Turkish Delight - actors, characters and roles
All actors and their roles in the film "Turkish Delight"
Turks Fruit (1973)
Timing:
1:48 (108 min)
6.914/10
175
175
7.439/10
6200
6200
7.1/10
13000
13000
Actors and characters
Tonny Huurdeman
Character Olga's mother
Wim van den Brink
Character Olga's father
Hans Boskamp
Character Winkelchef
Dolf de Vries
Character Paul
Manfred de Graaf
Character Henny
Marjol Flore
Character Tineke
Bert Dijkstra
Character Civil servant
Bert André
Character Civil servant
Jon Bluming
Character Security
Paul Brandenburg
Character Bridegroom
Suze Broks
Character Eric's One night stand
David Conyers
Character American
Joost Prinsen
Character Police officer
Marijke Frijlink
Character Moniek
Maartje Seyferth
Character Josje
What's left behind the scenes
- A more accurate translation of the title is "Turkish Delight".
- Director Paul Verhoeven and cinematographer Jan de Bont had just watched William Friedkin's thriller *The French Connection* (1971) and unanimously decided that their future film would ideally focus on realism with natural lighting, handheld camera work, and so on. However, after filming began, Verhoeven "backed down" and decided to return to shooting with stationary cameras and artificial lighting, as in his own 1971 film *Diary of a Hooker*. De Bont flatly refused to follow Verhoeven's instructions and shot the first scenes of the film as they had originally intended. This led to a quarrel between Verhoeven and de Bont, and three days after filming began, Verhoeven almost fired the cinematographer. However, seeing the first results of the shooting, he found the courage to admit that he was not right, but de Bont was.
- A more accurate translation of the title is “Turkish Delights”.
- Director Paul Verhoeven and cinematographer Jan de Bont had just watched William Friedkin’s thriller “The French Connection” (1971) and unanimously decided that for their future film, an emphasis on realism with natural lighting, handheld camera work, etc., would be ideal. However, after the start of filming, Verhoeven “backed down” and decided to return to shooting with stationary cameras and artificial lighting, as in his own 1971 film “Diary of a Hooker.” De Bont categorically refused to follow Verhoeven’s instructions and shot the first scenes of the film as they had originally envisioned. This led to a quarrel between Verhoeven and de Bont, and three days after the start of filming, Verhoeven almost fired the cinematographer. However, having seen the first results of the shooting, he found the courage to admit that he was wrong and that de Bont was right.
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