Il colore della libertà

I'd just like to make the point that Raj Doctor of Amsterdam's comment above is more than a little misleading, as well as giving a rather simplified version of the long and complex history of what became the Republic of South Africa.

He refers to 'the ruling British', a group apparently wholly responsible for the racism and violence which have beset the country. South Africa achieved sovereignty in 1934, and became a republic in 1961. The government of the country was dominated until 1994 by the Afrikaner community (a majority amongst white South Africans) who, as most people would presumably know, were certainly not of 'British' origin. One might expect someone from the Netherlands to know that they are comprised chiefly of Dutch settlers...

Britain may be the former colonial power in SA, but was not the initiator of the post-war apartheid policy, still less the force which actually brought it about. Britain gave up its African colonies in the 1960s, so has not "ruled" anywhere on the continent in a direct sense since then, and has not ruled SA since considerably earlier than that. The particular nature of the problems which South Africa has faced are based primarily on the relatively significant size of its white population and their attendant rule (dominated as it has been by Afrikaners) not on 'British rule'.

I enjoyed the film, by the way. A thoughtful and satisfying treatment of the subject on the whole, I thought.

Joseph Fiennes has always looked a bit like a spider monkey in my view, but in this movie he was better than in any role I'd seen him in before, doing what I thought was a competent job with the South African accent as well. Finally exempted from having to play the sex symbol, Ralph's little brother could finally concentrate on actually challenging himself with a complex role. In a movie based upon a true story, Fiennes plays James Gregory, a racist South African guard whose certainties are nonetheless shaken to the core over the span of twenty years – the time he spends as Nelson Mandela's prison warden. The movie's merit lies largely in showing us the daily application of a major historic abomination – Apartheid – through the lives of "little people", those ordinary men and women of South Africa thanks to whom it was perpetuated. These are "ordinary" white people who are neither heroes nor villains, but obtuse conformists. The violence of the system on its white citizens was considerably more hidden than on its black ones, but it was violence all the same: it was the obligation to remain as ignorant as possible. The alternative was to be persecuted by the status quo.

Dennis Haysbert as Nelson Mandela was suitably stoic and charismatic, a positive counterpart to Forest Whitaker's villainous Idi Amin from The Last King of Scotland. Diane Kruger was definitely better cast as an "ordinarily" racist, suburban hairdresser wife and mother of two, than as Helen of Troy. By the end of Goodbye, Bafana, I was also somewhat moved. My major complaint with the movie was that like the vast majority of African-set, historical movies made recently, Nelson Mandela and all the black African characters were largely viewed from the outside, through the whiteys' eyes. These movies' directors all need to sit in a darkened room and watch The Battle of Algiers together sometime

Any movie that deals with Nelson Mandela is a movie worth watching in my opinion. He is perhaps the only person in the world I can think of to whom I would apply the adjective "great." He was a man who could have lived in bitterness and anger all his life, seeking revenge when he finally achieved power, but who instead chose to devote himself to democracy and peaceful reconciliation between blacks and whites in South Africa. This movie, which I saw under the title "The Color Of Freedom," is interesting because although it deals extensively with Mandela, doesn't actually look at events from his perspective. The story is actually told from the perspective of James Gregory (played convincingly by Joseph Fiennes) - who as a prison guard slowly advancing up the ranks - met Mandela (played by Dennis Haysbert) in 1968 and gradually developed a relationship of trust and respect with him.

There's enough background information to give the viewer a taste of what South African life was like under apartheid, but the story isn't really about that. It's more a story of Mandela's impact on Gregory. At the start of the movie, Gregory came across as basically just another white South African, committed to apartheid and devoted to maintaining the white hold on "their" country. But slowly, as Gregory comes to know Mandela, he changes. Mandela's graciousness as well as his fierce devotion to his cause impacts Gregory, who suddenly begins to see Mandela not as a black terrorist out to kill whites but as a human being seeking basic dignity and equality.

Fiennes performance was very strong. Haysbert had a tough challenge. It surely isn't easy playing a man who is literally a living legend. He did well with the part, but it was difficult to accept him as Mandela. The portrayal of the racism that was so deeply ingrained in South African society was at times almost painful to watch. I suppose the biggest weakness of the story is that it's been denied by many people - apparently including Mandela. He did develop a strong relationship with one of his white guards, but it wasn't Gregory, who seems to have taken some liberty in the account he shares in his book, from which the movie was made. He is unfortunately dead and unable to answer to those criticisms. Still, this is a moving story, and there is truth behind it apparently, and it clearly established the qualities that made Mandela the great man he is, who accomplished the great things he managed.

While many books and films about South Africa's Apartheid have attempted to convey the tension and the eventual dissolution of that sociopolitical scheme, few histories bring us as close to the core of the schism as does Bille August's excellent film THE COLOR OF FREEDOM. Based on the book GOODBYE BAFANA by James Gregory (with Bob Graham) the story details the relationship between Nelson Mandela and prison warden James Gregory during Mandela's long imprisonment on Robben Island off the coast of South Africa, and the gradual friendship that occurred between these disparate men. Studying this development of a friendship provides an opportunity to better understand the concept of Apartheid and of the evils of racism in general.

Nelson Mandela (Dennis Haysbert) was convicted of treason and sentenced to life imprisonment on the desolate Robben Island for his non-violent attempts to end racism in South Africa, attempts that eventually resulted in work stoppages and resistance movements that moved the articulate, well-educated lawyer Mandela into the realm of activism. While on Robben Island he was guarded by one James Gregory (Joseph Fiennes), a pro-apartheid, cruel prison employee who was assigned to Mandela as a spy and censor because of Gregory's knowledge of the local language Xhosa (learned from his childhood when his best friend was a black boy named Bafana). Gregory lives on the island with this wife (Diane Kruger) and children and his commitment to his family provides a stark contrast to his hatred of his black 'Kaffir' prisoners: his involvement with the pro-apartheid status is strengthened by his direct communication with Intelligence in the cities of South Africa where his censored information from the prisoners leads to definitive capture and 'disposal' of the blacks. On a trip ashore Gregory and his wife and children witness first hand the beatings and cruelties of the whites against the blacks and Gregory returns to his duties on Robben Island with a gradually changing point of view for the model prisoner Mandela. They begin communicating in Xhosa and Gregory allows Mandela's wife Winnie (Faith Ndukwana) to spend more committed time with her husband on her restricted visits to Robben island. One particular misstep - Gregory passes Mandela's Christmas gift of a piece of chocolate to Winnie - threatens Gregory's status on the island, while at the same time bonding Mandela and Gregory like brothers. Gregory's life and philosophy have been changed by Mandela's powerful personality and spirit and his eventual release from prison into the new, freed South Africa has been aided in a small but meaningful way by Gregory - a reflection of Gregory's childhood bond with his friend Bafana.

August captures the tension and the atmosphere of South Africa in this visually stunning film. Fiennes is superb as James Gregory as is Diane Kruger as his wife. Dennis Haysbert conveys the spiritual essence of Mandela despite the fact that his physical appearance is not at all like the Mandela known so well from the still constant photographs of the diminutive freedom fighter we see frequently. But the film does convey the tenor of the changing times during the 27-year confinement of Nelson Mandela. The featurettes on the DVD offer lengthy history lessons about the real events referenced in the film and add immeasurably to the film's overall success. There is much to learn from this film in addition to the fact that it is a solid work of cinematic artistry. Grady Harp

Or at least through the eyes of a white man. Even if you are not familiar with Mandelas story you will able to see where this is going. The story of the white man/guard might be spiked a bit and his wife does not have much to do (Diane Kruger) besides the obvious (caring for him, the safety of their family and being a faithful wife, sticking with her husband through it all).

One thing is sure, you do need a really charismatic and good actor if you want to portray a man like Mandela. And Dennis H. is one who can deliver. Even if he may not be on everyones radar, he has proved (on TV, but still), that he does have the skills and the presence to do such a job. He is not revealed immediately in the movie, which is not just another (filmmaking) trick, but serves the story or better yet the relationship between the two main man. New movies will come out and they probably will tell a better story, but this is not a bad movie either (even if predictable all the way through).