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Conformity to, and deviation from, generic conventions in Sluizer's The Vanishing.
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Conformity to, and deviation from, generic conventions in Sluizer's The Vanishing George Sluizer's The Vanishing - the original one, that is, rather than the much inferior Hollywood remake by the same director - is, in generic terms, an interesting hybrid. It is at once an intensely suspenseful thriller, reliant on the usual stock of devices to put the viewer through a harrowing hour and a half, and something akin to an art-house movie, in its readiness to broach philosophical ideas and employ sustained symbolism. The passage selected here for particular consideration illustrates both of these dimensions to the film and bears testimony to Sluizer's remarkable skilfulness in blending apparently incompatible ingredients into a coherent whole. Since no scene can be expected to exemplify all the ways in which the film from which it is excerpted conforms to, and deviates from, a generic model, however, it will be useful to begin with...
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