A National Geographic Films (U.S.)/Essential Viewing (Australia) production, in association with Special Broadcasting Station Independent. (International sales: Cinema Management Group, Los Angeles.) Produced by Michael Davie, Chris Hilton. Executive producers, Jake Eberts, Adam Leipzig, Rosemary Blight. Co-producer, Rehad Desai. Directed by Michael Davie.
With: Jabulani Shabangu, Coleman Mgogodio, Tabea Bohali, Richmond Febana, Thabo Mohlahli.
(English, Zulu, Sotho dialogue)
Music hath charms to rehabilitate savage convicts in the soulful but rigorously tough docu "The Choir." Set in South Africa, the U.S.-Australia co-production spotlights a male choir of imprisoned felons who sincerely seek the straight-and-narrow through song. Paradoxical images of hardened criminals with voices like angels are uplifting from the outset, but Zimbabwe-born helmer, Michael Davie transcends feel-good shortcuts to unblinkingly explore convicts' lives. With pubcaster and cable funding, the pic's tube future is assured, but near-simultaneous screenings in Los Angeles and Sydney should cue a wider fest tour.
After an aggressive opening dance sequence, we hear the honey-laden voices of men shuffling in chains and bright orange uniforms under the South African sun at high-security Leeuwkop Prison. Doing a 27-year stretch for armed robbery, bald and burly ColemanMgogodio heads the choir, speaking about the rehabilitative power of music with eloquence and charm.
Singing auditions are held, and Jabulani Shabangu, who bears literal scars from a misspent youth, is selected as a noteworthy recruit. The newcomer quickly learns that Mgogodio runs a tight ship, willing to dish out discipline with his fists if he thinks recruits are involved with prison gangs or drugs.
Initially using a countdown template, docu is structured around Mgogodio's quest for triumph at an interprison choir competition. During the choir's training, a battle of wills develops between the benevolent instructor and the problematic Shabangu.
While it's clear that the choir reps a turning point in the rehabilitation of many inmates, the docu also considers the benefit to the prison officials. Most memorable of the non-musical scenes is a visit by social worker Tabea Bohali, who talks to the inmates about her experience as a victim of rape -- a simple but powerful scene that has substantial impact on the prisoners; auds will be similarly moved.
In addition to beautiful a cappella perfs, the choir competish is blessed with a feel-good conclusion, but Davie bravely chooses to persevere with his subjects beyond that point. Pic's emotionally gripping final half-hour sees the ex-cons take their rehabilitation act on the road, only to find that the stigma of prison seriously impedes their progress.
Lensing quality is limited by pic's low budget. Nevertheless, Davie makes the most of his unobtrusive equipment and unerringly captures the realities of prison life and Johannesburg's shanty towns. Pic had a stereo mix at screening caught; regardless, the choral renditions of Rossini, biblical hymns and African music are an absolute delight.
Production company is aiming for theatrical distribution (with 5.1 Dolby), but already has a 52-minute tube version waiting in the wings.
Camera (color, DV-to-DigiBeta), Carlos Carvalho, Davie; editors, Ben Deacon, David Lourie, Karin Steininger; music, Felicity Fox; sound, Phil Vail. Reviewed at Sydney Film Festival (Australian), Jun. 21, 2008. (Also in Los Angeles Film Festival -- Intl. Showcase.) Running time: 88 MIN.
Contact the Variety newsroom at
news@variety.com
Date in print: Mon., Jun. 30, 2008