1961, when Fons Rademakers' Het mes was released, had psychoanalysis, psychology, boiled down to the kitchen, long in the popular Imagination established. This is the third Rademakers, blatant oedipal film to be seen everywhere. The spoiled Thomas has difficulty to make friends with the new husband of his mother, an unreliable macho. Thomas himself is on the threshold of adulthood - in the logic of the film that always means to manhood - and promises to be an equally unpleasant chauvinist, like his stepfather. Something in him is still to defend himself, how, and while he does not know himself so well. Without a solid plan, he steals from a colonial exhibition in the mission church of his village, a ritual knife which he now on as, well, that, in the phallus. One can of course try Het mes be described in another vocabulary, no other forces on Sun On this assumption, the knife is probably the colonial past of the Netherlands as a symbol of the unconscious, "this true inner Africa" \u200b\u200b(Freud), and so evoke
Or is it the other way around? Figured the little boy who strives in vain to escape the father's generation, most recently as a political allegory of the modern Netherlands (around 1961), even and especially in terms of the legacy of colonialism. Is evidence suggesting that served Thomas' late father and the mother of his two new officers as in the Dutch East Indies, but one transfigured dead, the other is unbearable but alive. Perhaps Het mes is still more interesting than it appears at first glance. There is no excuse for it, however, the normative conclusion that all open wounds with Thomas insertion sewn in, ahem, the law of the father.
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