‘The Dutchman’ Review: A Modern Interpretation of a Classic Play with Enhanced Depth

Currently, we find ourselves in Austin, Texas, attending the 2025 South by Southwest festival. We were fortunate to experience a screening of The Dutchman, directed by Andre Gaines. This film is a modern reinterpretation of Amiri Baraka’s iconic 1964 stage play, which, unfortunately, still resonates with today’s audiences due to its commentary on societal issues.

In this adaptation, Gaines, alongside co-screenwriter Qasim Basir, has expanded the original half-hour performance into a richer narrative that explores a broader context. Unlike the original, which was confined to the interior of a subway car, this version delves into the complexities of the modern world and the persistent challenges it poses. Despite the decades that have passed, the same social issues continue to trouble us, demonstrating that adaptations thrive on attention to nuanced details.

Gaines and Basir tackle the enduring racial tensions that linger beyond the 1960s, utilizing a contemporary lens to highlight its ongoing manifestation in society. These tensions are often less overt, presenting themselves in more subtle and insidious ways. The theme of otherness emerges in the sense of inadequacy felt by those who strive for success, while simultaneously battling the biases and limitations imposed by their identities.

The narrative centers on Clay (André Holland) and Kaya (Zazie Beetz), whose marriage is crumbling due to Kaya’s infidelity. Following a counseling session, their therapist, Dr. Amiri (Stephen McKinley Henderson), encourages Clay to read Baraka’s original play. This leads Clay into a transformative journey as he descends into the subway, a pivotal moment that alters his perception of reality.

This adaptation intricately weaves magical realism into its narrative, providing a fresh and innovative twist on the classic material. After an encounter with Lula (Kate Mara) on the subway platform, Clay’s life spirals into chaos, compelling him to confront his inner self and the truths he has been avoiding.

You May Not Like What You See in That Mirror

The performances by Mara and Holland stand out, each bringing their unique theatrical flair to the screen. Their delivery of monologues carries an intensity reminiscent of a stage production, with Holland skillfully modulating his volume to build tension, while Mara embodies an unpredictable and commanding presence that engrosses the audience.

Holland’s portrayal of Clay is particularly poignant, depicting a flawed individual genuinely seeking redemption and a break from his past mistakes. In contrast, Mara’s Lula is an unsettling force, blending chaos with clarity, thus enhancing the film’s emotional depth.

The themes presented in The Dutchman are overt yet necessary. While some viewers might find the lack of subtlety problematic, the film’s power lies in its raw confrontation of reality. The title card encapsulates this sentiment: “Who looks outside, dreams; who looks inside, awakes.”

Ultimately, The Dutchman delves into the notion of redefining one’s narrative, emphasizing the inherent power individuals possess to change their trajectories. Just because a life begins in a particular way does not dictate its course. Sometimes, gaining a new perspective is all it takes to alter one’s path.

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