MADAGASCAR

US, 2005, 87 minutes, Colour.
Voice of: Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen, Cedric the Entertainer.
Directed by Eric Darnell and Tom Mc Grath.

‘Zany’, I suppose, would be a suitable word to try to describe the latest animated feature from DreamWorks? studios. It is also quite unpredictable.

Although Dream Works had worldwide success with the Shrek films, some of their other animated films of recent years have been rather wanting. This was especially the case with last year’s Shark’s Tale. The children would have gone along to see it, hoping for another Finding Nemo, but what they got was a rather hip and ‘in’ kind of comedy written more for movie buffs: lots of in-references to other movies with the fishy characters drawn to look like the actors supplying their voices: Will Smith, Robert de Niro, even Martin Scorsese. It would be a rather movie-sophisticated child who would appreciate the connections.

It is something the same with Madagascar. However, they might find it funnier than Shark’s Tale. I hope so, because Madagascar has been very successful at the box-office in the US, which means a lot of children have gone to see it.

The immediate question is ‘why Madagascar?’. And the answer is, ‘your guess is as good as mine’.
Geographically speaking, the film is all over the place!

Actually, Madagascar is an intriguing sounding title, the name of a far-off destination that very few visitors get to. For Americans, it signifies ‘the wild’. That is where a zebra named Marty in a New York City zoo dreams of going. He wants to get out of his confinement, to leave his job which consists of being an MC for the audience who have come to watch his friends perform. They are Alex, a lion who really doesn’t know that a lion is meant to be fierce, who really enjoys the shows and the response of the people. There is also a large hippo, Gloria, who is a splash-artist and a gawky giraffe named Melman.

When the scheming penguins in the zoo make an escape break – they want to go to Antarctica – the friends find themselves on a boat and eventually tossed overboard. Where do they land, like Robinson Crusoe. On Madagascar, which, if you look at a map, is really a long way out of the way from the US.

Children may enjoy the antics of the zoo quartet, especially as they try to adapt to life outside the zoo. Alex for one is desperate to get home to the people and safety. Adults may enjoy the voices and the constant wisecracks, a lot of it sounding like improvised dialogue with the voice stars enjoying themselves. At times, it comes across as a bit of a vanity project for the stars to show off their comic skills.

It is a good cast. Ben Stiller, so often put upon in his films (like Meet the Parents) is Alex. Chris Rock does his stand-up comedy routines as Marty. Jada Pinkett Smith is Gloria and David Schwimmer is Melman.

The children will probably enjoy the antics of the lemurs who live on Madagascar and are continually threatened by the fierce hyena-life foosas. The king decides that these New York Giants will scare off the foosas and leave them in peace. Well, you know that is going to happen but first, Alex has to learn what it is like to be a lion, to discover his true hunting and carnivorous self. Fortunately for all on Madagascar, he learns to like fish!

The king of the lemurs is a star turn for Sascha Baron Cohen.

Oh, yes, the penguins turn up too after discovering that Antarctica is far too cold and blizzardy.

1. An entertaining comedy adventure – for children’s enjoyment, for adults?

2. The style of the animation, the drawing of the characters, their movements (and elongations etc)? Bright, colourful? The comic design of animals? The action sequences, the life in New York, on the boat, Africa and the jungle? The comic style? The voices – and the comment that the voices are those of celebrities with cartoon masks rather than embodying the characters? The musical score?

3. The range of movie references, jokes, music for example Chariots of Fire, Planet of the Apes, American Beauty?

4. The basic message – the nature of home, fears of leaving, taking risks, self-image, discovery and voyage, the inner self, the new life?

5. The journey to awareness, to self-consciousness, to different kinds of bonding?

6. The opening dream, the focus on Alex, Ben Stiller’s voice? The dreams of the jungle, Tarzan? The contrast with his real life in the zoo, a domesticated lion in New York City? His friendship with Marty and their conversations, with Melman, with Gloria? His life confined to the zoo, his looking forward to performances, his wanting people to come, his creating the image of a lion?

7. The penguins, the different types, their tunnelling in the wartime prisoner of war movie style, concealing the sand, the irony of their coming up still within the zoo? Their offering dreams of the wild, their plan?

8. Marty, Chris Rock’s voice, the zany comedy? His life in the zoo, the giraffe and his neck, point of view? His tenth birthday? The party, the wish, his not revealing the wish but being forced to explain his wanting to go to the wild? The inspiration of the penguins? His following the penguins, his friends following him, Grand Central Station, their being captured, in the crates, on the boat, the voyage?

9. The crates going overboard, the penguins taking over the ship, the shipwreck? Land, the different reactions, Alex and his experience of the wild, yearning for New York? His status on the island? Marty and his enjoying the island? The building up of the club, the contrast between the two sides of the island – and Alex being persuaded to go over?

10. Melman, David Schwimmer’s voice, his laments, his not being the brightest? The contrast with Gloria, Jada Pinkett Smith’s voice, the glamorous voice – and yet the gangly and ungainly hippo? Their both following Alex and Marty?

11. The discovery of the lemurs, King Julian the Thirteenth and Sacha Baron Cohen’s voice? Morris, his adviser? Their fears, the encounter with the new animals, seeing them as New York giants? The king and his plan for confronting their enemy, the fossas? Morris and his scepticism? The lemurs following, the execution of the plan, the taunting of the enemy, the fears? Morris and his objections, the king and his vanity?

12. The fossas, their appearance, hyena-like? Instilling fear? Their return, the pursuit of the animals, Alex and his fighting them, rediscovering his instincts (and his desire to eat steak)? The confrontation with Alex, Marty to the rescue?

13. Alex and his discovery that he was a lion, his becoming hungrier and hungrier, imagining all the lemurs as steaks, visualising his friends as steaks? His honourable stance, not wanting to hurt them, segregating himself? Marty to the rescue?

14. The penguins, their arrival, their disillusionment with Antarctica and the flashback to their finding it too cold, their settling down, bringing the boat back?

15. The decision about the future, the animals going to the boat, the penguins having sabotaged the boat? Their being stuck? The lemurs and their peace, the routing of the enemy, the decision about the crown and Julian having another one?

16. How satisfying a blend of comedy, action, adventure – with message?

MAN IN BROWN SUIT

South Africa, 2004, 80 minutes, Colour.
Directed by Sarah Blechor.

A brief thriller, patterned after the American film and television police investigations and the solving of a mystery. It follows these patterns quite effectively, especially the time limits set by a serial killer and the attempts to prevent the next killing.

One of the standout features is that the officer placed in charge of the investigation by the Zero Tolerance unity is a black African woman. She pursues her goals efficiently and effectively. Her male team comprises both black and white detectives, especially an Afrikaner who has a personal concern in solving the case and who is imprudently involved with the television anchor covering the killings. An Afrikaner assistant is also significant in the solving of the case – and the film follows her back story which includes her going to her rich family in the country for a wedding and her own lesbian relationship.

The other very interesting feature is that the killings centre on the writings of a fanatic Boer who wrote books about the times when black power would come and how the whites would eradicate the blacks and a significant figure, a man in brown suit, would rid the country of blacks.

The film should travel beyond South Africa because of the familiarity of its cinema and television styles, but also because of the handling of the issues of fanatic whites at the beginning of the 21st century.

1. A South African police story, Johannesburg, issues?

2. American models, television series, transferred to Johannesburg, the FBI representative, methods of police work, issues?

3. The scenes of the city, Johannesburg as city, buildings, streets? The sniping incidents? The apartments, bars? TV stations? The countryside, the roads, the farms, the affluent houses? The musical score?

4. The film as fact-based, the focus on white extremists, the author and his visions, prophecies? The influence on susceptible individuals? Going into action?

5. The sniper situation, the random victims, the graffiti with “15”, forty-eight hours between killings, the killings in the morning, the squad, the briefings, the Zero Tolerance Squad? The political issues? The calling in of the FBI assistance?

6. The time structure, the suspense, the focus on the clock, the squad thinking they had solved the mystery and the further death?

7. The picture of the squad, the commander giving the authority to Denzella, her being in charge, style, communication, leadership? Sakki and his Afrikaaner background? Hilton and the PR work? Sasinio and his assistants? Hannelie and her work in the office? The briefings, collaboration?

8. Bob, his past history with the squad, coming from the US, the FBI expertise, his action, hypotheses, his finally being injured in the final attack?

9. The television presenter, her work on-camera, her following leads, lining up the cameraman, contacts with the producer and expectations, wanting briefings, having the drink with Sakki, going to his house, staying the night, listening to his confiding in her? The leads and her using them on television, Hilton’s exasperation? Hearing the story of Sakki’s not helping the group, his being blamed for their deaths? Her using it on television? Sakki and his reaction against her?

10. The methods of investigation, the phone calls, the interviews, Denzella and the wife of the assassin without realising it, her not believing the woman’s testimony? The computer work, the files, the information about extremists? The FBI and the new secretary (and her coming for the interview and her being hired)? Her solving the method for getting phone call information?

11. Johannesburg itself, the citizens, the fear, the sniper, the media?

12. Sakki, his age, work, his past history? His attraction towards the television presenter, having the drink, dropping her leads? The drink with her, spending the night, telling his story and the antagonism with the Afrikaaner, his being blamed for the death of the squad? The aftermath? The girl’s phone calls, keeping in touch – the aftermath of her revelation of the story and his going off? The tracking down of the suspect, the arrest, his escape, his mother phoning the police, the arrest, the interviews and his antagonism towards Sakki?

13. Hilton, the PR work, the difficulties with the suspense, the pressures of time? The response of the television?

14. The arrest, the information coming from the suspect’s mother, finding him, his watching television, his blaming his mother? The hostility of his interview? The irony of his not being guilty?

15. The wedding, Hannelie driving, the family background, the Boers and their traditions, the Afrikaaner language, the farmers? The preoccupation about clothes, attitudes towards the blacks? The tradition of apartheid? The farmer, his love for Hannelie, wanting to marry her, the discussion about the book, The Man in Brown Suit? Her breaking with him, his giving her the letter and her putting it in the back of the car?

16. Hannelie, her relationship with her girlfriend, the antagonism before her going to the wedding, her return, the girl’s jealousy, reading the letter?

17. The wife of the suspect, the information from the letter, the post office box, surveillance, calling in the wrong woman – and the irony of her having the affair and wanting to keep it quiet? The address, the suspect taking the name of the fanatical writer?

18. The build-up to the final attempt at killing, sighting the sniper, the pursuit on the rooftop, his shrewdness, his wounding Bob, his being shot dead?

19. The aftermath, Denzella and her family, Sakki and his future, the achievement of the squad?

20. Audiences enjoying this kind of police investigation thriller? The mystery? The particularly South African issues of black and white, the apartheid tradition, extremists, violence?

PROJECT DADDY

Kenya, 2004, 90 minutes, Colour.
Directed by Judy Kabinge.

An opportunity to see a film from Kenya that reflects the life of young, affluent Kenyans, certainly upwardly mobile, in Nairobi at the beginning of the 21st century.

Actually, the film reflects the life of young affluent 20-somethings in many parts of the world, irrespective of local cultures. The screenplay for Project Daddy is very similar to the spate of popular Hollywood movies between 1997 and 2002, made by African Americans for a largely African American audience, starring Taye Diggs or Omar Epps.

The central character is a strong young woman who has an influential position in a bank. She is living with her fiancé, who is unacceptable to her rather patriarchal father (whose alternate suitor no one in their right mind would want to marry). The couple clash over his moodiness (to do with her demand that he have an HIV test) and then his flirting at a club when his test results are clear.

She decides at 29 the main thing she wants is a baby, irrespective of the father. She parties (rather gauchely) without success and then tries internet dates (with a collage of oafish would-be suitors). Her friend, who separates from an arrogantly demanding husband, is born again and takes Mumbi along.

You will have guessed the ending but that does not matter. The moral of the story is be yourself, work hard and be rewarded and make a match with the love of your life.

1. A popular film from Kenya? East African style – influences of popular movies, of American movies, of African American movies?

2. The popular themes for the Kenyan audience? For audiences outside Africa? Love, romance, motherhood? The role of women? The role of men? Study, success, business?

3. The Nairobi setting, the city – and the touch of affluence, homes, families, clubs, workplaces? The musical score and the jaunty style? Local songs?

4. The focus on Mumbi – a spirited heroine, seeing her at work, at home and the clash with her parents, her love for Fred, their ignoring him? Her call to the hospital, Fred’s friend dying of AIDS? Her support? Her relationship with Fred, wanting to marry him, taking him home, her father’s sternness and rejection? Her unhappiness, her stance? The support of her younger, free-speaking sister? Seeing her at work, her skills, research, the Project Daddy, the board meeting and her promotion? Her relationship with Fred, wanting him to get the HIV test, his not wanting it? Her friend and giving birth, her husband – and Mumbi wanting her to move away? The wife moving away, befriending Mumbi and taking her to the church, the born-again experience? Praying? Mumbi and her clash with Fred, the night of his getting the test results, his flirting in the club, her seeing him and breaking off the engagement? His protests – and his later sending flowers, phone calls and her not receiving them? Her parents not telling her? Her visit home, the suitor and his awkward style and her harsh reaction? Her decision that she really wanted a baby, the plan to be a single mother, the project and the steps on the butcher’s paper on the wall? Her friendship with Martha, Martha’s support, staying with her? The collage of the various dates, her awkwardness in falling over, dancing, not wanting the men to touch her? The failure of this plan? Her being ready for pregnancy – and the phone call and the friend belching into the phone and her mistaking it for Fred? The internet, the search for the men, the range of suitors – and their foibles, failings? The jokes? The Frenchman and his denunciation of the restaurant? Her finding the ideal man, meeting him in the bookshop, the plan for the meal, the seduction and her not being able to go through with it? Martha and her marrying the Indian? The encounter with Fred, his taking her home, her drinking, the night together, her becoming pregnant? Their final meeting and his inviting her to the meal, her going, the happy ending? The portrait of a contemporary Kenyan young woman?

5. Fred, his success in business, awkwardness, love for Mumbi? His freewheeling friend and his influence? The death of his other friend from HIV and its effect on him? The love for Mumbi, the proposal, going to her parents’ home and the rejection? His actually undergoing the HIV test but not telling her? His anxiety about the test, reluctance, his happiness at the result, kissing everyone? The flirting and the break-up? His moving in with his friend, the friend answering the phone? The encounter with Mumbi, happiness to see her, taking her home, the night, his dismay at her reaction? His phone calls, declaration of love, her coming to the restaurant and the happy ending? Family, parenthood, marriage?

6. The character of Martha, at work, friends, going out on the town, flirting, pushing Mumbi to go out and party? The meeting with the Indian man, the engagement? The character of the Indian – his claiming himself as a poet, his friendship with Mumbi, the happy ending for Martha and himself?

7. Mumbi’s friend, the glimpse of her husband coming home from work, demanding and commanding, her submission? His absence at the birth of the baby, his boasting in the club? Her leaving her husband, going to church, born again, her language about prayer? The sadness and irony of her returning to her husband and submitting to him, Mumbi not able to persuade her to change?

8. Mumbi’s parents, affluent, stern, patriarchal? The psychological pressure rather than his beating his wife? Treatment of his daughter, ousting Fred, arranging for the suitor to come? The awkwardness of the suitor?

9. The range of men that Mumbi met, dated – especially the collage from the internet?

10. Fred’s friend, freewheeling, masculine, the false image of Kenyan masculinity?

11. The board, the presentation – and the Project Daddy and the reliability of Insured customers?

12. The parallels with American movies? Popular themes on television around the world? An African variation on the theme?

CHRYSALIS

India, 2005, 107 minutes, Colour.
Directed by Sashi Kumar.

Chrysalis is a surprising film to come out of India at the beginning of the 21st century. It is not in the Bollywood tradition at all, although there are a number of songs in the background which cater for Indian tastes in having songs in their films. The lyrics also comment on the action and themes. The main reason for surprise is that one of the central characters is a Catholic nun. The film is also a plea for religious tolerance.

The initial setting is Delhi, 2002, and discussions about Indian legislation concerning conversions and the prohibiting of proselytising (this led to some outbreaks of violence at the time and the killing of some Christian foreign missionaries). The film initially has characters discussing these issues, exhibiting some prejudices and a young journalist being commissioned to write an article on conversions. He seeks out a wise man and listens to arguments about religion and belief. However, he is haunted by strange memories which lead him on a quest to know about his past and to find his own religious path.

His journey leads him to a convent in Meerut. Sister Agatha is unwilling to talk with him as Catholics (ncluding the local bishop and Fr Thomas who has been in the city for a quarter of a century) are wary about conversions. However, Sister Agatha relents and tells the journalist the story of the nuns saving a Sikh woman and her little boy when they seek refuge at the convent at the time of the assassination of Indira Gandhi and massacres of Sikhs). While this issue is serious, there are some entertaining scenes as the little boy is happily adopted by the community which consists of aged nuns in retirement. (This is done is a combination of humour and reverential awe for nuns – audiences might remember the 1960 Conspiracy of Hearts where nuns give refuge to Jews during World War II.)

Most audiences will be taken aback when there is a fantasy sequence after the boy’s Sikh hair is cut and he is concealed in a coffin for escape. The nuns are presented in an Indian ritual, filmed from overhead. They are dressed as if they are part of a chrysalis. As they pray, the coffin opens and a middle-aged Guru, presumably Sikh emerges. A symbol of interfaith collaboration, shared beliefs and hopes?

The quest ends with the young man finding his identity and his faith – and being fearless about it.

For those interested in interfaith dialogue, well worth catching.

1. The Indian film industry, the serious films – the contrast with the Bollywood entertainments? This film with a serious message about religious tolerance? Conversions?

2. The Delhi setting, 2002? The flashbacks to the 1980s, the city of Meerut? The city, the streets, the convent? The convent grounds?

3. The situation of the assassination of Indira Gandhi, the subsequent riots, the massacre of Sikhs? The film not showing the action in detail – rather talk about the incidents, descriptions, the television suggestions?

4. The title, the boy as a chrysalis, his life, vocation – and the visual impact of the vision? The theme of the vision? The little boy as a Sikh, emerging as a wise Sikh guru?

5. The historical aspects of the film, realism, drama – and the magic realism of the vision?

6. The conversion issue, the opening with the journalists discussing tolerance, conversion, the hard line wanting to exclude different religions from the area? Indian religious legislation, the interpretation of anti-conversion laws? Their enforcement, reactions? The stances of the major religions in India? The victims of persecution?

7. The opening, the café, the discussions, the prejudices? The young journalist and his stances? The philosophical background, explanation of religions, beliefs? The place of Sikhs in the community? The journalist and his enquiries, visiting the old man, the stories, the visionary nature of his revelations? The ride on the motorbike, almost crashing on the bridge, the vision of persecution? His sense of mission?

8. How well did the film explain legislation, religious issues, discussion for the Indian audience, non-Indians?

9. The journalist’s quest, going to the convent, wanting to see Sister Agatha, her refusal? His going to the bishop, the discussions with the bishop about the past, with Father Thomas and his experience of being in Meerut for a quarter of a century?

10. His going back to the convent, the presentation of convent life, the personalities of the sisters, the aged, the dying, the eccentricities? The director’s reverent tone of presenting the nuns? Sister Agatha’s background, being an orphan, her commission to look after the elderly sisters?

11. The personality of Sister Agatha, her memories? Life in the convent, the nuns, the nun playing the piano but giving it up, the sister who hid her tablets in the garden, the old sisters, the old teacher arriving at the railway station accompanied by Cecilia? The movement of the nuns in India, in Meerut? The political crisis, the news of Indira Gandhi’s assassination, the nuns watching it on television? The atmosphere of fear? The woman knocking at the door, the nuns letting the mother and boy in, saving them? The advice of the bishop – rather bland and relying on God’s will? Father Thomas and his help?

12. The mother and her boy, the flashbacks to what they experienced, the persecution, the violence of the deaths, the riots, their running away? Knocking at the door, being saved? Life within the convent, the mother’s appeal, the sisters supporting her? The boy and his life in the convent, becoming a favourite? Playing the piano, lessons? The caretaker and his helping them? The possibility of escaping, driving with the caretaker, their being pursued by the mob on bikes, the military truck saving them, their return?

13. The decision to save the boy, cutting his hair and it being such a difficult experience of him, his mother having tended his hair, the Sikh tradition? In the coffin? The dream, the boy in the coffin, his emerging as the guru? The role of the sisters, in ritual robes, like the skin of a chrysalis and the boy emerging? The collaboration of religions and myths?

14. The journalist listening to the story, the effect on him, his acknowledging his Sikh background, travelling back to Delhi, his gratitude to the nuns, to Sister Agatha? The taunts of his friends – but his standing firm about his religious beliefs?

15. The importance of this kind of film at the beginning of the 21st century for religious tolerance in India?

THE GOVERNOR’S NEW CLOTHES

Democratic Republic of Congo, 2005, 87 minutes, Colour.
Directed by Mweze Dieudonne Ngangura.

Written and directed by one of Congo’s veteran directors, this is a moral tale in the form of a musical and a fable. It is actually an interpretation of Hans Christian Andersen’s The Emperor’s New Clothes. African audiences have enjoyed it. It may not travel so well. However, it is an interesting experiment and allegory.

Tribal conflicts are at the basis of the film, their names plays on words on Serbs and Croats. The seriousness of internecine tribal conflicts is still in audience’s minds remembering Hutus and Tutsis in Rwanda. This film has a hero who belongs to one tribe, his wife to another and his son to both. What happens when he becomes President, pressurised by greedly locals who represent multi-national business and is the target of jealous military leaders?

The cast are always moving into song – technically, this is unsatisying as the songs are not smoothly edited into the action. However, the intended audience has appreciated the music (by the famous Papa Wemba) and the message.

1. The Congo film industry? A Congo story – realist, mythical?

2. The adaptation of the fable by Hans Christian Andersen? The tone of realism? The magic realism? As entertainment, as message?

3. The settings, the Congo itself, cities, countryside, the beginning of the 21st century?

4. The musical score, the importance of the songs, the reputation of Papa Wemba and his singing, his lifestyle, his message?

5. The structure of the film, as a musical, as a musical comedy, the visual style, the insertion of the songs and their effect? Creating a myth?

6. Congo, the detail of life, day by day, especially in the city?

7. The issues of the tribes, the Zerbo and the Krowa (and the mythical use of Serbs and Croats)? As exemplified in tribal warfare in Congo?

8. The portrait of the family, the husband and wife representing the two tribes, the child with both tribes in him? The ease of life and the peace between the tribes?

9. The situation, the idyll interrupted? The BIG company, their decision about power, economic progress? The members of the board, their affluent style, clothes? Expectations? Wanting control? Using the tribes and hostility to keep control?

10. The hero, his being chosen to be the president, his accepting? Earnest, his hopes, meeting with the board? His feeling flattered, his change of lifestyle, clothes? His decision about power?

11. Fox and his expectations, wanting to be president, the military, undermining the president, his henchmen, getting information, fomenting tribal hostilities? The thieves and the cloth? The making of the clothes – and the plan for Fox to expose (literally) the ruler?

12. The hero and his wife, son, keeping their tribal background a secret, his love for them, yet his busyness, neglect? Politics, the people applauding him, going to public functions? The sadness of the arrest of his wife, her imprisonment?

13. The president and his rationalising, his vanity, his clothes and wanting to be presentable, his being susceptible to flattery, the thieves, being fitted for the clothes?

14. The public response, his going to the sports stadium wearing only his shorts, the people’s response, acclaim? The boy and his revealing the truth, the emperor with no clothes?

15. The truth, power, integrity, the exploitation of power, tribal warfare? How intense the message?

TUMAINI (CHILDHOOD ROBBED)

Tanzania, 2005, 100 minutes, Colour.
Directed by Beartrix Mugishagwe.

One of the first Tanzanian features. It is clearly designed for the wide Tanzanian audience and draws on the styles of the telenovella. The makers know their audience well and tumaini received an enthusiastic response at its Zanzibar Film Festival screening. The film is a Tanzanian look at Tanzanian problems.

Tumaini is a fifteen year old girl whose father dies from AIDS and whose mother is infected. After her death, she and her brother and sister, despised by their cousins as ‘AIDS orphans’ are exploited by their uncle and aunt, although they have the love and care of their grandmother. Already the film deals with the key issue of HIV infection and the willingness and unwillingness to face this epidemic in Africa. The film then takes on quite a number of further problems, the orphans to AIDS, runaway children and the towns’ street kids, prostitution and pimps before it returns sadly to its HIV theme.

The film is emotional, of course, relying on its popularly drawn characters in identifiable situations to make its points. It seems about to end quite a few times in the latter part of the film but chooses to conclude on a happy ending, blended with romance and realism (and the African discussion of the use of condoms in the epidemic context) – but it still reminds its audience of reality as it glimpses the ghosts of those who have died and the camera tracks again past their headstones.


1. The Tanzanian film industry at this stage? A first feature film? Geared towards the local audience? The television novel and soap style? Both for entertainment and education?

2. The popular style: the narrative, the characters, situations, emotions, sentiment, message?

3. AIDS in Africa, in Tanzania, the number of deaths, the children orphaned, the children dying? The reticence about admitting AIDS? The film as a means for audiences learning about AIDS?

4. The opening funeral, the body, transported, the father of the family, Tumaini and her getting the body, the memories? The burial, the family present? The scourge of AIDS?

5. Tumaini’s mother, her fragility, illness, the revelation that she had been infected? Her dependence on Thomas? The past relationship, her explanation of her love for her husband? The issue of the cheque, her being grateful to Thomas, his helping the children? Her not knowing that he had taken the money? Her love for her children, the detail of work, at home, sowing the vegetables, the old man? Her death, her burial? The consequences for the children?

6. Tumaini, her age, oldest child, her care for the others, going to school, her relationship with her twelve-year-old brother, the younger sister and her illness? Missing her father? Her intelligence, her shrewdness about the cheque, knowing the truth about Thomas? The deaths and the impact? Living with the cousins, the cousins taunting them as AIDS orphans? The brother’s fight, her stopping it, defence of him? Thomas and his wife and their treatment? The love for her grandmother, the aunts? Staying, the uniform for the little girl, the boy and the hard work? Her discussions with the principal?

7. Thomas, his love for his sister-in-law, his attitude towards his wife? Wanting to help, a weak character? His relationship with his mother, deceiving her? The cheque, wanting a new boat, wanting a loan, the arguments at the bank, the refusal? His wife and her leading him on, the sinister use of the money, the rationalisations? The failed loan, drinking, sex with the woman in the bar, the irony of his being infected? The confrontation, the boy leaving, his going to the city, finding him, saving him? Rescuing Tumaini? His illness, the blood test, with his wife, their preparing for death, the deaths?

8. The old man, his kindness, the vegetable seeds, the other gifts, his courting the grandmother, the meals, his wise sayings, his tending the graves at the end?

9. Tumaini as a character, coping, her age, the boy and his running away, her going to the city, wandering the streets, hungry, encountering the gang, her brother and his character, wandering the streets, the robbery, being left with the fruit, his uncle saving him? The anger of a twelve-year-old boy?

10. Tumaini, her wisdom, the principal, the bank, the search? The pathos of her being robbed? Her being picked up, the threats of the pimp, her being saved? The boy from the gang, the attraction?

11. The boy, street kid, his helping the boy, his talk with Tumaini, with the uncle, giving information, saving her? Returning to the village, working on the boat, hard work? His returning to his family? His return to Tumaini?

12. The new family after the deaths, the man with the boat and his kindness, success in fishing?

13. The boy and his return, his love for Tumaini, the future – and her little lecture about love, study, condoms?

14. The visuals of the ending – love and hope? But the continued reminder of the gravestones and the ghosts of those who had died?

DRUM

South Africa/US, 2004, 96 minutes, Colour.
Taye Diggs, Gabriel Mann, Jason Flemyng.
Directed by Zola Moseka.

Here is a very interesting journey into South African history in the mid-1950s.

Drum was a cultural and popular magazine that began to take on issues that were more and more political, its reporters doing investigative journalism and providing a forum for critique of the apartheid regime. This film follows one of its black journalists on a personal journey of awareness, full of danger and potential disaster.

The film is challenging insofar as the hero is not a saint. His infidelity to his patient wife leads her to urge him to do something authentic in his work. This eventually leads him to pose as a worker on a farm and experience the harsh conditions, including a whipping. He gets himself arrested and exposes the severe and humiliating conditions for black prisoners. The magazine sells well but incurs the wrath of the powers that be and the police who are unscrupulous, even using the black gangsters who want their faces on the cover of the magazine to do their dirty work.

The film is South African but the makers have Hollywood experience and this shows in the craft that has gone into the film. Again, a Hollywood star has been employed, Taye Diggs. Usually in light romantic comedies on the big screen or on television, he gives one of his best performances as Jason Flemyng has a good role as the magazine editor who encourages his writers but is subject to pressure and threats.

The atmosphere of Johannesburg and, especially Sophiatown, which at that time was a locale where black and white could mix but which was soon to be taken over, are effectively re-created for an absorbing and saddening drama.

1. A product of the South African industry, craft, style? American influences? South African themes?

2. A portrait of the mid-1950s in South Africa, Johannesburg, Sofiatown? The streets and houses, the clubs? The offices for Drum?

3. Apartheid in South Africa, in force from 1948, laws, the enforcing of the laws, Major Stegler? The local police, the black police? Racist attitudes? Religious beliefs – the whites born to rule, the blacks to serve the whites? Segregation in practice, curfews, laws against mixed sexuality? The churches? Sofiatown and its destruction, change? As seen from the 21st century point of view and knowledge of a history?

4. Nelson Mandela and the ANC in the 50s, stances, attitudes, demonstrations and protests? The character of Mandela – and from hindsight? His wanting to use situations to the advantage of confronting the South African government?

5. The international cast, the American leads, the British actor, the South African cast?

6. The musical score, songs, rhythms?

7. The introduction to Sofiatown, the information, the live and let live, race equality? The opening boxing match, the audience responses, Henry as covering the match as a journalist? The magazine, Drum? The aftermath, in the clubs, drinking, the singer and Henry’s relationship with her? Ken, his short stories, drinking? Jurgen and his ability with photos? The Drum staff?

8. The magazine, the staff both black and white, Jim Bailey as editor, his open attitudes? The atmosphere of the office, the style of producing the magazine? The journalists, the anniversary issue, Jim wanting Henry to cover the story of the gangsters? The cover? Their meeting up with the gangsters, the fight – and the murder in the streets, the people watching, Jurgen and the photos? The aftermath, the gangsters’ complaints that they were not on the cover, the confrontation with Jurgen? Their agreeing to the set-up for the protest, to be on the cover? The sad irony of the gangster paid to kill Henry and talking with him, stabbing him? His explanations of why he did it?

9. Henry and his life, his place in the magazine, good relationship with Bailey, the staff, drinking? His affair with the singer? Going home to his wife, family? Her taunt about his ignoring social issues and just providing entertainment? The consequences for him, his work, his protests, his death, her grief?

10. The old woman at the magazine, the explanation about the taking of her son and his imprisonment for a year? Henry and his idea for infiltrating the farm? His pretending to be poor and ignorant, begging the boss for a job, his card being torn up, the hard labour, the whippings, the attitude of the boss, of the black foreman? The discovery of the buried hand? His decision to leave, Jurgen picking him up in the car, the pursuit on horseback, the boss shooting? The article, the cover photo? The number of copies sold? Bailey and his throwing of the party for the staff and friends?

11. The arrests, people going to prison? Henry’s decision to go to prison, Bailey’s tacit permission? Pretending to be drunk in the main street, insulting passers-by, accosting the woman, arrested? The humiliation in the prison, the treatment, naked, running, the article?

12. The Sofiatown issue, going to the office with Jurgen, Jurgen charming the attendant, her showing the plans, their stealing them? Bailey and his hesitation, wanting facts? Major Stegler’s visit and putting the pressure on Bailey?

13. Henry and the affair, the singer at the club, the issue of her ownership of the club or not? Henry’s decision to break the relationship? His wife’s being upset at the party, seeing the woman, her finding the earrings? Her giving him the good meal – and her willingness to forgive him?

14. Jim Bailey, English, hard-working, his being at home with black and white? The English visitors – and the faux pas about calling Henry a plucky boy? The interactions with Major Stegler? The celebration at his home, signing the pass for Henry and Flo to go home? Stegler instilling fear? The demonstration, his having to tell the news of Henry’s death to Florence? His presence at the funeral?

15. Ken, the teacher, drinking, waking up with the students, losing his job? His continued drinking, not writing well, being asked for research? The attraction towards the white girl, the relationship? Knowing the dangers, in the street and her having to say that he was her driver after the police attacked him? The arrest? His decision to leave? His being there at the end?

16. Jurgen, his background, at home in South Africa, his skill with photos? The Sofiatown maps? His rescuing Henry? His sadness at Henry’s death?

17. The members of the staff, their research, the quality of the magazine?

18. Florence, her relationship with Henry, long-suffering, urging him to go beyond entertainment, her growing fears, saying that he was helping others but not protecting the family, her forgiving him the affair? His death, her dignity at the funeral?

19. Stegler, the fact of apartheid, its enforcement, its philosophy?

20. The film in the light of the history of the 20th century, the apartheid years, the end of apartheid, the post-apartheid era?

21. Henry and his death, the dignity, the confrontation with his killer, knowing what was happening, a martyr for the cause?

PERUMAZHAKKALAM (WHILE IT RAINS HARD)

India, 2004, 100 minutes, Colour.
Directed by Kamal.

This is certainly a rain-filled film. It pours down. Of course, it is a symbol for grief, a grief that is almost as unrelenting as the rain.

This is serious Indian drama, not at all in the Bollywood vein. There are some songs, but they are like a voiceover and have lyrics which are appropriate for the action of the film. It is highly emotional drama, perhaps somewhat overcharged for non-Asian audiences, but emotion that is powerfully heartfelt.

And the serious theme? Religious tolerance. Also reconciliation.

The immediate focus is on a Muslim family looking forward to the favoured son returning from Saudi Arabia where he works for a family wedding. The news comes through that he is in prison, charged with killing a fellow-worker. The victim is a Hindu.

The wife of the arrested man is distraught (it is she who is so demonstrably and continually grieving). With the support of the rest of the family, she decides to approach the widow who has the power to sign documents that will pardon her husband. The Hindu family, especially the mother of the murdered man are implacable, fiercely so. However, as the widow has the chance to observe the lamenting wife and think through the consequences of her action or non-action, she undergoes a compassionate change – with dire results for herself from the same implacable family.

This drama of forgiveness and reconciliation on a personal level is an allegory for understanding and reconciliation between Muslims and Hindus, especially for a united future. And, with the image of two daughters of two different faiths playing together, the message is one of hope.

1. The Indian industry? Serious themes? This film with religious and justice themes? Not using Bollywood styles? The use of songs with significant lyrics?

2. The Indian locations, the season, the continued rain and its effect, visual impact? The town, the train travel, the other towns, homes? Authentic atmosphere? Musical score?

3. The title, the seasons, monsoons, the rain, the pessimistic view of life? The lack of hope?

4. The situation: Akbar and the people wanting him to come home for the wedding, his wife and child, the rest of the family? The phone calls, the news about the disaster, the information that he had killed someone? The explanation of the fight, the accident, his killing the Brahman? The arrest, capital punishment? The condition that the widow sign the pardon form?

5. The preparations for the wedding, the family, the Muslim tradition, customs? The bride’s father, the uncle, the members of the family, their concern? Islamic faith and a sense of fate, God’s will? Razia, her anticipation of her husband’s return, joy? The news, her collapse? Her weeping, her grief, sense of hopelessness?

6. The dramatic style of the film, melodrama, highly emotive – especially with the two women?

7. Razia and her travelling to the widow, her hopes, the rejection by the widow, her weeping, looking from the distance, the vengeance of the Hindu family?

8. The Hindus, the religious traditions, the sense of God, fate? Their being bent on vengeance and revenge? The mother and her fierce determination?

9. Ganga and the news of her husband’s death, her attitude towards Razia and the Muslims? Her own children, her grief? Her gradual reflection, the family commenting on Razia’s presence? Her thinking things through, praying? Her decision to change her mind?

10. Razia and the family returning home, the sense of hopelessness? Ganga, her determination, the anger of the family, the support of her uncle? Travelling, arriving at Razia’s house, the surprise? Razia and her being in a trance? The final realisation that Ganga had come?

11. Ganga being rejected by the family, ousted? Having to live alone? Their finally letting her children come?

12. Akbar and his release, the family at the airport, the joy in seeing his daughter, his wife?

HARI-OM

India, 2004, 106 minutes, Colour.
Veejay Raaz, Camille Netta, Jean- Marie Lamour.
Directed by Bharatbala Ganapathy.

Hari Om is a rickshaw driver, though he dreams of being an actor or a model. Not very likely – especially when he gets into impossible gambling debts and becomes the victim of the crime boss’s thugs. However, the film is not quite as predictable as that might sound.

Enter an arrogant French jewel merchant who sees India as a place for money-making but really just a mess – and has no self-consciousness about loudly expressing himself accordingly. His girlfriend wants to experience India which she loves. Now it becomes predictable. Who is to be her guide? None other than Hari Om trying to escape the thugs.

They experience all kinds of adventures which serve as plot devices for an Indian road movie but which also provide opportunity for a pleasingly prolonged look at the beauty of Indian landscapes, of the architecture and of life in cities and villages. It also gives the opportunity for a wise man to tell a guru like story so that audiences experience the mystic side of Indian culture.

The end has the touch of farce with a car and rickshaw chase – but it all concludes nicely. It is not a singing and dancing Indian film but a popular comedy adventure which is also aimed at an overseas audience.

1. Entertaining Indian film? Not in the Bollywood style? Use of music – but focus on character, plot, action?

2. The location photography, the provinces, the range of towns and villages, the countryside? The tourist look at the beauty and culture of India in detail? The tourism being worked into the plot?

3. The songs in the background, their lyrics? Indication of themes?

4. The title, the focus on Hari-Om? The rickshaw driver, the would-be actor, his home, getting up in the morning, work, his gambling, his debts, the gangsters arranging his debts and threatening him? His bravado?

5. The introduction of Isa and Benoit: the train, their relationship, affluence, at the station and being met, the car, the fashionable hotel? The rajah and the buying of jewels, Benoit examining the jewels? Isa being bored, the clash, her going out? The encounter with Hari-Om? and escaping in the rickshaw? The photography of riding in the rickshaw, in the streets, the traffic, the buildings, the tour of the day, the visual delights, the atmosphere of India? The contrast with Benoit, his disdain, calling everything a mess, his criticism of the breakfast…? Isa and her contemplating India – and missing the train?

6. Harry and the gangsters, the argument with them, his escape? At the hotel, the chance encounter with Isa, driving her around all day? Taking her to the station? The irony of finding her by the roadside after the bus breakdown, their travelling together, on the road, their different adventures, her phone calls, buying the petrol, her giving him the money? The story that the old man told her? Hari- Om and his getting drunk, his boasts about thwarting the gangsters, the chases, on the camels, the rickshaw being impounded, the final village?

7. Isa in herself, her French and Catholic background, with Benoit, her going out on her own, her love for India, sights and sounds? The phone calls, her being hurt? To the station, the bus breaking down, on the roadside, encountering him again? The adventures, the phone calls? The beauty of the building, the shower? The house, the old man and his moving story and her tears? Her having to leave? On the bike, driving the rickshaw, the camels etc? The community and her meeting the people?

8. The build-up to the chase, Benoit and his change of heart, getting off the train, his cases, on the top of the bus, stranded and arrested? Hari-Om? and the goons? Isa with Hari and the dangers?

9. The rickshaw drivers all getting together, confronting the goons, the fight?

10. The old man, the wisdom of his story, it being moving – and his telling the story of his own love for the rich woman, her marriage, serving her as her driver, looking after her in her illness, her finally understanding and her dying? His own life in the house?

11. The farewells at the station, Hari and his kissing Isa, her leaving, with Benoit? The experience of each?

12. India for visitors, the disdain and the transition to seeing it as an interesting mess? Others and their love for India?

13. The future for Hari-Om? – a touch wiser?

MR AND MRS SMITH

US, 2005, 110 minutes, Colour.
Brad Pitt, Angelina Jolie, Vince Vaughn, Kerry Washington.
Directed by Doug Liman.

This is one of those films which those who enjoy refer to as ‘a guilty pleasure’. So, this review is a guilty plea!

Some reviewers have taken the plot and characterisations very seriously indeed. But, that did not seem to be the point of the film. This is a soufflé tinged with gunpowder. To examine the behaviour of the central couple, the anonymous John and Jane Smith, Mr and Mrs, for moral judgment is to miss the jokeyness – and everything can be the subject of humour. Of course, it’s the how it’s all done is the ultimate criterion.

Like James Bond, whom everybody learned decades ago not to take as a serious dramatic hero, Mr and Mrs Smith have ‘licenses to kill’. While every marriage has its secrets, this is a rather large one that each has been hiding from the other for ‘about five years’ as he says, ‘exactly six’ as he says. It is just as well that the film starts with the couple in marriage counselling sessions because when they are assigned, as you know they will be, to eliminate the other, then mayhem breaks loose. If you like it, that’s the joke. What do Mr and Mrs Smith do? Outwitting the other, of course. Spying on the other, of course. A huge lethal brawl – maybe more vigorous than we anticipated. Happy ending and reconciliation after discovering the pep in their lives. Naturally.

So, depending on your attitude towards the basic joke, the screenplay is very amusing (or not). Opting for the amusing stance, I thought that Brad Pitt excels at this kind of comedy (The Mexican, the Oceans’ films – much better than running around Troy). He has good timing and communicates the humour cleverly, especially during therapy. Angelina Jolie looks and sounds smart and is given a wardrobe that ought to have made Mr Smith suspicious only he is not very observant about these matters. And Vince Vaughn turns in one of his better and funnier supporting friend roles.

Director Doug Liman made his name with a twenty-somethings identity and socialising comedy, Swingers, and went on to surprise people by making a good job of The Bourne Identity. This has the touch of a combination of the two.

1. The title, its seeming simplicity, ordinariness? The joke with the anonymous Mr and Mrs Smith signing in anywhere?

2. The frothy style of the film, the throwback to the 30s screwball comedies, the battle of the sexes, the jokiness, marriage and action combined?

3. The glossy colour photography, the prologue in the counsellor’s office, the focus on John and Jane? The anonymous interviewer? The opening out to New York City, the action sequences in the desert? The interiors and affluence and style?

4. The editing, the pace, the action sequences, the stunt-work, the different moods, the score?

5. The counselling framework, John and his “five or six years”, Jane and her precision with “six”? The indications of the relationship, blame, responsibility? The contrast with the end – and John’s final joke with his fingers?

6. Each in the counselling situation, the precision of Jane, the vagueness of John? The situation in Bogota, the restaurant, the shootings? Both of them present? Not suspecting each other? The attraction, the dance, the sexual encounter? Their marriage – and the video? The shift to the present, their meals at home, his not really appreciating her cooking, her stylish meals? The irony that she never cooked any of them? Each of them at work? The discussion about the house, the decoration, the curtains, the bathroom scenes, the bed, the cars, each going off to work?

7. Brad Pitt as John, the intuitive type, vague in detail? At work, his friendship with Eddie? The various mishaps, the neighbours and their watching? Getting home for meals? His encounter with the drunk, with Lucky, going to his arsenal, the assassination?

8. Jane and Angelina Jolie’s style, fashionable, clothes, her office, state of the art? Her quick decision-making? Getting home, the meals on the table, the tensions, the curtains, the domestic scenes? The irony of her going out, her becoming the Dominatrix, the client, her arsenal, the assassination?

9. The neighbours, the dress, the baby? The parties and their seeming ordinary couple in suburbia? The chatter, the neighbours, running through the shrubs, the cars?

10. The tongue-in-cheek screenplay, the wit of the film, its humour, blending the ordinary with the extraordinary?

11. Each of them getting a mission, their respective cover, teams? The jeeps, the desert, the binoculars and each watching the other? The irony of the mission to destroy each other? The bait, the escape, later? Prison, the hostage, the truth? The irony of the hostage and the audience seeing him in the department, being given the job, wanting promotion? His being interrogated – and the irony of his being part of the set-up?

12. Each investigating the opposite, each discovering the truth, the computer and addresses, the scanning, the different reactions? The respective phone calls? Dinner at seven as usual, John being wary of poisoning? The knives in the kitchen…?

13. The ultimate confrontation, in the buildings, the explosions, elevator, the chases and crashes, in the restaurant, the irony of the dancing, the explosion, the pocket bombs? Each really trying to kill the other? The shoot-out in the house, from room to room? The truce, the sexual attraction?

14. Combining forces, relying on Eddie, the attack, their being caught in their underwear, the store? The body count and the jokes? The mission to the hostage and surviving?

15. Eddie, as a friend, working with John, his relationship with women, his dependence on his mother, the dominating mother jokes?

16. Jasmine and Jane’s staff, their support, their help?

17. The excitement and the danger – and the humour of the final counselling session and the marriage saved?

18. Some critics being severe on the amount of violence – and the possibility of taking the whole thing seriously or treating it as a joke like the James Bond stories?