Pleure ô pays bien-aimé

Rev Kumalo receives a letter from Johannesburg telling him that his sister, who went there many years ago to look for her husband, is very sick and that he should come immediately. When he arrives he is robbed but finds a home with the sender of the letter. His sister is working as a prostitute in a brothel in town and his quest to help her soon turns to finding his brother and then his own son. However events will bring the nature of the racial divide into full focus.

It has been many years since I read the book but I always remember it as it was quite thought provoking – bringing in wider issues into the framework of the main story. I was surprised to find this version made by Disney and was prepared for almost a child's film, happily I was wrong. The plot is quite well developed in terms of the central story and, although I wasn't moved to the point of tears, I did find it pretty involving and moving to some degree. What it failed to do though was bring out wider issues from the period and setting. True it let us see the places and the divide but there was no subtext – only visual images.

The direction is good – whether it is the outdoors, a rain swept church or a small indoors room, it all has a good sense of place and time. The cast is all pretty good. Jones is the strongest and acts as the moral backbone of the story – he is seeing these things for the first time just like we are as an audience. The late Richard Harris is also good but has less screen time. I think his character needed more as it is he who has the biggest journey of discovery – where Kumalo's is physical, his is more into himself and learning to overcome his feelings. The South African cast are mainly very good and give good support – the only real flaw was that I wasn't totally convinced that Kumalo's relatives were really his relatives – only Dutton managed to bring out an emotional history and have a sort of bond with Jones, the rest were a little too distant.

Overall this is a good version of the book albeit with the focus more on the core narrative than other themes. The leads are good and it is an involving story. Not fantastic but a good drama about one man's strength.

This is a wonderful movie, based on the famous book. It features excellent camera work, which took full advantage of the beautiful scenery in the South African countryside. It also features an exceptional score by John Barry. In addition, the performances were quite good, although I've heard some people say they thought that James Earl Jones made Rev Kumalo too "soft around the edges". In any case, this is a quite good movie.

Came to write this review because the recent hoopla around the Black Panther movie made me think of this. Our society truly is clueless when a superhero movie that isn't even a "movement" or even about Africa gets a vaulted review over gems like this. This movie here has depth, emotion, substance, heart and power behind it. All things that Black Panther does not have. One of my most favorite movies of all time and one of my go-to's when I talk about powerful movies.

I know most readers won't find my comments useful, but here goes anyway. I saw this movie a long long time ago but recently went looking for it on IMDb (not sure why), probably to look up snippets about Richard Harris. What I remember most about the movie was 1) the incredible cinematography - no denying that African countryside is gorgeous, and 2) the one long extended scene between James Earl Jones and Richard Harris. I don't even remember most of the dialogue, only that these two great classically-trained actors almost literally chewed the scenery. I remember that the scene was calmly played, yet both actors simmered with just-perceptible passion.

I once performed in the Kurt Weill opera of the same name. I'm accustomed to having music propel me through the story, but I didn't miss it in this movie. One casting note - probably because of recent trends in NTC (non-traditional casting), most stage shows refer to the racial divide in the opera as "whites" and "coloreds," which, under apartheid, included all non-whites. Whether or not this was intentionally done by the librettist, it gives opera companies the freedom to hire Asian-Americans, African-Americans, and Hispanic-Americans (or Europeans) as the "colored" cast. In the movie, it was starkly white and black. Nevertheless, if you lack any other reason for seeing the movie, see it for the wonderful performances of Jones and Harris.

I could not believe as I read other reviewers of this movie that they thought it "irrelevant"! The struggle for equality, peace and love is NEVER irrelevant. This was a movie that by any standards is brillant and moving. James Earl Jones does a magnificent job of playing the main character with dignity and restraint. He makes you suffer with him as a result. A drama coach I once had told me, don't you cry, let them cry. He does both through his amazing minimalist acting. He doesn't waste himself on meaningless gestures & histronics, he lets you see the suffering of his soul. Equally brillant is Richard Harris as the father of the son killed by Jones' son. These two men are brought together in the worst of circumstances and that is when the true character of the man is revealed. Despite all his racist comments earlier in the movie, he overcomes his own self-hate (translated to Africans) to see the bigger picture that his own son knew all along. Someone once said, you cannot hate anything in someone else, unless it reflects something you hate within yourself. Through the pain & death of his son, he transcends his own sense of self-loathing. He sees with the eyes of love that people are just people, no matter what color their skin is. A movie that communicates that is never irrelevant or unimportant.