Pleure ô pays bien-aimé

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.

I've seen this movie twice and I absolutely love it! I think it's highly underrated with the average of 6.4 from the imdb voters.

This is a movie about black and white. A welknown theme in Hollywood, but I've never seen a movie which deals with this subject so excellent as this one.

I couldn't help crying at the end.

my rate: 10

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.

As a Student taking my English proficiency exams I was obliged to read the novel by Alan Paton. As an African born every title related to this land appeals to me. The film is a good translation of the book, nevertheless I liked the book more than the film. James Earl Jones was a good choice to play Rev. Stephen Kumalo an in the whole it matched my imagery of the novel and the apartheid policy in South Africa. The center of the drama is very well transcript to the screen:The holy black man´s son who kills the mighty white man´s son,in the sinful city far away from the origins in the peacefull countryside where the black people, however already threatened by the apartheid brought from the urban centers, are still respected and free to have their ownn choices and ideals.

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.