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During the final decades of apartheid in South Africa, few observers predicted that the country’s political landscape would be transformed without a bloody civil war. Nonetheless, the white minority government was peacefully replaced by the Nelson Mandela government, which shared the Nobel Peace Prize with the departing prime minister, F.W. de Klerk.
Despite this miracle, the United States has been scarred by decades of violence — not only between whites and blacks, although that was the predominant form of conflict. It was the inspiration of Nelson Mandela, Archbishop Desmond Tutu, and other leaders in the new society that the Truth and Reconciliation Commission was established. It found a way to deal with those wounds without resorting to the endless cycle of bloody revenge that had been witnessed in Northern Ireland, Bosnia, and other places. The commission made a straightforward offer: appear before a public tribunal, confess exactly what you did, convince us that you were acting under orders, and offer an apology that we can accept, and we will proceed from there; nothing else was required.
‘In My Country,’ a film directed by John Boorman, is set during the commission’s hearings and stars Samuel L. Jackson as Langston Whitfield, a Washington Post reporter who is covering the story, and Juliette Binoche as Anna Malan, an Afrikaaner who works for the South African Broadcasting Company as a daily broadcaster. As the commission and its caravan of press and support staff travel through rural areas, Whitfield and Malan discover that they are at odds with the Commission, but that they are also attracted to each other on a personal level.
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I’ll admit that I went into the film with a lot of strong emotions. A significant amount of time has been spent in South Africa, including a year studying at the University of Cape Town. I had the opportunity to meet with Archbishop Tutu and discuss the commission’s work. I believe that the transitional period in South Africa serves as a model for an enlightened and humane reconciliation with the evils that have occurred in the country. “In My Country” depicts the process in action and argues in favor of it, and I found myself inclined to approve of it solely on that basis.
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There is something off about the film, however, and it is difficult to pinpoint. The affair between Whitfield and Malan appears to be completely arbitrary, more akin to two writers having sex on the campaign trail than two people involved in a romance that is important to them. Both are married, and neither wishes to end their marriage, despite the fact that they may be tempted to do so while in the grip of infatuation. However, even though apartheid imposed criminal penalties for interracial sex under its “Immorality Act,” this does not rule out the possibility of interracial sex being featured prominently in a film about Truth and Reconciliation — particularly if the affair involves a foreign visitor. In the film’s juxtaposition of the political and the personal, there appears to be something overly calculated about it.
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Another unconvincing aspect is that Whitfield, a reporter for the Washington Post, is not convinced that the commission hearings are beneficial or just. He believes that the wrongdoers are getting off too lightly, and he expresses this opinion in press conferences, where he takes on the role of an advocate while making no attempt to appear objective. It is up to Anna Malan (as well as the plot) to persuade him to reconsider his position. A certain poetic irony exists in an Afrikaaner persuading an African American that Mandela’s new South Africa is on the right track, but isn’t this more of a fictional device than a realistic possibility?
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A scene in which Malan transports Whitfield back to her family farm appears fabricated because we aren’t sure what Anna hopes to accomplish with it, and it is still unclear at the conclusion of the scene. True, during the visit, we can detect a palpable sense of unease regarding the transfer of power ( “They are no longer our police force. It isn’t our country any longer, is it? “If you have any questions, please do not hesitate to contact me at [email protected]. The romance, on the other hand, introduces complications that serve primarily as a diversion from the main plot of the story.
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Anjie Krog’s book of the same name is the inspiration for the character of Anna Malan, who was inspired by her own radio and newspaper reports of the hearings. The screenplay for the film was written by Ann Peacock. It contains scenes that are undeniably powerful. Many of them revolve around a character named de Jager (Brendan Gleeson), a South African police officer who has a zeal for torture and murder that goes far beyond what is required of him in his job. Whitfield’s confrontation with de Jager is tense and well-executed by both players. During the testimony of a parade of whites (and one black) who are seeking forgiveness, there are also genuine tears shed by the witnesses.
As it happens, I’ve recently seen another film that deals with the same subject matter. That’s the premise of “Red Dust,” a selection from the 2004 Toronto International Film Festival that stars Hilary Swank as a New York attorney who returns to her native South Africa to represent a political activist (Chiwetel Ejiofor) in an amnesty hearing for the torturer who tortured him (James Bartlett). When compared to Gleeson’s character in the previous film, Bartlett’s character serves a similar function, but all of the characters and their stories are more complex and contradictory, reflecting the turbulent times in which they live.
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