In the back country of South Africa, black minister Stephen Kumalo (Canada Lee) journeys to the city to search for his missing son, only to find his people living in squalor and his son a ... See full summary »
A mentally disturbed flower seller starts killing young girls on the streets of Belgrade. While the frustrated police inspector tries to stop him, an aspiring musician finds his life and work deeply intertwined with that of a killer.
When a beautiful mob hitwoman learns she only has six months to live, she decides to rob her employers, and go out in style, but the syndicate's head man won't rest until he gets his two million dollars back.
The film is set in Northern Ireland shortly after 1994 cease-fire. Hazel is a Protestant and Malachy a Catholic. Romance between them is threatened by Rohan (leader in militant underground ... See full summary »
South African church minister Steven Kumalo is summoned from his village to Johannesburg. There he finds that his son Absolom has been jailed in connection with a robbery in which a white man was killed. The father of the white man, James Jarvis, is a supporter of apartheid, the separation of the races which is the law of South Africa. When they encounter each other, both Kumalo and Jarvis come to unexpected realizations not only about their sons, but about the nature of their own humanity.Written by
Jim Beaver <firstname.lastname@example.org>
The first feature film shot on-location in post-Apartheid South Africa, after Nelson Mandela was elected President in 1994. Composer John Barry dedicated the score to Mandela in the end credits. See more »
Sir... to my knowledge, your son never said... he believed in something, unless he believed it.
I would like nothing better... than to understand my boy.
He's the only man I've ever met, black or white, who saw me for what I am. What I really am.
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Apartheid was a grotesque social experiment aimed at perpetuating the evils of colonialism after the age of empires was past; white liberal Alan Paton one of its most celebrated literary critics. Darrell Roodt's film of perhaps his most famous book, Cry, the Beloved Country', stars Richard Harris and James Earl Jones (better known as the voice of Darth Vader, which leads to some unintentionally comic moments) and is not an awful film; but politically, it misses its targets. Aided by some slushy background music, it invests most of its black characters with a frankly ludicrous level of dignity; while oddly underplaying its depiction of the routine dehumanisation that black people suffered under white rule. In consequence, the film's only real anger appears directed not at the system but at Jones's brother, a nasty and opportunist anti-apartheid campaigner, which was surely not quite the original point. At the end of the film, an impassioned quote from Paton appears on the screen; it's a shame it seems so unconnected with what has preceded it.
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