Catch a Fire Review [2]
Posted by Chad Webb on 10.31.2006
Sparks, but doesn’t quite explode
Tim Robbins: Nic Vos
Derek Luke: Patrick Chamusso
Bonnie Mbuli: Precious Chamusso
Mncedisi Shabangu: Zuko September
Tumisho Masha: Obadi
Sithembiso Khumalo: Sixpence
Terry Pheto: Miriam
Michele Burgers: Anna Vos
Directed By: Phillip Noyce
Release Date: October 27, 2006
Running Time: 101 minutes
Rated PG-13 for thematic material involving torture and abuse, violence and brief language.
In recent years, international productions about the struggles of African cultures and/or particular periods in African history have increased at a steady and gradual pace. It is becoming more difficult for filmmakers to craft an unusual and inventive story about Africa due to the substantial amount of solid to classic stories already in place. City of God, The Constant Gardener, The Last King of Scotland, and now Catch a Fire (among others) join a most respectable sub-genre in cinema. Acknowledging all the four-star gems that preceded it, Catch a Fireis both emotionally effective and impeccably acted.
Patrick Chamusso (Derek Luke) works diligently as an oil refinery foreman for a company called Segunda, and as a children’s soccer coach. He has a loving wife, two delightful little girls, and enjoyable friends, but in 1980’s South Africa, life is full of dangerous risks. His country is experiencing a tumultuous and separated time. Terrorists are busy bombing the Segunda oil plant in hopes of obtaining freedom. Patrick does not commonly concern himself with such matters, especially those of a political nature, but his country’s volatile atmosphere hunts him down regardless. Patrick is wrongly imprisoned by Police Colonel Nic Vos (Tim Robbins), and his wife follows soon afterwards. The harsh treatment they endure changes Patrick’s existence forever, and shocks him into taking immediate action on the oppressive regime.
The aspect that catapults this tale from intriguing to staggering is the beautifully balanced performances given by consummate veteran Tim Robbins and perspicacious up and coming star Derek Luke. Luke basically steals the film from Robbins with passion and vigor. His impressive cinematic debut in 2002’s Antwone Fisher raised eyebrows, but over the next few years his career took a slump with forgettable roles in Biker Boyz, Friday Night Lights, and Glory Road. As Patrick Chamusso, he proves why an Oscar nomination is well deserved. His incredibly nuanced acting can best be seen in the scene in which he discovers that his wife has been subjected to the cruelty of the police as well. The gift of conveying such unmistakable, instinctive, and brilliantly profound facial expressions is rare, but Derek Luke has it, and employs it superlatively.
Tim Robbins has stated that despite his characters torturous methods in which he operates, he attempts to unearth the humanity in each person he portrays, and not judge their past. He exposes that fact that Nic Vos was carrying an enormous weight on his shoulders to suppress the spread of communism, but since such brutal actions were encouraged to acquire answers, he is forced to become monster. Robbins executes each sequence with terrific concentration, and fantastic timing. His somewhat bizarre accent will not please everyone however. At times, it seems that there is something bothersome about it. That being said, Robbins molds the role into his own.
Unlike Director Phillip Noyce’s previous offerings (The Quiet American, Rabbit-Proof Fence) which occupied a slightly more powerful punch, this “fire” takes some time to gain muscle, and become full. Noyce has an attraction to accounts on various cultures in conflict, and his indubitable respect leaves traces on each scene of this latest venture. He devises both a taut thriller, and an informative historical biopic with the perceptively regulated screenplay of Shawn Slovo, whose white parents were South African activists. The mixture of unyielding, yet charming direction with the tender lines of dialogue resulted in a picture that was appropriately polished and suitably folded into one pleasant looking package.
The gamble Patrick Chamusso took when he became an insurgent is astounding, but that key portion of the story sprinted by too quickly. That transformation should have been considerably more climactic and important. One of the main strengths of Fire lies with the pure simplicity and earnestness of the layout, but in truth, that also happens to be its primary weakness. That detail restricts the film to an average rating. The originality and inimitability of this flame was just too minor when it should have been impressively scorching. The conclusion marks the most imaginative spot, and in all actuality, it is just fabulous to view.
If the message contained within this political thriller feels more modern, it is definitely intentional. Catch a Fire salutes the heroism evoked during the Anti-Apartheid era with themes echoing smoothly into today’s society. This is a government who starved one racial group of any rights for many years, but those militant men (and women) like Patrick found it within themselves to relentlessly fight back. It is ironic that Nic Vos was the person who lit the fire under Chamusso’s backside to become a rebellious warrior with the imprudent and misguided enthusiasm of his inevitably disastrous tactics. Catch a Fire is an intensely stirring and complex film, based on a true story, of a dedicated family man, who morphed into a fierce radical. It establishes that true courage subsists in all people.
The 411: This movie does show that numerous Anti-Apartheid stories are present and waiting to be unearthed. I did not expect the film to be perfect, but Director Phillip Noyce knows how to create and intelligent and also moving motion picture. The performances are worth the price of admission alone. It is a shame that this was released the same day as Saw III because that crowd will most likely kill any power Catch a Fire could have unleashed. It is still worth seeing.
