Os Deserdados

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.

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.

Apartheid was a grotesque social experiment aimed at perpetuating the evils of colonialism after the age of empires was past; white liberal Alan Paton one of its most celebrated literary critics. Darrell Roodt's film of perhaps his most famous book, Cry, the Beloved Country', stars Richard Harris and James Earl Jones (better known as the voice of Darth Vader, which leads to some unintentionally comic moments) and is not an awful film; but politically, it misses its targets. Aided by some slushy background music, it invests most of its black characters with a frankly ludicrous level of dignity; while oddly underplaying its depiction of the routine dehumanisation that black people suffered under white rule. In consequence, the film's only real anger appears directed not at the system but at Jones's brother, a nasty and opportunist anti-apartheid campaigner, which was surely not quite the original point. At the end of the film, an impassioned quote from Paton appears on the screen; it's a shame it seems so unconnected with what has preceded it.

This film brings to life the lives of a black, country priest and a white wealthy landowner in South Africa in the 1940's.

Religion, politics, faith, healing, mercy and justice- all of these themes are present, but not in an overt, overbearing patronising way.

The two men meet due to unfortunate circumstances related to the activity of their respective sons' in the city, though they have lived in the same country area all of their lives.

It's been a long time since I read the Alan Paton book upon which this film is based. Paton was banned in his own country and officially silenced but the book was universally popular throughout the 1960s.

James Earl Jones once again renders a bravura performance as the African minister whose son has accidentally killed a white man. One can feel his grief and his burden as he tries to straighten the mess out. His son has confessed but others involved have denied knowledge of the offense.

Richard Harris plays an equally difficult role that of Mr Jarvis the white boy's father. One feels his grief and pain especially when he finds to his surprise that his son had disowned "baaskap," the over-lordship of the white race, something accepted as a given by most whites without a second thought just as the white housewife perfunctorily dismissed the black cleric in priestly garb as if he were a pesty door to door salesman.

Will mercy be extended to the preacher's son who accidentally pulled the trigger and cooperated with authorities or will he suffer the ultimate penalty while accomplices go free? Yet for all the misery the movie, surprisingly without excessive preaching, ends on a flicker of hope for the future.