Over the last few years, there have been a significant number of films from American and European directors focusing on African politics and recent African history. Some examples are The Last King of Scotland (2006)– about a young Scottish doctor in Amin’s Uganda; Shooting Dogs (2005) and Hotel Rwanda (2004) – dealing with stories set in the context of the Rwandan genocide; Catch a Fire (2006) – about an ANC activist; The Constant Gardener (2006) – about the corruption of western pharmaceutical companies in Africa. To be released in London, on May 11, Goodbye Bafana contributes to this trend. Danish film-maker Bille August, who made such works as Pelle the Conqueror (1987) and The Best Intentions (1991) directs an international co-production, which represents the surprising friendship that develops between Nelson Mandela and his warder James Gregory on Robben Island. The film is based on the autobiographical book which Gregory co-wrote and includes fine performances from Joseph Fiennes as Gregory, Dennis Haysbert as Mandela, and Diane Kruger as Gregory’s wife.
Why are western film-makers turning to political African subjects now? Goodbye Bafana, demonstrates an answer to this question in its curiosity and urgency with regard to the momentous changes in recent South African history. It conveys the historical transformation which lies behind the personal story of Gregory. It is clear from this film that African politics offers all the potential that is required by western cinema in its search for exciting narratives, strong complex characters, and intriguing psychological issues.
However, we must take account of criticisms levelled against this recent trend in American and European film-making. In the recent edition of Sight and Sound (February 2007) Dave Calhoun argues convincingly that films about Africa made from the perspective of western characters are seriously flawed. He refers to the more long-term tendency of western cinema to represent Africa as exotic and exciting whilst neglecting the experience of ordinary Africans. In the same issue of Sight and Sound Mark Cousins writes about the way western audiences and critics have not fully appreciated the immense achievements of African film-makers like Ousmane Sembene. In the same issue of Sight and Sound the dilemmas involved in representing Africa are illustrated as Kevin Macdonald makes clear, through interview, that his film had to include a basis in personal experience. He suggests that a Ugandan film-maker must provide his own perspective on Amin. Meanwhile in interview the African film-maker Abderrahmane Sissako highlights both the political and personal aspects of his work which separate it from western cinema. Coming back to Calhoun’s article, it is significant that he identifies some strengths as well as flaws in the recent western representation of African society. For instance he refers to the way Blood Diamond (2006) includes realistic representations of violence in its account of diamond trafficking in Sierra Leone. He also argues that The Last King of Scotland, Catch a Fire and The Constant Gardener involve ‘subtle’ representation of African society, although he goes on to say that these qualities are off-set in all three films by ‘bombastic finales’.
Calhoun‘s criticisms are cogent. At the same time the weaknesses that he identifies are shared by American and European films that do not focus on African subject matter. For instance, we expect from American cinema narratives focused on individual morality, a certain level of formula in how the story is constructed, and a weight placed on suspenseful action. The emergence of African film-makers in the 1960s involved a vital move towards different types of representation. Work by Sembene for instance focused on African characters and society. In his first film Borom Sarret (1963), the protagonist is a poor cart driver. In seeing how a day unfolds, as the borom sarret picks up various passengers, the audience is given acute insights into aspects of Senegalese society. We also see how the cart driver loses out at the hands of the powerful elite that has succeeded imperialist rule. Political injustice and corruption at the time the film was made, in 1964, are related to the legacy of colonialism. However the latter is not focused on. With the use of voice-over narration by the borom sarret, we are taken into the mind and heart of an ordinary man struggling with problems that are extreme, but also part of his everyday life.
Films by African directors such as Sembene have gained critical praise from western critics. A groundbreaking documentary, Cinema Afrique by Férid Boughedir charted the achievements of a host of African film-makers. More recently the Cousins article in Sight and Sound includes discussion of why recognition of African film-making has not been developed further.
Goodbye Bafana definitely belongs to the category of films made from a western perspective. However we need to look more closely at some of the qualities shared by films made from the western perspective and African cinema.
The attraction of African subjects is clear when you consider the inherent drama and conflict of Goodbye Bafana. However the film is also notable for the way it connects character psychology to the political and social drama involved in the collapse of apartheid. James Gregory, Mandela’s warder is the central character in terms of screen time and because his state of mind is foregrounded. This does not take away from the power of Mandela’s character in this film. We see how Gregory changes from being a cipher for racist Afrikaner values to a position where he understands Mandela’s politics. Crucially the basis for this change lies in Gregory’s early experience of friendship with a black South African boy, Bafana. The film shows how Gregory’s experience of African culture away from the Afrikaner regime, and in particular his ability to speak the same language as Mandela, is used for racist purposes. Gregory is involved in censoring the communication of Mandela and other ANC leaders with the world outside Robben Island. We see how this makes him complicit in the mental torture of Mandela as the intelligence service manipulates the way Mandela’s hears about the death of his son. Gregory’s empathy for Mandela begins with his sense of their shared values as fathers and proceeds from this to a political education as Gregory seeks out the banned document stating the aims of the ANC.
Does the film stick too closely to the sentimentality of western family melodramas? My answer to this is no, because the focus on emotion reveals a common ground shared by film-makers from different traditions.
In Goodbye Bafana emotion and sentimentality are constantly related to a political, social and historical background. The film mentioned earlier, by Sembene, concludes with the cart driver returning to his wife and baby, where the social problems that have been depicted are given a further twist.
African film-makers urgently need resources for the representation of African society now. By comparison Mandela’s story and the liberation of South Africa is well known. However, by focusing on personal elements within this story Goodbye Bafana demonstrates that recent political history is still relevant to the present. The film provides insight into the way family values can obstruct awareness of racism, and conversely it shows how they can be the basis for empathic understanding of a different culture.
American and European film-makers are turning to African subjects because there are so many stories to be told, because of the way we are increasingly involved in global space, and because of strong emotions raised by the subject of African life. One of the chief emotions to consider here is that of guilt. In the films mentioned earlier the white characters who are at the centre of each narrative are ambivalent figures. They have qualities, but they are also flawed. This is also true in Goodbye Bafana – Gregory’s character demonstrates the malevolent psychology of apartheid, and at the same time a strong emotional trajectory of self-questioning and mourning, which is focused on in his growing awareness that racist inequality must die.
The debate about how African society should be represented will continue. However, it is clear that this film shows the heroism of the liberation struggle exemplified by Mandela, and a significant change in the mental and emotional outlook of some white characters, as represented by Gregory. We see how Mandela’s committed stance on the ANC’s moral right to wage armed struggle is an important factor in the defeat of apartheid. We also see how Gregory’s changing values compare and contrast with the shifting policies of the apartheid regime. The issue of violence becomes a crucial area of ambivalence as we see the move towards achievements through peace.
Although different in many respects, comparisons can be made between Goodbye Bafana and Sembene’s latest film Moolaadé (2004). The latter represents a radical alternative approach which more western audiences should see. It deals with the disturbing subject of enforced, ritualistic female circumcision. At the same time, like Goodbye Bafana, it includes qualities that cross over between cultures. Emotions, focused on family relationships are given weight and are dramatically realised. The issues of global interaction between cultures are highlighted in a complex way, and the narrative is involving, complex and suspenseful. Like a good Hollywood film it is economically structured. African film-makers need more support to make all kinds of films drawing on internal and external influences. In making films about Africa, European and American film-makers can also demonstrate a cross-cultural approach which involves emotionally riveting and political cinema. This is what Goodbye Bafana achieves.
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