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To say Dutch audiences in the 30s loved **_De Kribbebijter_** would be an understatement: the movie stayed in theaters from july 1935 to december 1942, packing full houses until the very end of its run. International critics seemed not to understand what exactly made this Dutch comedy so special, but when one takes a closer look at the cinematic climate in the Netherlands in those days, they will find that the Kribbebijter-madness made perfect sense. In the mid-thirties, the most popular movie genre in the Netherlands was that of the so-called _'Jordaan-film'_; jolly musicals with a simple, predictable plot and catchy songs, always set in the Amsterdam 'Jordaan' area and often starring Dutch variety icons like Louis Davids, Fien de la Mar and Sylvain Poons. But even though films like _De Jantjes_, _Bleeke Bet_ and _Het Leven is Niet Zoo Kwaad_ were enjoyable and full of talented performers, the Jordaan-films were also very much seen as a crowd-pleasing, often clumsily made cinematic equivalent of junkfood. Hollywood movies on the other hand were often too melodramatic and self-important to please the phlegmatic Dutch (_Doe maar gewoon, dan doe je al gek genoeg..._). By 1935, Jordaan-film-fatigue was setting in — the last true Jordaan film, _Oranje Hein_, would be released in 1936 — and Dutch audiences were longing for something closer to the coherent plot structures of Hollywood, but with that unmistakably Dutch combination of abstemious downplaying and theatrical folly. What they got was **_De Kribbebijter_**. Needless to say, they were pleased. While retaining the romantic entanglements of the Jordaan-films, the storyline of De Kribbebijter has an un-Dutch sense of coherence; it does not derive its jolly fun from intermezzo's or random jokes, but rather from cleverly written setpieces and inspired comedic performances by theatre powerhouses Cor Ruys, Louis de Bree and Louis Borel especially. The acting is — apart from an astoundingly hammy Mary Dresselhuys — not as wacky as the Jordaan-films, and not nearly as melodramatic and overly sentimental as most 30s Hollywood productions. Visually and technically the directing is so-so, but unlike most Dutch movies at the time, the camera was dynamic enough not to make it feel like filmed theatre. In short: **_De Kribbebijter_** is a unique picture; unique in being very Dutch in its approach, but also very non-Dutch in its execution. It's a movie I enjoyed immensely, and I hope a subtitled version will be released soon so foreign cinephiles can enjoy it as well!
A Justice of the Peace performed weddings a few days before his license was valid. A few years later five couples learn they have never been legally married.
Research chemist Barnaby Fulton works on a fountain of youth pill for a chemical company. One of the labs chimps gets loose in the laboratory and mixes chemicals, but then pours the mix into the water cooler. When trying one of his own samples, washed down with water from the cooler, Fulton begins to act just like a twenty-year-old and believes his potion is working. Soon his wife and boss are also behaving like children.
License at 80 ( Zhang Jingchu ) , after waking up one morning , walked leisurely into Civil Affairs and had a flash marriage. On the way back even a BMW collided with a double whammy , home of the license was starting to review their sad sad one place : youth is gone , her husband derailment, cleanse the family , the vehicle was destroyed . Kang wealthy few ( Kenji Wu ) to permit the emergence of life hit a shot in the arm , in helpless staged a " foreign land refresher ," the idea that drama , the both of them repeatedly in the territories, license step by step this boy was found behind uninhibited look soft and delicate heart , but a glance at his flat chest and the elderly on account of this , the license has been reluctant to react , but who knows hitting girlfriends hairy ( Zhu beadwork ) love at first sight .
Having thought that monogamy was never possible, a commitment-phobic career woman may have to face her fears when she meets a good guy.
A guy and a girl join forces to make their crushes, who are a couple, break up so they can date them.
A young lady about to get married realizes that she has a problem: she fantasizes about every man she sees. She goes to confess at church but unknowingly confesses to a young man who is not a priest. He agrees to help her, but falls in love with her along the way. Unfortunately she still thinks he is a priest.
After she loses her mobile phone, a lawyer receives a call from the person who found it. They talk and hit it off very quickly. But she's in shock when she sees that he's very short.
Victor and Hillary are down on their luck to the point that they allow tourists to take guided tours of their castle. But Charles Delacro, a millionaire oil tycoon, visits, and takes a liking to more than the house. Soon, Hattie Durant gets involved and they have a good old fashioned love triangle.
In love with Brazil and Maria, a soap opera heroin harassed by a corrupt contractor, Abdelinho suffers parallel ordeal in Morocco by pressure of Amr Taleb, a dogmatic, moralistic priest, enforcing religious purity on the community
Hero and Beatrice, cousins and best friends, have very different approaches to love. Beatrice, burned once, is fiercely avoiding her arrogant ex-boyfriend Benedick and has sworn off men in general. Hero, a true romantic, is deeply in love with Benedick's friend Claudio, but too shy to say it. When they get trapped in a house with the entire boys rugby team, they'll be forced to face the questions they'd been avoiding.
Upon discovering her husband's infidelity, Sandy leaves the suburbs and moves into the city. There, she befriends Aram, a guy whose wife only married him so she could get a green card. Sandy hires Aram to be her nanny, and it isn't long until Aram and Sandy find out they get along wonderfully and start to date. But is their relationship real or is it, in fact, just a rebound for both of them?
