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 it's 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.”
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.
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.
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.
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).