Our critics look at movies to be produced in South Africa this year, and the most hyped of the international releases
Andrew Worsdale
THIS year promises to be the brightest in years for South Africa’s film industry, with loads of movies in development and several sure to see their first day of shooting some time during 1997.
David Wicht of Film Afrika Worldwide (who co-produced One Man, One Vote, now boringly titled Mandela and De Klerk) is upbeat about the prospects for the year – what with up to five features his company is either producing or co-producing. Local productions include Wild Card, a thriller set in SA and Mozambique, penned and to be directed by Brian Tilley (The Line); First Crime, a family murder saga set in the Cape, to be directed by Revel Fox; and a re-make of Disney’s Sammy Going South.
International co-productions on Wicht’s company’s itinerary include Tarzan and Jane and, after more than 10 years waiting, the Stander gang movie which renowned director Barbet Schroeder (Barfly) is to helm after uncovering one of the story’s many scripts in Los Angeles.
“I think it’s going to be an exciting year,” says Wicht, “but as for fully local productions we’ve got a chicken-and-egg situation. Local writers and directors need a track record. I believe to get our local talent producing, emerging writers and directors have to make pictures for zilch money so that we can produce, say, a slate of interesting pictures that’ll prove our talent.”
Leading actors’ agent Moonyeen Lee is equally realistic, though in her customary feisty style, a little less optimistic – especially regarding the commitment of government and the national broadcaster. She minces no words: “The SABC has no fucking money. They’re not even paying repeat fees. It’s all going to affirmative action. I don’t believe the government takes film seriously. They’re out to lunch … literally.”
The Department of Arts, Culture, Science and Technology’s R10-million for film development seems to be stuck in a mire of maladministration with no formal application procedures and a laissez-faire sense of accountability. But as Lee adds: “The industry is furiously primed to take off, we have the talent, our actors alone can hold their own alongside any major names in the film world.” A point validated by one of her clients Lionel Newton, who delivers a blistering, award-winning performance in Les Blair’s Jump the Gun due for national release later this year.
Sanjeev Singh of Videovision concurs: “But people must realise, government as well, that it’s an industry not a game.” Last year the company produced Katinka Heyns’s rural Afrikaans fantasy drama Paljas, which they hope to premiere at Cannes this year. Although seemingly risky, Heyns is probably the country’s only bankable art movie director, having had five features break even or actually make money. The company is notable for being adventurous in the titles it picks up for distribution. In terms of production, they seem more cautious, making low-budget genre pictures in the United States with their only local film up for this year being the film of Mandela’s book, Long Walk to Freedom.
Former Videovision star director Darrell Roodt has two pictures coming up this year, one a tale about the red mercury scandal and another based in Namibia, Sanctuary. Roodt is off to the US to confirm finance with Warner Brothers.
Director Angus Gibson and finance man Isaac Shongwe of the Laduma Film Factory are being constructive about the ideals and realities of creating a local industry. Says Shongwe, “Financiers look around at our rainbow nation, but no one’s taking a chance. It’s like they’ll only have the courage to make a rugby or cricket movie.” The company is intrepidly developing young talent with Street Bash, a Soweto gangster pic written by up-and-coming talent Tebogo Mohlatse, set to go into production later this year with Gibson directing. “Our interest is to create an environment, a space for people to create a story that is unusual but uniquely South African.”
Similarly progressive is newly formed Cape Town company Big World which is actually paying young talent for an option on their scripts. Projects lined up for this year include Roger Young’s Trilogy, Barry Berk’s blackly comic take on Yeoville, Numb, and a screen adaptation of Ashraf Jamal’s novel about life in Cape Town’s Observatory, Love Themes for the Wilderness.
Independent Cape Town producer/director Johan Blignaut is also optimistic about the chances of movie-making this year. As administrator of Showdata, SA’s only webpage dedicated to the film and TV industry (email to [email protected] with “subscribe bulletin” in the subject field) , he found finance for two of his upcoming projects from France and the Netherlands through cyberspace. Says Blignaut, “Our colleagues in the industry need to wake up. Especially with regard to marketing themselves. We simply have to go out there and hunt the big guys down.”