Queen of Katwe

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Release: Friday, September 23, 2016 (limited)

[Theater]

Written by: William Wheeler

Directed by: Mira Nair

Despite the illusion of diversity and the notion that films are now being tailor-made for niched audiences, director Mira Nair’s latest feels like a rarity, one that’s not only good for the soul, but good for Disney. Here is a work of substance that is going to satisfy, dare I say move, those seeking a more refreshing point of view. Better yet, themes of poverty and desperation are never overwrought, the drama working comfortably within the PG rating to effect one of the year’s feel-great experiences.

The film was shot entirely on location in Uganda and in Johannesburg, South Africa, and it features a Ugandan director in Nair, who was born in India but presently lives in the country and it is her vision and her choice cast that earns the film a refreshingly authentic African vibe. Though it does visit some dark places, the narrative chooses to forego any sort of political commentary in favor of celebrating what makes African culture so distinct; rich in personality and heart, warm in spirit and color — much of which is reflected in the stunning wardrobe courtesy of Mobolaji Dawodu.

With Disney of course you’re never short of a few doses of cloying sentimentality but in Queen of Katwe the feel-goodness feels really good and it feels earned. It’s also not that simple, as you’ll likely feel on more than one occasion, really, really bad.  It doesn’t hurt that the picture features two of the year’s finest performances and a star-making turn from Ugandan newcomer Madina Nalwanga. Incidentally, Nalwanga has experienced considerable changes of fortune in her own life having afforded an education subsidized by the dance company she performs with. When the film screened at the Toronto International Film Festival this year, it was the second time she had ever seen a film in a theater, and this time she was the star.

The story tells of Phiona Mutesi, a 10-year-old chess prodigy from the slum village of Katwe — a region within Kampala, Uganda’s capital — who manages to transform her life by competing in major chess tournaments. The movie traces her rise to prominence while delineating the tension between the gifted Phiona and her mother, who doesn’t want to see her daughter’s dreams crushed. Phiona comes from an especially impoverished family of five — she has two younger brothers and an older sister. Her widowed mother, Nakku Harriet (Lupita Nyong’o), is the glue that holds everything together, working tirelessly to keep the family under a roof and to keep her children fed. She often goes hungry and works long hours selling vegetables on the streets. Life’s desperate and Phiona’s sister Night (Taryn “Kay” Kyaze) has already had enough, having become infatuated with the city life after meeting a man of some wealth.

One day she comes across a group of kids playing chess in a tent. They’re being mentored by a man named Robert Katende (David Oyelowo) who also happens to be working for the town ministry. After quickly learning the basics, Phiona shows promise as a player, often beating her fellow competitors, which stirs up quite the fuss as no girl should be allowed to beat a boy. It’s not long before Katende realizes her quick wit and intellect separates her and he finds himself jumping through hoops to encourage her mother to allow Phiona to pursue this. There are cash prizes awarded at these tournaments, he says. But Nakku pushes back, concerned that exposure to an altogether unattainable life will ruin Phiona.

Queen of Katwe falls upon familiar underdog story constructs but Nair employs them such that they’re necessary plot propellants. The most familiar of the obstacles manifest themselves in the competition scenes. When the youngsters travel to their first competition nerves are high, the opponents are well-dressed and contemptuous. Perceptions of inferiority and illegitimacy can be traced back to the moment Katende advocates for Phiona’s inclusion in competitive chess to members of the Katwe school council. Bureaucrats tell him bluntly that those from the slum should not intermix with people of another class. Additionally, the constant degradation on the home front as the family find themselves temporarily evicted isn’t anything we haven’t experienced before but there’s a rawness to these developments that just can’t be ignored.

The resolution is far from unpredictable, even given the oppressive circumstances into which this bright young girl has been born. Phiona is obviously an anomaly. We know she’s going all the way to the top, and we know she’s going to ultimately succeed. It’s the journey getting there, and getting to experience her family’s struggles and their perseverance that ultimately rewards. And when the film is so handsomely mounted and beautifully acted, particularly by Nyong’o and Oyelowo who offer powerful resilience and unwavering support respectively, that makes the culmination of all things positive and predictable that much more acceptable. Queen of Katwe is a Disney film that reminds us of the power of perseverance and the importance of intellect, one that creatively parallels the complexities of chess with the decisions one has to make in life, whether the end game is elevating one’s social standing or finding a way just to make ends meet. This is a born winner.

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Recommendation: Powerful performances allow Queen of Katwe to transcend cliché and they also help the film speak to a larger human experience of rising above circumstance and overcoming serious odds. It’s nice that the film focuses on a part of the world that doesn’t get the big screen treatment very often. And as to the sport that lies at the heart of the film — I concede I don’t find chess altogether exciting but the way the director and the screenplay works it in to the story actually makes it pretty compelling. I personally have no idea what’s going on on a chess board but I had no problem believing that this brilliant girl did. That’s the mark of a good actor.

Rated: PG

Running Time: 124 mins.

Quoted: “Sometimes the place you are used to is not the place you belong. You belong where you believe you belong. Where is that for you?”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com

Starbuck

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Release: Friday, March 22, 2013 (U.S.) (limited)

[Theater]

Although the title might mislead (no, this actually isn’t about the expensive coffee….), what this film offers is nonetheless a hearty and warm mixture of comedy and paternal love. Starbuck, featuring charming performances from Patrick Huard, Antoine Bertrand and Julie Le Breton, is an uncommonly smooth cup-o-Joe.

It’s also been a while since yours truly has seen a foreign film (rather, a film where none of the dialogue is in English), and having to split my attention between reading the subtitles and what was happening at the time was actually refreshing. I suppose it helps having a script that is both hilarious and heartwarming as well. And French-Canadian Ken Scott’s new film possesses more of these qualities than I’ve seen in a good number of films as of late.

A bit farcical, the film centers around 40-something David Wosniak (Huard) who is quite an amiable fellow but has yet to really get his shit together. More importantly, what you need to know about David is that in his earlier years he was quite the prolific sperm donor, making frequent visits to the clinic annually under the alias ‘Starbuck.’ One day a representative of this clinic walks into David’s life with the news that he is being sued. . . . .and that there are 140-plus plaintiffs to face.

Then he’s reminded of his previously puerile lifestyle, and of the quality of his sperm samples — David’s inadvertently become father to 533 children, of whom 142 are interested in meeting their father. By going through the legal system, these kids hope for the chance to finally know his identity. Of course, David is at first reluctant to step forward, in knowing how weird the story will play out publicly. And somewhat predictably, yes when the news gets out about the lawsuit, the name ‘Starbuck’ instantly becomes a nefarious term to throw around. In fear of having ruined his own life forever, David decides he wants to become actively involved with these kids  — he’s tired of being a screw-up and wants to change his fortunes, once and for all.

While he’s strangely floating through the lives of his kids, the tension fueled by media and the public outrage at such a situation begins to wear on David and he’s ever reluctant to reveal his identity. Especially since he’s trying to rekindle lost love with his former girlfriend, Valerie (Le Breton). When she tells him she is now pregnant, our lovable but scatterbrained Starbuck finds himself more conflicted than ever.

The film’s tone might be misconstrued as being a bit sappy or too pat, but if anything, those seem to be general misjudgments on the part of anyone who strictly defines ‘family’ based on the mother-father-and-three-kids blueprint. Certainly, we’re dealing with extremes here in Starbuck, but that doesn’t mean it’s any less enjoyable. In fact, the extremes are what makes the film such a treat to watch.

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3-5Recommendation: Interestingly enough, an American version is slated to be released late 2013, possibly early ’14, and will star Vince Vaughn as the ‘David’ of this version. Originally going by the same name, this new release is now titled Delivery Man. Now, I’m going to make a bold prediction and say that even with the same director behind the camera, it will fall short of the heartfelt schmucky-ness found in Starbuck (which, by the way, was actually first put out in 2011 to Canadian audiences). With all that said, I fully recommend experiencing this version. . . at least, before you see Vince Vaughn trying on the role for size.

Rated: PG-13

Running Time: 109 mins.

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com