taking off and stuffing her bright red panties into his jacket pocket in front of all the other passengers. Things with Lula get progressively sinister from there. 

Fitting The Dutchman into a neat genre box is tricky. Any Black film made by Black creators post-Get Out that has surreal or supernatural elements lives in its shadow, justly or not. While The Dutchman is no exception, it is not a Jordan Peele imitation. Director Andre Gains and co-writer Qasim Basir’s adaptation of Amiri Baraka’s play expands Clay’s complexity and motivations. In the ‘60s play, Clay is more so a reflection of Black anger and anxiety because of white supremacy and oppression. His cool, well-groomed exterior gives way to instinctual defense with biting verbal and physical attacks against Lula. In this revamped version, Clay is still those things but much more self-reflective of his own limitations due to his failed relationship with Kaya. If the original play is reactionary, then this new version dips into existentialism. A fundamental question The Dutchman tests is: Is it possible to confront the truth? 

The filmmaking, unlike Peele’s three features, is meant to always keep the audience questioning reality. We experience flashbacks and foreshadowing that are meant to keep us off-center. Dr. Amiri appears in multiple incarnations through different characters as a guide to keep Clay on the right path. Lula seems to know Clay inside out, even though the two have never met before. Gains does a superb job at crafting this thrilling environment that, even at the end, leaves us guessing what is reality or the surreal. 

Andre Holland gives a stellar performance as Clay. The role demands a juggling of self-doubt, anger, vulnerability, and determination. The way Holland operates space, he is seemingly of the character but lost in it in the best way an actor can be. While the play and film create the outline of Clay, Holland does something that the previous incarnations could not: make the character a complete human being. Just as in last year’s Exhibiting Forgiveness, he brings a deep well of emotion, grace, and fire to his performances. 

As for Lula, his foe in the film, Kate Mara has a difficult task as well: she must be beguiling enough to seduce Clay but grotesque enough to make us despise her. Mara is up for the challenge. She flaunts her beauty in one scene, then threatens to falsely accuse Clay of rape in the next. This incarnation of Lula is just as vile as the previous versions but she is not as literal. With her mysterious and evil nature, it is fair to question if she is a woman at all or a representation for something larger. 

The Dutchman is dense and may be a lot to absorb in one sitting for a number of reasons. Those not familiar with the play or original film may have difficulty following the beats of the story. Clay, at times, is anger personified. There are not many angry Black protagonists that have the leeway to do so; it is fair to question how many will respond to him. The frenetic editing and surrealist nature of the film may leave some wishing that we could stay in reality for a bit longer. And while the existentialism aspect of Clay gives him a worthwhile dimension, we do not necessarily walk away with solid answers for every question the film poses. In one scene, Clay poses the question to Warren, what is the point of building Harlem back to greatness for Black folks if it will just eventually get co-opted by whites? Warren basically just walks away, ignoring the prompt. 

Even still, The Dutchman marks a strong feature directorial debut for Andre Gains, showing a knack for slick, stylish, and interesting filmmaking. And Andre Holland adds another remarkable performance to his impressive resume.