While Zwartjes was apparently disappointed with the results of his first feature, leading lady van Ammelrooy would regard it as one of the greatest artistic successes of her rather long and eclectic acting career despite the fact that she portrays a less than likeable lady of the considerably loony sort. Aside from Zwartjes himself, Mat van Hensbergen, who also shot Adriaan Ditvoorst’s criminally underrated epic satire De mantel der Liefde (1978) aka The Mantle of Love and would later curiously act as a camera operator on Hollywood trash like Cheech and Chong: Still Smokin' (1983), acted as the film's cinematographer. A bizarrely captivating cinematic works where Zwartjes seems to have traded in the visually grotesque of his earlier films for the emotionally grotesque as personified by a pretty vapid beauty that seems to suffer from a strangely neurotic form of self-worship, It’s Me might be about only one woman but it ultimately works as a subtle critique of modern Occidental women in general as van Ammelrooy's character suffers from an exaggerated form of the sort of insufferable psychosis that is all too prevalent among members of the so-called fairer sex in Hollywoodized post-WWII Europe where a sort of wholly corrosive and vulgar Coca-Cola pseudo-culture reigns. Indeed, incessantly unconsciously brainwashing herself with magazines featuring female nudes that she constantly compares herself with, the nameless the heroine—an actress that has turned her apartment into a virtual shrine and fantasy realm of her own making—is a fully willing victim of female tabloid trash and seems to live solely to triumph over and/or win the respect of other women, or so the viewer can only assume by her bizarre behavior.
Undoubtedly, the heroine in Zwartjes’ film is the unintentionally humorous extreme in regard to the dark and depressing phenomenon that Godard describes, as her entire existence seems predicated on something she saw on television or in a movie, even when she is all by her lonesome (in fact, one assumes she does not have a social life because the fantasies contained within magazines and movies have acted as a sort of sick psychological substitute). Of course, quite thankfully, Zwartjes’ film is a mostly visceral experience and does not succumb to the sort of calculated pedantic intellectual methods that are quite typical of Godard’s films. Like a minimalistic avant-garde Dutch mutation of Roman Polanski’s Repulsion (1965) sans the schizophrenic horrors, murder, and sexual repression, It’s Me is indubitably a somewhat ironically titled work in that the heroine seems to have no true organic identity or personality of her own, but instead seems to exist solely to attempt to live up to the counterfeit glamour and shallow sexual appeal of her favorite unclad print starlet while she wastes away in her apartment in a bizarre yet banal hermetic ritual of movie and media induced self-transformation. Whether or not her character is based on herself, her younger self, and/or other actresses she encountered during her career, it is quite clear that van Ammelrooy is all too familiar with the internally damaged dame she portrays to the point where one has trouble separating the actress from the character. Indeed, for better or worse, It's Me is Willeke van Ammelrooy completely raw and uncensored.
More than anything, I could not help but be reminded of the ideas of anti-feminist Jewess Esther Vilar in her revolutionary text The Manipulated Man (1971) in regard to women and how they only seem to be concerned with what other members of their sex think. After all, throughout the film, van Ammelrooy is either comparing herself to other women or attempting to look like other women by trying on various outfits, thus providing credence to Vilar’s words, “Yes, only women exist in a woman’s world. The women she meets at church, at parent-teacher meetings, or in the supermarket; the women with whom she chats over the garden fence; the women at parties or window-shopping in the more fashionable streets; those she apparently never seems to notice – these women are the measure of her success or failure. Women’s standards correspond to those in other women’s heads, not to those in the heads of men; it is their judgment that really counts, not that of men […] Men really have no idea in what kind of world women live in; their hymns of praise miss all the vital points.” Indeed, the genius of It's Me is that, although it only features one single character who rarely speaks, it is quite apparent that her superlatively superficial mind is almost solely focused on the styles, mannerisms, make-up, and hairdos of other women as if she is totally devoid of both an independent mind and distinct personality. Of course, the heroine's truest self is ultimately revealed during her rather unflattering moments of neurotic rage.