Flesh and Blood (1985) Paul Verhoeven   Cleverly-plotted and well-crafted, Flesh and Blood is suspenseful adventure which takes place at the outset of the Renaissance. Directed and co-written by Paul Verhoeven (Robocop, Basic Instinct), the story concerns a band of mercenaries and their leader, Martin (Rutger Hauer) who are employed by baron named Arnolfini to lay siege to a city, being promised a share in the spoils. Once done with them however, Arnolfini banishes Martin's gang with no reward. In retaliation, the gang kidnaps Arnolfini's daughter Agnes (Jennifer Jason Leigh) and set themselves up in a small castle they have overrun. Arnolfini lays siege to the castle with the aid of Agnes' fiance Steven, but in the midst of their fighting, a deadly plague descends on the characters. The film is well-acted and the battles well-staged, but the most interesting thing about Flesh and Blood is the absence of clear-cut heros or villains. Virtuous and ignoble acts are exhibited by all the characters, and the result is an interestingly amoral (and disturbingly real) depiction of humanity. Also interesting are references to the fading medieval age (as personified by Martin and Arnolfini) and the dawning era of enlightenment (personified by Steven). This juxtaposition culminates in one of the film's most memorable sequences, as Martin's castle is overrun with the help of brilliantly engineered siege engine of Steven's design. Flesh and Blood also depicts some historically factual methods of siege, such as the catapulting of diseased animals over the walls of a fortress to infect those within. The film is exceptionally well-photographed by Jan De Bont, and much of the film's excitement is owed to the surging music of Basil Poledouris (Conan). On the other hand, Flesh and Blood is often distasteful and even sick, to such an extent that it is impossible to enjoy it with a clear conscience. For instance, there is the prolonged gang rape scene where Martin and his band have their way with Agnes. This is bad enough, except that it is taken further into the realm of the grotesque by showing Agnes enjoying it. Verhoeven is a gifted director, but his preoccupation with misogyny and sexual brutality spoils this otherwise exciting adventure. There is no doubt Flesh and Blood is technically well-made, but I would keep a close watch on any man who actually admits to enjoying it. —Paul Andrew MacLean

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