Catch a Fire

I can't quarrel with those who give this film high praise for powerfully representing the complex humanity of both the oppressor and oppressed with first-rate film-making. Essentially it tells how a capable, peaceable bystander is bullied into becoming a "freedom fighter" (or "terrorist" if you will), at cost. BUT given most of the film's present-tense dramatic intensity, I was disappointed by the sudden lapse into voice-over past tense narration at the end, hastily tacked on it would seem to tell us that though the story seems a downer, historically it all turned out well after all. I'd rather have seen another hour -- maybe less -- that continued the tale on its own terms -- the subject is epic enough to deserve it. Or else seen all that end material separated from the film itself, an end flourish upwards amid the end-credits, performing the job but leaving the main story its own integrity. Too bad. An excellent film, strong but in this regard imperfect.

The remarkable thing about Australian director Phillip Noyce's engaging political thriller, which is set in the South Africa's apartheid era, is that he has succeeded in making a thoughtful film in a genre strewn with pitfalls.

Derek Luke plays Patrick Chamusso, a (real life) black African who becomes radicalised as a result of his wrongful detention and torture by South Africa's ruling white party. Conscious of his duty to support a family, Patrick keeps his head down, having nothing to do with terrorists and 'trouble-makers' who want to attack the massive oil-refinery where he works as a foreman. Patrick doesn't even let his aging inlaw listen to the 'Radio Freedom' channel. But after a false arrest and incarceration - during which time he is not charged and so has no right to a lawyer - Patrick is beaten senseless and then sees the same treatment meted out to his wife. The experience convert him to the cause as soon as he gets out and he's off to Mozambique to train as an ANC freedom fighter.

Patrick's opponent is Tim Robbins, who plays Nic Vos, the Colonel in an anti-terrorist squad. In a poignant montage, we see Vos receiving a medal, intercut with another shot showing the burial of murdered ANC fighters (who receive a gun-salute).

The average movie would already have made simplistic references to Guantanamo (or any other political hot topic), reduced Chamusso and Vos to mere ciphers, moralised to the point of being patronising, or wallowed in sentimentality. But Noyce is no average director. He has produced sterling thrillers such as The Bone Collector but, more importantly, has shown himself to have a firm grasp of human rights, seen in both his treatment of The Quiet American and Rabbit Proof Fence. This film is about the making of a terrorist, but within a specific historical context, and makes no judgement beyond South Africa.

The hybridisation of South African society is competently developed. Our story is told primarily from the viewpoint of blacks. This is in contrast to the usual Hollywood formula which would show whites mistreating them, and then whites eventually (and heroically) developing more enlightened views. We get to know Patrick, his family, his shortcomings, his daily life and his love of football. Yet focussing too narrowly on him could have turned Catch a Fire into mere polemic. Instead, Robbins is also allowed to develop the character of Vos, who we see as a man doing what he believes is best rather than someone who is an out-and-out monster. The Colonel also has a family he loves, and teaches his daughters that his job is to make the country a safe place for them to live in. He can calmly oversee torture one minute and play good cop the next -yet conveying sincerity to both attitudes.

South Africa today is neither the country that it was under apartheid, nor the country that it was before outside nations established control. Crucial insights paved the way for South Africa's 'freedom' - rather than a victory of one race over another. Concepts like universal sharing and passive resistance. This is epitomised in the film when a saying of Nelson Mandela is recalled - 'we can never be free until we learn to forgive'.

The real life Patrick (who makes a brief appearance in the film) now lives with Conney, a woman he married after his release. They have children of their own and have fostered over 70 AIDS orphans at their Two Sisters charity (http://www.twosisters.org.za/ - which appears in the end-credits). The addition of documentary details may annoy some audiences who wanted to leave the cinema purely after a thriller, but for this viewer the cut to real-life seemed an excellent anchor without giving way to sermonising.

Catch a Fire is a complex political thriller based on at least one historical character. It documents an important chapter of history. The degree to which there are parallels or lessons for other situations in the present day is left entirely for the viewer. What is clear is that Noyce has once again handled a multifaceted and challenging story with skill and even-handedness.

This film didn't have the attention it would have deserved, at least in Europe (no attention at all in Italy..) but it's quite riveting. Elevated and empowered by Tim Robbin's and Derek Luke's performances "Catch a fire" has the right impact and vibrancy. It should raise important political questions in a world obsessed with terrorism and it's also filled with well - staged action scenes. The apartheid era is properly described and the social history developing in this context is certainly remarkable, though not flawless. Compared to other productions dealing with the same subject this one offers a perspective a bit different and more mature and ends up with a surprising forgiveness

Apartheid-era South Africa was a time of abuse and persecution by the white minority onto the black majority. The black South Africans were looked down upon and segregated at every turn. Any instance of fighting back was a sign of terrorism and treason. This film, Catch a Fire, is based on the true-life story of Patrick Chamusso whose life was turned upside. A man who was apolitical and loving to his family, Chamusso was unaccounted for during a span of time in which the oil refinery he worked at was bombed. As a top suspect he was arrested and tortured, along with his wife to try and make him comply, before finally being released. Patrick did nothing wrong—at least as far as arson goes, the missing time was due to infidelity—and as a result of being accused and beaten decided to do something his people could be proud of and try to stop the persecution.

Director Phillip Noyce has brought to the table a tale that not only shows a sympathetic side to the black people of South Africa, but also a side of moral ambiguity to the whites. Playing the head of anti-terrorism is Tim Robbins in a subdued and nuanced performance. He is a man that feels what he is doing is right and necessary for the protection of all South Africans. The bombings and killings need to be stopped for all to live in harmony. Unfortunately, though, he doesn't seem to really see the consequences of his actions in finding out exactly who the leaders of the resistance are. By seeing people as guilty until proved innocent, his compassion to let the non-guilty go, rather than be strung up as a symbol like those around him would like, does little when the innocent turn from the atrocities and become the enemy as a result. Beating those that have not wronged for events they had no part in will eventually eat away at their souls until they realize that something truly is broken with the system, and instead of having one's family hurt for nothing, let the pain and suffering mean something. The mentality soon becomes that if I am tortured for keeping to myself, I might as well fight back to slowly chip away, slowly accomplish something for my trouble.

These are the thoughts that come to Patrick Chamusso after his wife is beaten while he sits and tells the truth about where he had been during the bombing. Played wonderfully by Derek Luke, Patrick is portrayed early on as a loving husband and father, sticking up for friends in a way to amiably keep trouble far away. He helps the local children stay off the streets by coaching them at soccer and he feels pride for the job status he holds at the mine, making a good enough living to support his family, but also understanding his limits and not being greedy to want more than the love of those close to him. The transformation he goes through after being released from wrongful imprisonment is subtle and heartbreaking. He leaves his family behind so as to help his people in a guerilla war; he must leave in order to come back without the guilt or embarrassment the Afrikaners have instilled in him. All the scenes in the terrorist camp are intriguing and well-made, good people doing the only thing left that they can do in a world closing in on them.

Emotions run high during the course of the film. Faces of anguish and pain are always cropped close in to see the souls screaming behind dampened eyes. Everyone is played against each other through lies and deceit with each turn adding to the powder keg that you know has to eventually let loose. The addition of many African tribal songs helps create mood as well as the back and forth between English and the South African native tongue. All the supporting roles also add depth to the proceedings, especially Bonnie Mbuli as Chamusso's wife Precious and those playing Robbins' character's children and wife. Noyce show us both sides of the equation in his film and asks us the question of how far we'd be willing to go to do what's right, no matter what side we are on.

Philip Noyce's politically charged thriller starring Academy Award winner Tim Robbins and Derek Luke is brilliant and striking picture. When Patrick Chamusso (Luke) is wrongfully charged with terrorist charges and his family violently offended by the leader of the operation Nik Vos, (Robbins) Patrick joins the rebellion to fight against the regime.

As the film touches on the many tones of politics, racism, and economic problems in South Africa, the emotional and dramatic quality of the film is the beauty of it. While the screenplay has flaws in character arc, the film is as beautiful as it is tragic. Derek Luke puts forth the best performance of his short career and is on his way to many potent and demanding roles in the future. His humanity and heroism shown in Patrick carries the film on his shoulders and when years pass, this will be film we will remember Luke's breakout turn besides Antwone Fisher.

Tim Robbins brings forth a frightening turn with his spot on accent but is a little distracting and a miscast. With no direction for his character to go, many questions are left unanswered and frustrates the viewer. He still shows us he is one of the best working actors today when put in the right role.

Bonnie Henna who puts forth an admirable effort as the supportive wife, "Precious," leaves the audience a bit disenchanted but has the strong will that makes the viewer worry for her. While Patrick is training and gets his codename, "Hotstuff" in which the film is adapted from of the same title, Henna is given enough screen time to run with her role and soar.

Noyce creates some great cinematic moments with Luke but I have to say, I give Luke much of the credit. He completely engulfed himself in his role. His charm and charisma is his strongest attribute and lets the film succeed as much as it can. The film however never really "catches fire" rather sparks up all over the place.

Grade: ***/****