Il gigante della roccia del falco

Stanley Baker was a vastly underrated actor. This film about a barrister faced with the task of defending a murderer who within his own cultural framework is hardly committing murder, is gripping, poignant and thoughtful Based on the days of apartheid in South Africa, Baker defends a man who took revenge on a man who killed one of his children to enhance his prowess as a stick fighter. The peek into the violent world of the Xhosa is very well done and the attack created by Baker in defense of his client is excellent. This is an excellent film, undershown and underseen. If you have the chance to see it, do so. You will be informed as well as entertained by this engaging tale based on actual cases (Yes. There were several of these revenge killings based on witchcraft that appeared in South African courts).

1964's "Dingaka" proved a rarity even for Joseph E. Levine's Embassy Pictures, a dramatic feature from South Africa's documentary director Jamie Uys (best known for his award winning "The Gods Must Be Crazy" from 1980), offering much splendor on actual locations with local tribes and customs playing a major part overall. The crux of the story revolves around the tribal witch doctor, a cruel and wicked charlatan who enriches himself by holding everyone in the superstitious grip of fear. A defeated stick fighter comes to him for strong medicine, which requires the fighter to eat the heart of an innocent little girl, her vengeful father seeking justice not only for his child but also his fallen wife. The witch doctor puts a curse on the grief stricken parent, who then follows the stick fighter to the big city, where the white man's law cannot prove the accused to be guilty of the crime while imprisoning his pursuer for attempted murder. Stanley Baker plays his defending attorney, initially dismayed when his client escapes back to the tribe, but determined to prove the misdeeds of the witch doctor to dispel his evil power. The first half tends to drag in showcasing music and dance, but once Baker is introduced midway through the pace picks up considerably, leading to a satisfactory climax where one man must choose to defy the gods. Juliet Prowse adds little to the dispensable role of Baker's pregnant wife, but his reliable presence anchors the film for Western audiences.

I remember the choirs harmony blew my mind, not professional singers, just folkloric music, I had never heard such sounds and it gave me an appreciation of that music ant that culture.

It was the mid 1960's, my teenage pals and I skipped school, went to the movies instead, Dingaka was playing, loved it, I have been looking for a copy for decades, I can't find it on Netflixs, would love to see it again, the music was just hunting, the unfairness of the story, If one knows where to rent, borrow, I recommend it, please let one know.

I wish I could remember more details about it, it was 50 years ago, but I do remember how the tribe's men songs were such a surprise musically, where the notes would go next, the baritone sounds and harmonies were like nothing I had heard before.

The first time I saw 'Dingarka' was on TV, it made a powerful impact in the late 70s'. Then, after seeing it on Film some years later on a full CinemaScope screen, I understood what gave this slight movie such a powerful look.

The real stars of the film are: Firstly; the remarkably strong 'On Location' Cinematography by South African Photographer/actor Manie Botha (Botha was also known to take an acting role in several films he photographed) Additional Photography is superbly supplied by Judex C.Viljoen. Both these talented folk worked well under the Direction of fellow South African Jamie Uys.

Secondly: Eye Popping Color, courtesy of magnificent IB Technicolor. A process now sadly lost to us. The images were first shot on Black and White film stock, then the Primary Colors are added in the lab by layered dyes. This Color never faded, prints remained with the same vibrant living Color till they literally fell apart.

Thirdly: The tremendous use of Music and Song, with sterling compositions by South African Bertha Egnos. An odd addition to the Music credits was Eddie Domingo who appeared with American Ballad singer Jim Reeves in his only Movie: 'Kimberly Jim'. Reeves, best known for his No.1 world hit record "He'll have to Go" was killed in a plan crash the same year. Not a great deal seems known of the Third member of the Music team Basil Grey. All the compositions within this score are winners and range from gentle songs, to thumping African dance routines.

Ken Gampu gives a never faltering performance as the father forced to leave his tribal grounds - searching for the murderer of his little daughter in unfamiliar and hostile big city locations. His strong performance holds the film together through some of the more shaky moments. Stanley Baker is OK as the big city Lawyer with Juliet Prowse trying hard with a thankless role as his wife.

It's early Jamie Uys (Beautiful People - The Gods Must be Crazy, etc) but his own distinctive style was evident even in 1964. Some character development is at times weak, and there's too much of the tourist treatment for the scenes involving 'local color' ~ but as a clash of cultures piece, it makes for good entertainment. Don't be too demanding and it should reward well enough. KenR.

Ken Gampu, a black South African, carries this beautiful fable of a man conflicted between two worlds, on his broad shoulders. Stanley Baker is competent in a secondary role, and Juliet Prowse is equally competent in a totally unnecessary role. The music is exceptional. Watch this, and you can see Jamie Uys dealing with the subject matter that he would turn into a worldwide hit 15 years later in THE GODS MUST BE CRAZY.