Simba

Despite the noble attempts at even-handedness in handling racial conflicts in 1950s Kenya (Earl Cameron is a commanding presence as a pacifist, educated doctor), "Simba" still has a racist and imperialist point-of-view: most of the black characters indeed are, or are quick to become, "howling savages". If you can overlook that, it's a well-made piece of work, vividly photographed in Eastmancolor and with some tense suspense sequences. **1/2 ouf 4.

Useless to say that the British film industry doesn't make any films of this kind any more, and this since the mid sixties and the likes of KARTHOUM. Since the end of the British colonial empire; now the UK film industry focuses on social - comedies, crime, dramas - movies, a domain where they are excellent. This gritty and poignant adventure yarn is also excellent and I can't prevent myself to compare it with SOMETHING OF VALUE, SAFARI, BEYOND MOMBASA.... It is one of the best in this genre and also my favourite from director Brian Desmond Hurst, among those I saw from him. Dirk Bogarde as terrific as usual, convincing, especially with his co star Virginia McKenna.

Dirk Bogarde, poorly regarded brother of a Kenyan farmer, comes to Kenya to find his brother killed by the savage Mau Mau group led by the mysterious SIMBA. Will he find true love, a sense of responsibility, and a proper regard with the indigenous people who are revolting against colonial rule?

Though this a painfully sincere movie illustrating the hardships of being a white farmer in a countryside full of people who do not want white farmers, its hard not to be somewhat appalled by a movie that poses the question -- do the native Kenyans who were part of the Mau Mau deserve to be regarded as men, or simply as savages. While, fortunately, it does feel like the movie makers are making the case for thinking of the Kenyans as humans, it's a bit of a close issue, as the lead farmer is allowed to rant about savages, and the police commissioner trying desperately to keep order, seems to have ill-concealed contempt for the natives revolting against his authority.

The acting is all good, and the direction keeps this particular plot moving. The opening sequence is shocking. The final sequence really is quite tense, and the way the filmmakers choose to end this film makes some rather unpleasant and unpalatable points quite well.

The problem is this. Do you really want to see a movie made from the point of view of the earnest but colonialist occupiers? Are you willing to tolerate something that looks like the film the French in Battle of Algiers would have made, had they access to a camera and clipped British accents? If you aren't, don't watch. You really will get angry.

But, if you want to see viewpoint of the English establishment just before colonialism was ended, this might be as good a place as any to find it.

I don't intend to review the film in its entirety, but rather discuss its treatment of race relations. There is little doubt that it was transgressive by the standards of its time, and, also, it was incredibly raw and often offensive in terms of rank racism, but it was also refreshingly honest and unvarnished. We saw the ugliness for what it was on all sides. We saw the complication. We saw how truly decent people could hold a variety of view and then change them for the better. Most importantly,we saw humanity. I don't think we can achieve that by sanitizing and political correctness. I am grateful that this film is available for viewing and consideration. Just the notion of an accomplished black doctor standing up to a white man in such an astonishing way circa 1955 was amazing. We didn't see anything like it until Sydney Poitier uttered his famous line, "They call me Mr. Tibbs."

One of my biggest complaints about American cinema films concerning Africa is that they are complete pulp fiction and give us no real understanding of the continent. How could it since we have no real ties, even colonial ones with Africa. Simba however which is British made and shot on actual location in Kenya Colony which it was at the time this film was made is a good insight to the problems of an Empire in its last gasp and they knew it.

Kenya took longer than most of sub-Saharan Africa to be free because of the Mau Mau rebellion. But free it became within a decade of Simba reaching the screen. Dirk Bogarde stars as a young man come to Africa to work with his brother on the family farm in Kenya. But on his arrival he discovers that the brother has been murdered by the Mau Maus.

This does engender some racial attitudes in Bogarde, understandable to say the least. Seeing the better angels of Africa's nature is Virginia McKenna the daughter of neighboring farmers Basil Sydney and Marie Ney. Dealing with it from a military point of view is Donald Sinden in charge of the local constabulary which also is staffed with native troops.

These players and the rest of Simba's film crew took their lives in their hands going there to make this film. Another American film on Africa, Safari with Victor Mature and Janet Leigh, also dealt peripherally with the Mau Mau movement and was shot there a year later. This is the better product by far.

Mention must also go to Earl Cameron playing the European educated black doctor who is caught between the white colonials and his own natives and this violent outbreak which is harming all. Cameron delivers a fine performance, his is the voice of emerging Africa and Kenya in particular.

Don't miss this one if it's broadcast.