The Maas has many turns and in one of those turns is Cuijk – Cuijck is called Cuijck because ‘Keukja’ is Celtic for ‘bend’, which was corrupted by the Romans to ‘Ceuclum’, when they founded a settlement around 50 and built a bridge over the Maas. That bridge is gone, but spring company Ton Paulus brings you for 65 cents to the other side (with pram double).
Speaking of boats, from the slender wooden cupboard on the south side of the place we pick the novel Michiel de Ruyterpublished eleven years ago by Alex van Galen, “free to the film of the same name”. The ‘Verboeking’ is a wonderful genre, also because you know that you are actually reading a movie. If, apparently from scratch, a half -naked woman steps in a room (“the prince immediately turned off his eyes from the half -bare breasts, but the image of the nipple that stuck firmly through the shirt would not get out of his head anymore”), you involuntarily think: this must be a Dutch film.
In the meantime it reads nicely, the succession of naval and political complications in which the enigmatic sea hero Being ended up while he is still promising his wife Anna to give the pipe to Maarten. The two interact with each other in a friendly-similar way: as if a modern couple from a time machine have been flooped: disaster year in jeans. Incidentally, Van Galen explains in an afterword where he has distorted the truth: events from 23 years De Ruyterleven have been balded together in a few years; The composite family of the Admiral has been simplified to a well -arranged nuclear family. Although the author, also co-scenarist of the film, emphasizes that many things are historically accurate, such as the scene in which De Ruyter has once again knocked the English in the garden. Although you always have to wait and see how the filmmakers deal with those details, it turns out when Van Galen reports “the holes that Johan de Witt made in the left corner of his letters (in the film placed in the middle of the letters in the film)”.
Johan de Witt is the other hero in this adventure novel, with whom the whole according to the historical truth, is particularly poor. This is served in all horror when a man pops up at the place where the brothers de Witt were torn to pieces a day earlier by a crowd thrown through orange -lived propaganda (there were no social media yet, but there was already disinformation). The man has a package on offer: “The cock of Cornelis de Witt, five pennies.” If that offer only harvests, one is not inadequate: “Three pennies.”
This way you will shoot the pages, with the most interesting character the Prince of Orange Is, who was considered a doubtful weakling for a long time. He is also portrayed as a wrestling homosexual who, as it went in the seventeenth century, not to get thirsty (or from the carriage, because small caresses are exchanged there). In the aforementioned nipple scene, the English king Charles tries to seduce the young Willem to betray the Republic in exchange for a ‘kingship’ subordinate to the English throne. Willem refuses and will later take glorious revenge by becoming King of England after his marriage to Mary Stuart himself. That’s something for the next movie.