home
***
CD-ROM
|
disk
|
FTP
|
other
***
search
/
TIME: Almanac 1990
/
1990 Time Magazine Compact Almanac, The (1991)(Time).iso
/
time
/
092589
/
09258900.071
< prev
next >
Wrap
Text File
|
1990-09-17
|
4KB
|
68 lines
CINEMA, Page 78The Bland Face of State TerrorBy Richard Schickel
A DRY WHITE SEASON
Directed by Euzhan Palcy
Screenplay by Colin Welland and Euzhan Palcy
Here it is, then, our annual antiapartheid movie. In moral
thrust, A Dry White Season is exactly like its immediate
predecessors, Cry Freedom and A World Apart. Once again a white
liberal comes to radical consciousness after intimate
confrontations with the murderous brutality of South African racism
and suffers dreadfully as a result.
Artistically, A Dry White Season may aspire to less than the
previous movies, since it lacks both the epic ambition of Richard
Attenborough's Freedom and the psychological delicacy of Chris
Menges' World. Emotionally, however, it has a force unmatched by
the other movies on this subject. For the new film does not stir
you to thought (if you still need to think over apartheid, you are
probably brain damaged) or sympathy (if you still lack compassion
for South Africa's blacks, you probably need a heart implant). It
stirs you to outrage.
One reason for the picture's impact is its straight-ahead
melodramatic structure. At its simplest level the movie functions
as a well-constructed mystery story. A black man, a gardener named
Gordon Ngubene (Winston Ntshona), comes to his employer, Ben du
Toit (Donald Sutherland), asking him to help find his son. The boy
was taken into police custody during the Soweto protests of 1976
and has disappeared. Du Toit, a calm and rational man, believes
this is surely just a bureaucratic muddle that can be easily
ameliorated by a solid citizen's firm but polite intervention.
But we are not talking bureaucracy here. We are talking about
a strangely imperturbable menace. Searching for his son, Ngubene
is also arrested; father and boy are tortured and then murdered in
prison. And because Du Toit continues to seek justice on their
behalf, he is himself victimized by state terror that is the more
frightening because of the bland face with which it covers its
institutionalized psychopathy. Du Toit is subjected to steadily
escalating harassment. Eventually he loses his job and his wife
(Janet Suzman in a good, dour performance), and he must deal with
the fact that his daughter is willing to betray him to the police.
He is not entirely isolated in his struggle. His young son
stands by him. So do a scrappy journalist (Susan Sarandon in an
underdeveloped role) and a weary, canny lawyer, played by Marlon
Brando. In his first movie role in eight years, Brando is
shockingly bloated in appearance, but his full authority as an
actor is mobilized by a part in which he obviously believes (he was
paid union scale).
But it may be that the best thing about A Dry White Season is
that it does not practice unconscious apartheid. Our attention may
be focused on the political education of Ben du Toit, but the
Ngubene family is well particularized and their torments set forth
unblinkingly, not to say horrifically. And Ben is provided with a
guide to the realities of life on the other side of the color line:
the tough, suspicious, ultimately compassionate taxi driver named
Stanley (Zakes Mokae). He is a man who turns up in surprising
places in unpredictable moods. He provides the bestartlements that
shake Du Toit, who is appropriately all stunned introspection.
If Du Toit is the white audience's surrogate, Stanley must be
director Euzhan Palcy's surrogate. Imparting energy and waywardness
to her film, he helps give it the pulse of popular fiction without
in any way diminishing its moral seriousness.