Mon nom est Tsotsi

TSOTSI (2005) Set in South Africa, against a background of inequality and HIV, Tsotsi (played by Presley Chweneyagae), an unemotional small-time gang leader, develops an understanding of, and tries to grasp, family, belonging and caring for others. The unlikely catalyst for his redemption is a baby he finds in the back of a car he steals.

Director Gavin Hood engages our empathy and challenges our prejudices without stooping to Hollywood sentimentality. The film is filled with muted colours, swelling to golden tones as Tsotsi discovers his emotions.

The story's secondary theme is the understated but powerful role of women, typified by Terry Pheto as Miriam. She cares and nurtures, and makes beauty out of very little, including mobiles from broken glass; she quietly challenges the male-generated violence of the film.

By the end of the film the audience is moved by, and involved in, the narrative, and our awareness of the complexity of South African society is extended. This includes the soundtrack, featuring township music and a cameo role by Kwaito star Zola, the sparse dialogue in many languages, for which English subtitles are not obtrusive, and the scene-setting affluent and township locations. Tsotsi is a very convincing winner of the 2006 Oscar for Best Foreign Film.

"Tsotsi" should be seen on a big screen in order to fully appreciate its varied and intense look, performances and sound.

First the look. Even as writer/director Gavin Hood has updated Athol Fugard's novel to the new South Africa of an integrated police force, upscale blacks who can demand their attention vs. abandoned AIDS orphans, the settings in Johannesburg vs. Soweto with their sharp and horrific contrasts are not something American audiences have seen and almost seem as if they are from a futuristic post-apocalyptic vision. Each character is dramatically and very emotionally defined by the surroundings we see, where they once or currently live.

Not only is Lance Gewer's cinematography from day to night, from barren openness of no man's land to the closed-in dense township simply gorgeous, he is particularly good at capturing the luster of dark skin tones swathed in colorful clothes. Many scenes, particularly the excruciatingly violent ones, are heightened with dramatic lighting.

The actors grab the screen even amidst this extreme mise en scene. Presley Chweneyagae as the titularly nicknamed thug is not just physically charismatic, but the changes in his voice are gripping in communicating the extreme range of feelings he experiences over the few days the film takes place. This is a road trip through his soul, from flash backs to existential acts from his depths to finding his humanity (and his real name). His relationship with a cruelly accidental foundling infant has no comparison to the dozens of films, usually comedies, made around the world about an irresponsible guy stuck with a kid and how a child can be father to man. While his picaresque physical and psychic journey is almost as theatrical in its coincidences as "Crash", the tension is built up as it is unpredictable in each confrontation whether he will react violently or redemptively.

Just when I thought his side kicks were undifferentable, even they turned out to have complicated stories that were well portrayed, particularly Mothusi Magano as "Boston".

Terry Pheto as "Miriam" is the very essence of woman as bringer forth of life, from her artistic talents to her nourishing milk. She is beautiful and strong. It is rare to see maternal love so powerfully portrayed on film as by the women here.

The soundtrack of local South African music is wonderfully atmospheric, and I'm dancing in front of the computer while listening to the CD now. Particularly outstanding are the tracks by local kwaito artist Zola which uniquely combine local and international hip hop into a new sound, as well as tracks with the inspiring voice of Vasi Mahlasela over choirs, which recalls Ladysmith Black Mambazo. With an attention to detail in the music, the middle class family listens to soft R & B on their car radio, in comparison to the township sound that surrounds the Soweto residents.

Bravo for the very legible subtitles throughout and translated musical lyrics, even as we can occasionally pick out some pidgin English amidst the township jive.

Nice to see that an art house in Manhattan could attract a significant African-American audience for this film even before it won the Oscar for Best Foreign Language Film.

I really enjoyed this movie. The setting is harsh, the opening is violent and the violence returns at times through the film. But the message is of the redemptive power of love for children and the way that reproduction, even by proxy, is a civilising force. What's really remarkable, though of a piece with Fugard's hard-nosed stage work, is that this is all done without sentimentality and without a conventional happy ending.

The acting is outstanding in particular from Presley Chweneyagae and Nambitha Mpumlwana. The music is a revelation -- I've just bought the soundtrack from iTunes and am listening to it as I write this.

The political message that I derived from the film (though it doesn't preach) concerns the extraordinary patience of the inhabitants of Soweto. It's 16 years or so since change started happening in South Africa, but so few problems seem to have been solved. One doesn't have to apportion blame for this to wonder how long it can go on without serious problems arising.

Unforgettable

Tsotsi is gorgeous, riveting, poignant, and thrilling. Not only is it a first-rate piece of storytelling, but it also takes the viewer into a world of South African poverty and crime that he has never seen before. Director/writer Gavin Hood offers us a tale of tragic redemption and uncommon poetry in a subculture of the most abject immorality. Truly unforgettable.

The only work in recent times to which this movie can be compared is City of God. There, too, the viewer is brought into a world of poverty and crime he probably never knew existed. It is a world so bleak that it forces the viewer to examine his own morality and wonder how much of the civility he takes for granted in his life is merely the luxury of the well fed and comfortable. These characters live on the edge and their primary passion is survival.

What makes Tsotsi, in the end, a finer film than City of God is that it offers a more complex sense of hope; it reminds us in an honest and unsentimental way that inside even the hardest cases there is a soul, which is never beyond redemption

For South Africans, both resident and in exile, this film is likely to be a harrowing experience. It shows us some of the consequences of what we allowed to be done in our name.

Cinematically, the film is superb, partly because it is so understated. It is probably an insight into a way of life all to common in African metropolises. Whilst it shows the way of life in shanty towns and was, I know, filmed in authentic locations, I found myself wondering whether the coloring was just a bit rosy, but that is a very minor criticism.

The director has coaxed a performance from his lead actor which is, I think, a landmark. So much of the performance is visual - he says very little. He is supported by a bevy of other characters which those familiar with South Africa will recognize all to easily.

If you do not have a South African connection, see the movie as an insight into our way of life. See it because it is a story worth telling and therefore worth seeing.