'Nowhere in Africa' - A film to Remember

I believe in watching films with a clear mind, without preconceived expectations or a care for their past laurels. I believe in judging a film for its message, the perfection it attains in being the vehicle of a certain sensation that lasts with its audience beyond its run-time, like a taste which is sometimes bitter and sometimes sweet, like an impression from memory which one often loves to narrate but cannot relive. A good film could be that magical a thing.

I never looked up 'Nirgendwo in Afrika' (Nowhere in Africa) on imdb before I watched it this afternoon and now as I sit to write a review, hurriedly, almost afraid that I may lose that lingering taste in my mouth soon, I find that it won the Oscar in the Best Foreign Film category in 2002.


The film is set in the 1935 period of Nazi upsurge of influence and follows the life of a German Jewish family fractured as a result of severe Anti-Semitism. Walter Redlich(Merab Ninidze), a Jewish lawyer fervently wishes to see his wife and daughter flee Nazi Germany and join him in Kenya. Being perspicacious he is able to ascertain the imminent Jewish persecution that is to soon engulf all of Europe. Though his wife, Jettel (Juliane Kohler) and daughter, Regina (Lea Kurka) find a way to Africa he fails to convince his father and sister who still consider Deutschland as their own. The story moves on with the family trying to find its footing in an alien land amidst all its attendant inconveniences. Walter's Kenyan cook, Owuor (Sidede Onyulo) finds a friend in young Regina and life settles down to a routine at the cattle-farm for the family. The film pictures every character and their personal little battles with 'change' and 'compromise', yet it portrays a blesmishless collage which is much more than being a mere sum of the individuals. The difficulties of Jettel in settling down to a life in the wilderness amongst 'negroes' and her constant worries around Regina's education and upbringing bring out one facet of resettlement, that of angst and uncertainty in the thinking adults whereas on the other hand, the way in which Regina holds onto her new life with fumbling little fingers drips with hope and inspiration characteristic of the unsullied infant mind. Her bonding with Owuor goes beyond ties of blood and is resplendent in all its innocent glory.



Walter, driven and determined, yet a practical and pragmatic character is portrayed with elan by Ninidze. In his little battles with himself he stands as both the victor and the vanquished. He is a strong provider, a caring husband and a loving father on one hand and on the other he has his own insecurities to tend to. The family is shattered as news from Germany leaks in, that of brutality and death. The helplessness in knowing that your loved ones are dying and you cannot do a thing grips them with guilt and grief at the same time. The film is more like a fascinating journey where one is almost moved to tears of joy, as in the scene where little Regina narrates how her 'Jewish' father has asked her not to waste "their little money" and "study really hard" to the stern and visibly prejudiced British Principal and it brings a smile to his face, to the delight of the audience. Certain scenes are sheer irony in motion, one of them being Owuor telling Jettel how "white women are weak. Black women can take care of themselves."


With Kohler playing the role of a conundrum of a character to perfection and the African setting providing the ideal backdrop for the drama the film attains great cinematic heights. Heights which are quite different from the ones attained by ' 'Schindler's List' or 'The Pianist' which stay within Nazi Germany and Poland respectively to tell tales of persecution and despair as 'Nowhere in Africa' carries the viewer far from the hotbed of war and hatred and show effectively, with all its cinematic poesy the plight of people touched by war, even thousands of miles away from it. A film which accomplishes the basic objectives of inspiring human empathy and thought, I believe, it should figure in every film-lover's favourite list.


The defining moment of the film for me was when Jettel says to Regina on the topic of Jews and how different they are from others, " What I've learnt here is how valuable differences are. Differences are good."


I would say no more.

Watch the film for yourselves to know.


poster: google.com

'Away From Her' - A Review

An aged wife tells her husband,

“You could have just driven away without a care in the world for me, and forsaken me”

With a pause pregnant with unsaid emotions he whispers,

“Not a chance.”

These two lines which appear so unambiguously banal in content at first glance there lies the ultimate test and triumph of an alliance that is forged over a lifetime.

The alliance we call ‘marriage’.

‘Away From Her’ is a film which captivates with its sheer force of simplicity, all the while delineating the intricate details of a complex human story with the natural grace of life and nature. Adopted from the work named ‘The Bear Came over the Mountain’ by Alice Munro, the film revolves around the trials and tribulations of an elderly couple trying to come to terms with the curse of Alzheimer’s disease and its attendant complications. As Fiona (Julie Christie) starts to lose her memory she is shifted to a ‘retirement facility’ for ailing people, much to the despair of her husband, Grant (Gordon Pinsent), who is emotionally disturbed and much upset at the separation. The immaculate depiction of the traumatic phases that an Alzheimer’s victim undergoes poses a thousand pointed questions to the viewer. The very conception of ‘memory’, as we know it, is shaken to its foundations as one grapples to identify and later appreciate how singularly beautiful it might be to discover a fresh appeal within the confines of familiarity without our mental retention of the past and the memorized. How fascinatingly juvenile and invigorating it might have been to get lost in the woods that one was so accustomed to. How thrilling it might have been to start acquaintance with the person one loved for a lifetime and thereby script a story of rediscovery and revision.

The film lends a compellingly thoughtful perspective in this regard and thereby makes the journey for the viewer that much more enriching than mere enjoyable.

As the film moves on, the consequences of a depleting memory surface to test Grant while Fiona finds comfort and company in Aubrey, another ailing inmate in the facility, oblivious of her past affiliations and bindings. A period of insecurity and possessiveness consume him, which later transpires into a better understanding of the infinite complexities of human relationships. While Grant laments the look of unfamiliarity in Fiona’s eyes a tactile web of human emotions spins into motion. Without being opinionated in any way the film expresses its endorsement of human values and through a marvelous language of images convey the fear of isolation innate to humans. A work of passion by the director, Sarah Polly, ‘Away From Her’ will surely go down as one of the finest films on human relationships and connubial love I have ever seen.

Julie Christie has portrayed the central character to such precise perfection that she moves her audience to tears without being tearful herself. Her glazed blue eyes are so resplendent with an unearthy innocence that while watching the film one almost feels as helpless and cornered as her husband. Her infirmity is so obvious, yet so ostentatiously underplayed that nothing short of an Oscar would do justice to her moving rendition of an otherwise difficult character.

Gordon Pinsent is a figure of strength with his stoic acceptance of a tragic reality. Yet, he displays brilliance in scenes where he arrests the outpour of his spasmodic reactions in the face of piercing predicaments. One of the best performances of the previous year he might as well get a well deserved nomination for the ‘Best Supporting Actor’ category at the Oscars. I actually back Pinsent to bag the award for holding his own in the spate of an astounding piece of acting being delivered opposite to him, which if not belittling to say the least was more than intimidating in terms of pressure to perform his own brief.

An exceedingly well-made film which asks existentially relevant questions even to an average enthusiast, I will remember ‘Away From Her’ as one of the most beautiful films I ever watched. A film which promotes love and commitment and delivers the message of lasting togetherness that marriage as an institution bestows, the following conversation from it will remain imprinted in my mind forever (Alzheimer’s forbidding):

[ while leaving for her asylum Fiona asks Grant at their doorstep]

Fiona: How do I look ?

Grant: Just like always. Just as you always looked.

Fiona: And how does that look ?

Grant: Direct and vague. Sweet and ironic.

photo: google images