Tsotsi

A Jo'burg resident myself it was great to see Jo'burg on screen in one hot film. I mean to often I get excited by seeing the Jo'burg skyline on the big screen and then I am sadly disappointed by the following weak film, not in this case. A great film with a great cast and great direction. Yes there are similarities to "City of God" but the story is much smaller and hence more personal; maybe it's because I live in Johannesburg but I found myself so emotionally caught up in the film that more then once I had to hold back tears.

Maybe there were some obvious uses of cinematic dramatic vices, yet the film held together all the way to the end and packed a serious punch. The lead actor was brilliant in his role which teetered between the victim and the aggressor constantly and consequently good and evil. A great cameo performance by Presley Chweneyagae. As a near graduate of South African film school this gives me hope for the cinematic future of our country.

In Johannesburg, the small time criminal Tsotsi (Presley Chweneyagae) is a teenager without feelings, hardened by his tough life. After killing a man with his gang in a robbery; hitting the gangster Boston of his gang; humiliating a crippled beggar along one night, Tsotsi hijacks a car and under the despair of a woman, he shots her in the stomach. While driving the car, Tsotsi finds that there is a baby on the back seat and the woman was a desperate mother. He brings the baby to his house in the slum and becomes attached to him. For six days, the baby changes his behavior, arousing and developing the sense of empathy and humanity in the cold blood killer.

"Tsotsi" is a touching, realistic and powerful story of redemption without being corny. Presley Chweneyagae is amazing in the role of a teenager without any feelings or respect for other human beings, with eyes without expression, and deserved a nomination to the Oscar. His behavior changes when he decides to take care of a baby that he accidentally kidnapped. I was impressed with the ghettos of poverty in Johannesburg, which are very similar to the slums in Rio de Janeiro. They are so distant and also so close, in a very sad reality of third world countries. My vote is nine.

Title (Brazil): "Infância Roubada" ("Stolen Childhood")

This traces a few days in the life of the teenage gang leader Tsotsi. When we first meet him, he and his friends are playing dice, deciding what to do that evening. And what they do is murder a man, stealing his wallet and leaving him behind on the train. One of the gang, Boston, isn't too happy with this. He begins to drink and to talk about how they lack decency. He tries to provoke Tsotsi into revealing some sort of feeling, asking him about his real name. Tsotsi means thug, it isn't the name his mother gave him. That doesn't work, so Boston asks has any woman hurt him. Still no reaction. Not even a dog, he pleads in exasperation, and his provocation bears fruit, as Tsotsi punches and kicks Boston in a brutal attack before running off into the night.

As he runs we get a flashback of a young boy, a young Tsotsi fleeing through the night. And throughout the rest of the film Tsotsi's childhood memories are intercut with the current happenings and violence. To say anymore about the plot would be to spoil some moments of the film.

There is a wonderful mixture of stillness, silence, and energy to this film. At times the camera lingers on faces, watching for a flicker of emotion. Other scenes are full of action and movement.

This is a film that does say that poverty is a driving force behind crime, but that is never allowed to become an excuse. There are other characters who are just as poor but do not react in the same way. It also never glamourises the violence, and while redemption may be at the heart of the film it never goes over the top in offering a happy ending.

This is actually one of those films you hope may have a Hollywood ending, where they can all live happily ever after, even though you know that that would render the rest of the film almost pointless.

Normally, I am reluctant to slam another person's comments about a film, but I have to take issue with Noel-74. First of all, the arrogance of comments like, "You've got to be a complete idiot to believe you're seeing something new" takes me back to the self-important little twerps of my undergraduate days. So, Noel-74, if you are an undergraduate, my apologies. Let's hope it's just a stage you're working through. If you're over the of 25, please stay clear. I mean, seriously, your comment that there was something sinister in making abject poverty look so beautiful. Can any person look at the scenes depicted in that movie and feel anything other than horror at the conditions in which so many of our brothers and sisters live? Not to get all touchy-feely on you, but if you came away from that movie thinking about how beautiful it all looked, I'd say it was you, and not the movie, that could use a little more introspection. I liked this movie a lot. I thought it was moving, chilling, depressing and unpredictable. Even the ending (NO SPOILERS HERE) could have gone a bunch of different ways, several of which would have been more conventional than what we are left with. A very good film, with excellent acting.

TSOTSI (2005) Set in South Africa, against a background of inequality and HIV, Tsotsi (played by Presley Chweneyagae), an unemotional small-time gang leader, develops an understanding of, and tries to grasp, family, belonging and caring for others. The unlikely catalyst for his redemption is a baby he finds in the back of a car he steals.

Director Gavin Hood engages our empathy and challenges our prejudices without stooping to Hollywood sentimentality. The film is filled with muted colours, swelling to golden tones as Tsotsi discovers his emotions.

The story's secondary theme is the understated but powerful role of women, typified by Terry Pheto as Miriam. She cares and nurtures, and makes beauty out of very little, including mobiles from broken glass; she quietly challenges the male-generated violence of the film.

By the end of the film the audience is moved by, and involved in, the narrative, and our awareness of the complexity of South African society is extended. This includes the soundtrack, featuring township music and a cameo role by Kwaito star Zola, the sparse dialogue in many languages, for which English subtitles are not obtrusive, and the scene-setting affluent and township locations. Tsotsi is a very convincing winner of the 2006 Oscar for Best Foreign Film.