Tsotsi

This traces a few days in the life of the teenage gang leader Tsotsi. When we first meet him, he and his friends are playing dice, deciding what to do that evening. And what they do is murder a man, stealing his wallet and leaving him behind on the train. One of the gang, Boston, isn't too happy with this. He begins to drink and to talk about how they lack decency. He tries to provoke Tsotsi into revealing some sort of feeling, asking him about his real name. Tsotsi means thug, it isn't the name his mother gave him. That doesn't work, so Boston asks has any woman hurt him. Still no reaction. Not even a dog, he pleads in exasperation, and his provocation bears fruit, as Tsotsi punches and kicks Boston in a brutal attack before running off into the night.

As he runs we get a flashback of a young boy, a young Tsotsi fleeing through the night. And throughout the rest of the film Tsotsi's childhood memories are intercut with the current happenings and violence. To say anymore about the plot would be to spoil some moments of the film.

There is a wonderful mixture of stillness, silence, and energy to this film. At times the camera lingers on faces, watching for a flicker of emotion. Other scenes are full of action and movement.

This is a film that does say that poverty is a driving force behind crime, but that is never allowed to become an excuse. There are other characters who are just as poor but do not react in the same way. It also never glamourises the violence, and while redemption may be at the heart of the film it never goes over the top in offering a happy ending.

This is actually one of those films you hope may have a Hollywood ending, where they can all live happily ever after, even though you know that that would render the rest of the film almost pointless.

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.

There is a tendency for South African cinema (such as it is) to want to see itself through the eyes of the world. Hence the many comments such as "this film could be set in LA" (ie: it's almost as good as an American movie) As a result, most cinema from South Africa is often very limited in its artistic ambitions and storytelling usually takes second place to making sure South Africa "looks good" on the screen so that "people overseas" will see "our beautiful country" The Australians used to call this the cultural cringe and it also took them some time to find their voice.

Tstosti is a wonderfully told piece of cinema set in the distinctive word of black Johannesburg criminals (I say black, because there is a very different world for white criminals)It works because underneath all the bells and whistles of great camera angles, phenomenal acting and- yes- its unique setting lies something much, much more important: A strong, strong story. A story about things that every human on earth can identify with (love and death). This is not a film for "people overseas"- it's a film in which South Africans to see and hear themselves as real people and not as feeble caricatures gleaned from countless Hollywood movies.

It might well be the start of a something great.

In Johannesburg, the small time criminal Tsotsi (Presley Chweneyagae) is a teenager without feelings, hardened by his tough life. After killing a man with his gang in a robbery; hitting the gangster Boston of his gang; humiliating a crippled beggar along one night, Tsotsi hijacks a car and under the despair of a woman, he shots her in the stomach. While driving the car, Tsotsi finds that there is a baby on the back seat and the woman was a desperate mother. He brings the baby to his house in the slum and becomes attached to him. For six days, the baby changes his behavior, arousing and developing the sense of empathy and humanity in the cold blood killer.

"Tsotsi" is a touching, realistic and powerful story of redemption without being corny. Presley Chweneyagae is amazing in the role of a teenager without any feelings or respect for other human beings, with eyes without expression, and deserved a nomination to the Oscar. His behavior changes when he decides to take care of a baby that he accidentally kidnapped. I was impressed with the ghettos of poverty in Johannesburg, which are very similar to the slums in Rio de Janeiro. They are so distant and also so close, in a very sad reality of third world countries. My vote is nine.

Title (Brazil): "Infância Roubada" ("Stolen Childhood")

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