Tsotsi-Shantytown Redemption

A roll of the dice in a crap game opens the 2005 Academy Award winning Tsotsi and for those in Soweto life is a roll of the dice. Tsotsi and his gang live in the shanties of the township beyond the reaches of the affluent big city. Tsotsi, the hardened young leader of a gang, has buried a sorrow so deep that he registers no reaction to the gang’s killing of an elderly man for a few dollars, administers a severe beating to Boston and accosts a crippled beggar beneath the freeway. Survival at this level requires no soul, and Tsotsi’s immediate response to everything is to brandish a gun. But redemption can be found in the strangest places and for Tsotsi it is bundled in blue. When hijacking the car of a wealthy city couple he is oblivious to the infant in the back seat. The child evokes the memory that is the origin of Tsoti’s pain and reconnects him to his childhood. In one moving scene Tsotsi returns “home” with the infant in tow to the concrete culverts where homeless children take refuge. Unable to feed the child, Tsotsi forces a young mother at gunpoint to nurse the baby. As their relationship evolves, Tsotsi inquires about her husband’s whereabouts. When she recounts his murder on his return home after dark, the repercussions of Tsotsi’s deeds begin to dawn on him. He watches with wonder as Miriam interacts with the infant and returns daily to have the child fed. Through Miriam Tsotsi is transformed and regains his sense of decency. She offers to return the child, but Tstotsi knows what he must do. Both the infant and Tsotsi find their way home and although Tsotsi is apprehended by the law he has found self-respect.

The film’s ending leaves us to wonder about Tsotsi’s fate, but I would like to think that this was a new beginning for Tstosi. In many ways this film bears resemblance to the novel Graceland which also offers a message of hope for those born into the poverty of the township. As for Tstotsi, I think he did prison time with a plea for a reduced sentence from the victims, and while in prison he learned to read. Miriam and his childhood friend Die Aap would visit him and perhaps Die too would change since he always looked to Tsotsi to take the lead. Tsotosi will return to the township after release from prison and life will continue to be difficult, but he will live in dignity as Miriam does. Perhaps he can help Miriam market her lovely glass mobiles. Tsotsi’s victims are hopefully changed and more attuned to the hopelessness of their neighbors across the divide. They could invest some of their wealth in a shelter and school for homeless children so that they have a future like their son.

This was my second viewing of Tsotsi and I was no less moved by it this time. An interesting note is that the actress portraying Miriam is herself a former resident of the Soweto township and that Zola, the African rapper who recorded the sound track, plays the part of Fela.

Lumumba-Congo Charisma

A Belgian commander writes on a chalk board: Independence: before=after; a clear message was being sent to the Congolese soldiers of the Force Publique that although Belgium had granted the Congo independence, the power was still in their hands. Patrice Lumumba minced no words in letting Belgium leaders know that the Congo would control its own destiny. Peck’s Lumumba delves into the complexities of Patrice Lumumba, the man, and the Congo, the country he hoped to unify. Be warned, this film is not for the squeamish or faint of heart for the brutalities are graphic. Also, be prepared with a trigger finger on the pause button since the English subtitles move very quickly. Lumumba rose from postal worker, to beer sales, to a fire in the belly activist. Blessed with a gift for oratory, Lumumba became the voice for freedom in the Congo, articulating the pent up rage of a people long subjugated by the Belgians. Lumumba knew just the right chord to strike with his people to energize them to action. Lumumba’s gift is showcased at the independence ceremony attended by Belgian authorities. King Baudoin’s speech recounting the many benefits of the Belgian/Congo relationship was reciprocated with a virulent attack against the Belgians that brought a standing ovation by the Congolese nationalists. His fervor earned him the popular vote and the role of Prime Minister. Lumumba’s dream of a unified Congo was short lived as regional clashes erupted in the fledgling country, and mobs retaliated against Belgian citizens. With Congo spinning out of control, world powers lined up to capitalize on the chaos. Behind the scenes, Lumumba’s chief of staff, Mobutu, was being courted by US agents with promises of power. President Kasavubu relieved Lumumba of his position and placed him under house arrest. Distrustful of all and aware that his death was imminent, Lumumba called for UN protection. Within a short time of his escape to Stanleyville, he is apprehended, tortured and executed.

Lumumba lives on in memory as a champion of Congolese freedom and a symbol of African pride, but speculation abounds whether he had the ability to lead the country. There is no doubt that he was instrumental in fanning the flames of nationalism that eventually brought independence. However, he was a man with little experience and fewer resources. His passion consumed him to the point of paralysis hindering his ability to build consensus among warring factions and bring his vision to fruition; instead, he alienated those closest to him. Even if Lumumba had survived, it is not likely he could have kept the Congo unraveling without military intervention. His hope that Congolese would rise up together in peace and steer their own course was naïve. He would have done well to heed the saying,”Hold your friends close, your enemies closer.” especially with regard to Mobutu. His intransigent character did not serve him well, and unless he could have developed the art of diplomacy his term would have likely been ineffective. His forceful personality and conviction that he knew what Congo should become would lead him in the direction of dictatorship for an extended period of time. Lumumba would probably see this as means to an end.

Argentinian Herald

Monument to Memory Brings Closure

Buenos Aires- Twenty nine year old Gabrielle Ibanez, her mother Alicia Ibanez and
grandmother Sarah Castellano, stood arm in arm in the Plaza de Mayor before a cheering crowd of approximately 1,500 poised to unveil a monument to the “Los Desaparecidos”. A life long dream of Gabrielle and her mother, the granite forty­ -five foot long wall features carvings of hundreds of faceless men, women and children and a center plaque listing the names of the thousands who disappeared during the reign of the military junta during the “dirty war”. Gabrielle, herself a product of this dark period in Argentinian history, hopes the monument will bring sufficient honor to those lost and stand as a reminder to the living for continued vigilance of human rights.

In 1983, Alicia Ibanez, a former professor of history, discovered that her five year old
daughter that she adopted was the newborn infant of an imprisoned couple. Through the assistance of the Mothers of the Disappeared, Ms.Ibanez was able to locate records confirming her as the granddaughter of Sarah Castellano, whose pregnant daughter and son-in-law were taken into custody one summer evening at a barbecue and never seen again. Overjoyed at locating her granddaughter, Mrs. Castellano spent months working with the Ibanezes and a local social worker to determine the best way to provide a stable environment for Gaby and not cause undue psychological stress. When the Ibanezes household help moved soon after the discovery, an opportunity arose for Mrs. Castellano to assume the position, thus allowing her daily contact with her granddaughter and the chance to build a loving relationship with Gaby. This relationship took on even more importance when Gabrielle’s father, Roberto, died in 1992 leaving fourteen year old Gabrielle devastated by the loss of her father. Prior to his death, Alicia and Roberto felt it time to share the truth of Gabrielle’s history with her and introduce her to her grandmother.

Gabrielle Ibanez, lawyer and human rights activist, first conceived of the monument during her college career, while completing her doctoral studies on victims’ rights. To launch their project, Gabrielle and Alicia collaborated in publishing the children’s book “In the Land of I Don’t Remember” that deals with the feelings of abandoned children. Proceeds from the book, along with corporate contributions from her father’s former business allowed Gabrielle and Alicia to move forward with their plans for the monument. Mrs. Castellano and Mrs.Ibanez, working closely with Mothers of the Disappeared, met with local artists to convey their vision for the monument. Gabrielle spoke to church and civic groups after hours from her legal clinic to garner support for this community event.

“My mother taught me that history is the memory of the people,” began Ms. Ibanez. “As one whose history began with “Los Desaparecidos” let our memories hold long and dear those who never returned. In our hearts and in our minds may they live on.” The Argentinian anthem played as Ms. Ibanez, her mother and grandmother unveiled the monument to the solemn crowd, who broke into shouts after a sustained silence. “Silence no more! Viva Los Desaparecidos!”

Earth-the British are going, the British are going!

Deepa Mehta's Earth was a pleasant surprise in terms of entertainment, but in terms of a serious vehicle for historical perspective-not so much. I d0 tend to agree with Ansari's assessment given by the author Sidhwa that the story needed a neutral forum for the telling. "A dispassionate account which shows both Indian and Pakistani sides equally as victims and victimizers could be given best through this Parsi perspective," Sidwha explains to Ansari. In this respect, Mehta is true to the book, but I would have liked the Parsi family fleshed out a bit more, for they seem to function merely as foils for the other characters. Characterization of the father is minimal and the mother seems no more than lady of the manor. If they struggled to remain neutral, their anxiety was not well conveyed until the very end when Shanta is dragged off. I also would have expected to have seen more of a reaction from Lenny's mother when Lenny's father brings home a handgun. Ansari's contention that Earth is "...a romance, a tragedy, a history, and a comment on the human heart: its tenderness and the beast that hides within." is a good pitch for pulling in movie viewers, but I'm not sure this film would fill the bill for those looking for a meatier story.

I find myself more in Wallia's corner in terms of Earth being a bit of a lightweight. I'm entirely in agreement with her/his (?) assertion that, "... Mehta's script fails to create dramatic situations that could bring out Lenny Baby's anguished bewilderment of the tragic events of the partition." Lenny's reactions felt contrived and disjointed from her usual behavior. Truth be told, I found the Lenny character altogether annoying. Wallia and I would also share the view that Dil Naraz comes up short too. His transformation from charming, clever suitor to spurned, vindictive,cold hearted killer is a bit of a stretch.

I also think Wallia is spot on in regard to the simplistic treatment of the historical events of the film. Maybe it is not the film's intent to provide a thorough rendering of India's partitioning, but the historical perspective was too muddied to give any real understanding of what transpired and why. Without the readings, I would have come away only knowing that the British were leaving and upon their departure religious factions that had a long history of peaceful coexistence went crazy killing each other and that Pakistan and India have had a contentious relationship since.

More thoughts on L'america.....

Can't quite decide whether to spend the 2 hours watching this flick? Yeh, I know it's not your usual fare, but move out of your comfort zone! Don't take my word for it, check out what these folks have to say....


http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1996/05/10/DD34334.DTL

http://www.shoestring.org/mmi_revs/lamerica.html

L'america- Journey of Hope

If nothing else conveys the desperation of Albanians in Amelio's L'America it is the haunting faces of the natives, particularly the children. Following black and white film footage of fascist Italy's take over of Albania in 1939, Amelio fast forwards to the upheaval of 1991 Albania after the fall of Communism under Hoxta. One need not look far to find the faces of poverty and hopelessness in Amelio's film, for they are everywhere. Police push back crowds that fill the port shouting, "Ialy, Italy! You are the world!" and the roadsides are abundant with travelers on foot hoping also to make it to port. The landscape is bleak as the camera spans bombed villages, locals shoving each other for rations, and cattle, sheep and goats wandering throughout the landscape. Most startling though is the local populace who wanders aimlessly with little to fill their time since employment vanished with the Communists. Children abound and every outsider is targeted for pleas of lira and cigarettes. These faces of emptiness reflect the soul of Albania.

Into this desolate country journey two Italian con men,Fiore and Gino, with the intentions of setting up a fraudulent business at the expense of the Albanians. To assure their success, an Albanian is needed to serve as its chairman. They are pointed toward the prison where they discover an aged, addle brained Michele Talerico who has served decades of imprisonment and has lost touch with the present-the ideal straw man. Driven predominantly by thoughts of returning home, he eludes Gino at every turn .What at first appears a simple plan quickly goes amuck when Gino suffers the consequences of his failure to understand the culture. Soon the slick, smug Gino, discovers his sophisticated, arrogant attitude does not serve him well among the locals and the police.

Initially, Talerico is only a means to Gino's end. Gino treats him with contempt and is frustrated by his inability to keep Talerico corralled. When Gino's jeep is stripped of its tires he finds himself a prisoner of his own devices and the tables are turned. Gino finds himself unwittingly a hostage in unfamiliar territory and is forced into negotiating the local life. His discomfort is palpable; he is a fish out water. It is then that the focus of the relationship between the two shifts and Talerico schools Gino in humility and human understanding . With no means of leaving, Gino is forced along with Talerico to find his way to port for passage out of Albania. It is this journey that brings Gino face to face with the locals and reveals the real truths of Talerico's life. Reduced to the same fate as the Albanians, Gino's perceptions are altered by those he encounters. He listens to the hopes and dreams of the men on a lorry, and experiences the generosity of others who offer food, shelter and shoes. He studies a young girl who dances with abandon and children who practice their Italian around a campfire. A girl smiles broadly as she repeats the Italian vocabulary, hopeful of a better life outside of Albania. By the time Gino boards the freighter with Talerico, he is unrecognizable among the masses he has joined. Bereft of all his possessions and passport, he studies the faces of those that surround him and there is a flicker of recognition and understanding of the hopes of his fellow passengers.