Talking Pictures TV has become an invaluable source of archive film material. It seems to function now like the US version of TCM, offering films, particularly British films from the 1940s, 50s and 60s, that don’t seem to appear on other channels. Some of them are also released on TPTV’s own DVD label Renown and others appear in the output of the Network DVD/Blu-ray label. Duel in the Jungle is the latest title to catch my attention on TPTV. It falls roughly into what I sometimes think of as a broad ‘Colonial Adventure’ category.
From the late 1940s and through to the early 1960s, British cinema sought to provide the declining popular cinema audience with more ‘colourful’ and ‘exotic’ films. These would utilise Technicolor and, later, widescreen formats and would be filmed on location in parts of the Empire (which formally became the Commonwealth in 1949). Location shoots in South Asia, Africa and the Caribbean could be expensive and the close ties between British producers/studios and Hollywood partners meant that many such productions were in effect American ‘runaways’ or American productions utilising British cast and crews and working relationships with local agencies. Relatively few films were made totally on location and many required studio shoots back in the UK for interiors. There were also ‘Hollywood-only’ productions and these would be distinguished by much less attention to local issues and questions about the colonial relationship. Two of the most successful productions, both critically and commercially were The African Queen (UK-US 1951) and Where No Vultures Fly (UK 1951), the first a co-production and the second, one of Ealing’s African adventures. Both films were made in East Africa and both referred to historical or contemporary events (i.e. they engaged with the colonial experience in some way).
Duel in the Jungle is a Hollywood style genre picture made by a US director, writer and stars with a UK studio and British secondary cast and crew. Shot in Technicolor it appears to be shot in Academy but released as a 1.66:1 widescreen feature. This was a common ploy in the first full year of Hollywood widescreen. The studio is Associated British Pictures Corporation (ABPC) based at Elstree, Borehamwood for the interiors. The location shooting in this case was in South Africa and Northern Rhodesia (now Zambia) and features footage of the Victoria Falls. Talking Pictures TV, I think, trailed this as a ‘detective story set in Africa’. That’s not a bad description, though a ‘crime adventure’ might be more accurate. Certainly there is an investigator in the form of Dana Andrews as Scott Walters a US insurance man who comes to London to check on a business man who has taken out a life policy worth $2 million. This client is Perry Henderson who, according to his brother Arthur, is in Africa. Both brothers are played by 1940s British leading man David Farrar, who by this time was primarily appearing in American films. Walters, though suspicious is about to fly back to the US when he sees a headline claiming Perry Anderson has been swept overboard in the Indian Ocean. Walters heads to South Africa to investigate. He becomes more suspicious when he realises that the ship on which Henderson had been travelling was one owned by his own company and that Marian Taylor (Jeanne Crain), the Henderson secretary, is now on board the ship. Walters who was attracted to Marian when he first saw her, decides to follow her into the interior from the East African coast. Will she lead him to Perry Henderson? Of course!
The second half of the narrative offers us views of the route supposedly to the Zambezi and the Falls, across savannah, through woods and along a river. Handsomely shot by Erwin Hillier, the main footage is probably from the Kruger National Park and other locations in South Africa/Southern Africa. It gives veteran Hollywood director George Marshall the opportunity to include the dangers of lions and stampeding elephants. Because this is an American narrative and the actual colonial territory is not identified, there is no attempt to include any kind of direct political context. The crime is connected to Henderson’s interests in diamonds (which he hoped to find on the sea-bed). There are no ‘settlers’ and no political activists among the local people as well as no issues about game conservation. Northern Rhodesia’s biggest economic asset was the ‘Copper Belt’, much further North than the falls.) There is a British colonial officer and a British-led local police force but that’s it. This does present a problem about the motivation of the only African character to be developed in any way. Vincent (Michael Mataka) is a familiar figure in British colonial melodramas and adventures. He’s the educated, English-speaking African who might appear at the centre of a narrative involving coloniser and colonised, forming a kind of bridge pulled in either direction towards his own people or towards the coloniser, acting as the ‘subaltern’ character identified by the later theorists of ‘post-colonialism’. But in this American-written script he turns from being Henderson’s right-hand man to siding with Walters, thereby risking his life. The change is needed for the narrative but not really explained in terms of the character.
The Wikipedia entry on the film notes that the film was popular in the UK, earning the then healthy box office total of over £200,000. With North American and international distribution via Warner Brothers (investors in ABPC) the film must have made substantial profits. Such films constitute an important cycle in the 1950s – and they have continued to do so, in different forms, up until the present – even if the political context has changed. George Marshall (who made 89 features in total) made at least one more similar film, Beyond Mombasa (1956) which was also a UK-US production, but this time with Columbia and starring Cornel Wilde and Donna Reed. The important link between the two productions seems to have been producer Tony Owen (Donna Reed’s husband). My other interest in Duel in the Jungle (i.e. after its colonial adventure categorisation) is in David Farrar, who continues to fascinate me, though I’m not quite sure why. He is in danger in this film of falling back on his ‘villainous squire’ role from Powell and Pressburger’s Gone to Earth (1950). Duel in the Jungle was his second American production but he’d already played in the 1949 Gainsborough picture Diamond City set in South Africa. One of his final films was Watusi (1959), a follow up to King Solomon’s Mines. I doubt if he visited South Africa for any of these films but in 1962 he just walked away from films and settled in South Africa where he lived for the next 30 plus years until his death in 1995.
The general conclusion on Duel in the Jungle is that it was an exciting film for 1954 audiences. I think films like this are worth remembering to see how Europeans and Americans treated local people – or simply ignored them. Now we have different problems such as the habit of telling African stories with African-American or British African actors playing African characters. One last point is the use of the term ‘jungle’. ‘Jungle’ is a key word in this cycle of films and in the various dictionary definitions it refers to a place of of ‘tangled’ and overgrown vegetation which then gets transferred into more metaphorical uses such as the ‘concrete jungle’ of the city or the ‘human jungle’ of the modern world of stress and psychological struggle. It’s origins are, however, in India under British colonial administration from the 18th century onwards and the meaning is an ‘arid region or desert’ from Sanskrit (see Chambers 20th century dictionary). In other words, the meanings gradually accrued to something the British colonisers thought of as an ‘other’ place, wild and inhospitable.
Dueling pistols do appear in the film.
Here’s the trailer from the Network DVD:
One of the best films to be released in the UK in 2013 looks like being one of the least seen. That’s a shame. If you are one of what I imagine to be many cinephiles disappointed that Mathieu Kassovitz had seemed unable to make another film as powerful as La haine, here is proof to the contrary. L’order et la morale is a hugely ambitious film that took Kassovitz several years to make. It recounts what happened in the French overseas territory of New Caledonia in 1988 when an ‘uprising’ of Kanak people on one of the small islands of Melanesia resulted in a ‘hostage situation’ involving a group of French gendarmerie. Unfortunately, the timing of the events during the French presidential election backfired on the rebels. Despite the best efforts of the negotiation team led by Captain Philippe Legorjus of the GIGN (the counter-terrorist unit of the Gendarmerie), the situation was ‘resolved’ with overwhelming military firepower and loss of life. The script is largely based on the memoirs of Legorjus, played by Kassovitz himself in the film.
Kassovitz was once known as l’enfant terrible of French cinema. La haine (1995) was a great critical as well as commercial success in exposing police relations with the youth of les cités, the workers’ estates surrounding Paris where many second-generation migrants grew up. But Kassovitz’s next film Assassin(s) (1997) attacked the media and the young director was savaged by some of the same critics who had praised him for La haine. That film has never been released in the UK and I haven’t seen it. After that Kassovitz moved into directing English language genre films with steadily declining success – while at the same time developing a career as an actor, including an important role in Amélie, enabling him to develop an international profile as both actor and director. What is clear now is that he spent a great deal of time and effort in working on L’ordre et la morale. In the end he decided to play the central role himself, primarily for pragmatic reasons in that the production was so protracted that he couldn’t reasonably ask another actor to take the role. He’s extremely good at suggesting the highly professional approach of Philippe Legorjus (an approach he discusses in the film’s Press Pack).
I confess that the film does demand an audience willing to follow the complex rivalries between the different organisations that comprise the French armed forces and also the unique problems associated with the French political system and its electoral processes. Like the American president, the President of France can sometimes find himself (no women yet) constrained as an executive by the actions of a legislature run by the opposition. But in France the situation is even more crippling because of the cabinet government led by a Prime Minister. In 1988, socialist President Francois Mitterand faced a re-election contest against the candidate of the right, the Prime Minister, Jacques Chirac. This was the climax of the period known as ‘Co-habitation’. I don’t fully understand how the split of executive powers affected the events in New Caledonia. Mitterand should have had more power in dealing with events overseas, yet as a French ‘overseas territory’ perhaps New Caledonia was considered part of France and this was an ‘internal security’ issue?
The film narrative is essentially a long flashback to the events which led up to the nightmare conclusion. The first forward momentum is the ‘scrambling’ of the GIGN company and their flight from Paris to the other side of the world. When they arrive in New Caledonia they find that some local gendarmes are being held hostage by rebels but also that the French Army has arrived en masse and that any hopes of a peaceful negotiation are threatened by the gung-ho actions of the Army commanders.
It eventually transpires that Philipe Legorjus has contacts in Paris who are linked to Mitterand while the Army share the perspective of Chirac and Legorjus will eventually find himself faced by Chirac’s own minister Bernard Pons who is sent out to manage the crisis on the ground. The narrative driver is that Legorjus himself and a small number of his team of negotiators eventually meet the rebels – who are, of course, not the ‘fanatics’ portrayed by Chirac and the right-wing. I don’t want to give away too much of the plot but the gripping central narrative places Legorjus himself in an almost impossible position. He attempts to remain professional and a man of honour – but he finds himself participating in brutality. He meets his obligations to some but betrays others. There is no black and white only the murky greys of colonial repression. The central figure of the rebel leader (amazingly played by the real man’s cousin who was a post-grad student in France when Kassovitz found him) is an idealistic young man whose actions are undermined by the local nationalist leaders who are also playing political games. All of this is familiar from too many situations around the world but Kassovitz makes it all real and painful. It’s a long film, mostly talk but with some intense action sequences and an intriguing ‘score’ by the ‘industrial percussion’ group Les Tambours du Bronx. There is also some great community singing under the end credits.
Rebellion is a long film (136 minutes) and it represents a remarkable achievement by Mathieu Kassovitz. He plays the central character as a man who internalises and manages to stay cool under pressure (most of the time). As director he manages an enormous ensemble cast with some experienced French actors, but also many non-professionals. I was gripped throughout and fascinated by the depiction of events. Nobody comes out of the events themselves with much credit and by all accounts many of the leading participants have tried t claim that the film is inaccurate. This article by an Australian scholar and former diplomat with experience of New Caledonia suggests that the film does tell at least some of the ‘truth’ and also points out that Mitterand (who won the election) did attempt to develop ‘peace and reconciliation’ after signing the orders to end the hostage-taking with military force. The film was shot in French Polynesia rather than Melanesia but it was eventually shown in New Caledonia – and seemingly well-received. The final credits remind us that there will be votes in 2014 on a process leading towards possible future independence.
I’m not sure if the film will get more cinema screenings in the UK but I urge you to seek it out on DVD when it appears on September 2nd (why so long, Lionsgate?). I think I’d like to return to the film then when a few more people have seen it. Here’s the trailer to whet your appetite:
Tabu has been a critical success with reactions to it, first at Berlin and then on release here in the UK, that are similar in some ways (but very different in others) to those that greeted The Artist at Cannes last year. It’s another film in beautiful Black and White, shot on 35mm and 16mm film and presented in Academy format (1.37: 1). Part of it is played without dialogue (but with some sound effects and supposedly diegetic music). But overall it is much more interesting and, for me at least, much more entertaining than The Artist.
The original Tabu was a 1931 romance/drama or melodrama created by the pairing of F. W. Murnau and Robert Flaherty – in some ways a very odd combination. It tells the tale of two lovers (local people not colonialists) on a South Seas island who pursue their love despite a taboo placed upon it – with the expected tragic conclusion. That film was in two parts: ‘Paradise’ and ‘Paradise Lost’. Miguel Gomes’ 2012 Portuguese film reverses the order of the two parts and adds a prologue which in turn leads into ‘Paradise Lost’ in which we meet a ‘good woman’, Pilar, who finds herself having to attend to her elderly neighbour Aurora in contemporary Lisbon. Aurora was once a wealthy settler in Mozambique and aspects of her past are starting to haunt her. In the second part of the film, ‘Paradise’, Pilar imagines the kind of life that Aurora led while she listens to Aurora’s ex-lover from the early 1960s. Gianluca tells us about their affair in a voiceover as the story unfolds on screen without dialogue.
I’ve seen a quote from Gomes where he suggests that there is no deep meaning in the film and several critics go along with the idea that this is a playful film that moves from humanist drama/social realism in ‘Paradise Lost’ to sometimes comic surrealism in ‘Paradise’. For me, however, the whole narrative appeared to be about the colonial experience. This is a very rich text and Gomes must be a witty man as he makes a number of jokes which play on the conventions of the colonial melodrama and the specifics of Portuguese colonialism as well as the general colonial activities of Europeans in Africa. I’ll try and explain some of the ways in which Gomes presents this ‘colonial imagination’.
The film’s prologue refers to a trait of European colonial narratives, especially about Africa and the ‘heart of the continent’. What we see is then revealed to be a film being watched (seemingly on her own in a cinema) by Pilar who we later realise is a single woman with an interest in human rights issues around the world. She is, we assume, an internationalist Catholic, at one point dealing with a ‘Polish nun’ who may be coming to visit her in Lisbon and at other times perusing websites or taking part in peaceful demonstrations. Yet Pilar is still subject to the circulation of colonial narratives within which Aurora is forever trapped. Aurora has a carer/housekeeper, an intriguing character called Santa. Is Santa from Mozambique? Aspects of the narrative suggest not. In a revealing scene we see Santa reading Robinson Crusoe and then later attending a class in which she tells the teacher what she has been reading. “Extraordinary!” is the teacher’s response – and indeed it is. What should we make of this? One suggestion is that Santa is ‘free’ of the past and able to study it dispassionately, while Aurora is still caught up in it. Santa isn’t a naïve young woman. She’s older and wiser and carries out her duties in a professional way, betraying no sense of the legacy of a colonial relationship.
This reading of the Santa character is complemented by aspects of the style of the ‘Paradise’ story. Set, we presume, in the 1950s and early 1960s we see the young Aurora as a teenager and then as a young married woman, having met her husband, a tea planter, at university. This second story is filmed in 16mm which has more grain, slightly less definition and range of grey shades. The overall effect is to emphasise the history/memory feel of the experience. Yet, in the story that is presented, Gomes deliberately separates the white settlers and the local Africans. The settlers are shown in ‘authentic’ 1960s costumes and act as if they are in a historical drama – whereas the servants and the villagers/tea pickers etc. are shot in an almost documentary style, complete with 21st century clothes including the ubiquitous football shirts (I’m sure one small boy was wearing a Samsung shirt) found everywhere in contemporary Africa. This surreal juxtaposition adds to the dreamlike, playful nature of the film but also points to questions about the history of colonialism in Portuguese society.
I was struck by the similarity of some scenes in ‘Paradise’ to those in the Claire Denis film Chocolat (1988). In the Denis film we see the antics of the white colonialists through the eyes of the child of a French colonial administrator. In ‘Paradise’ there seems to be a similar slightly distanced gaze. I definitely felt a ‘difference’ in the colonialist culture represented in this film compared to those in British cinema. There is no presence of the British-style District Officer and none of the confrontational exchanges between settlers and servants/workers. The settler lifestyle, at least for the women seems languid and mildly decadent. Yet Mozambique and Angola were at this time preparing for the conclusion of the independence struggle which would culminate in the 25 April 1974 Revolution in Portugal and the subsequent independence of Mozambique along with Angola, Guinea-Bissau and other Portuguese colonial possessions.
I need to watch this film again to appreciate every aspect of its very clever and subtle presentation. This is another of this year’s crop of left-field movies from unusual film production contexts. Plaudits to director, writers, actors and cinematographer – great music too. Portugal joins Canada and Hong Kong as winners in our personal poll of this year’s best films.