SIMBA

UK, 1955, 99 minutes, Colour.
Dirk Bogarde, Virginia Mc Kenna, Basil Sydney, Marie Ney, Joseph Tomelty, Earl Cameron, Orlando Martins.
Directed by Brian Desmond Hurst.

Simba was topical in 1955, a story of the Mau- Mau uprising during the years that it was happening in Kenya. It was filmed on location in Kenya itself and capitalises on the African locations and photography.

The film was a star vehicle for Dirk Bogarde who had emerged in the 1950s as Britain’s most popular matinee leading man. Adept at drama, portraying criminals, as well as comedy, he showed great versatility in the 50s but, in the 1960s and 70s, took on much more serious roles like Death in Venice, Despair. The leading lady is Virginia McKenna? who starred in Born Free ten years later. The film has a strong supporting cast including black actor, veteran Earl Cameron.

The film was directed by Brian Desmond Hurst, Irish-born director who made films for over thirty years including Scrooge, The Malta Story, The Black Tent.

One of the difficulties for the film was to portray the struggles between Mau- Mau and the white settlers and farmers even-handedly. Needless to say, the emphasis is given to the white characters. This can be seen in the light of the subsequent history of African colonies and the independence movements from the 1960s onwards. (And also a more reprehensible picture of white settlers in this area was given in the 1988 White Mischief, directed by Michael Radford.)

1. The impact of this film in the fifties, in Britain, in the Commonwealth, in Africa? Now? Indication of differences, similarities in approach to problems?

2. The film as British-made, the British heritage, the Commonwealth and colonialism? Britain examining its conscience about racism and Africa on film?

3. The importance of the stars and their popularity in the fifties? Use of colour, African locations, the distinctive atmosphere of Africa, the past, the present, natural beauty, danger, races and their clash?

4. How just and fair was the film in its approach to black Africans, to the whites? The presenting of the problems in their complexity, the origin of the problems in Britain, in building up the farms after World War One, in white attitudes? Where did the film lay blame? To what extent were whites to blame, blacks?

5. The change of tone in the opening, the native on the bicycle, death, murder? The initial emotional audience response? The significance during the credits of the overall view of Africa from airports? Modern planes, the beauty of Africa and its animals? Old world and new?

6. The presentation of the black view of problems in Africa, the colonial situation of Kenya, African traditions, superstitions, religion, society? The sense of the new overrunning the old, the oppression? Questions of co?existence? The pressures for and against the joining of the terrorists? Mau Mau and its beliefs? The pressures
even within the blacks themselves and the slaughter of those who would not follow Mau Mau?

7. The significance of portraying the African doctor, his background of study, relationship with the whites, victim of suspicions by both black and white to stop his relationship with his father, his suspicions that his father was Staba? The crisis of conscience to betray his father, to sacrifice his father for overall peace? The significance of his appeal to the Africans, the fact that he was slaughtered by them? To what purpose?

8. The attitude of the whites to their native 'boys', the African rites, the mentality of the Africans especially as regards ritual, oaths, myths, Simba and the myth about the lion?

9. The presentation of the white point of view on Kenya, the reaction to the slaughters when they had devoted their lives and energy and money to the land, but they had not become wealthy? Their hopes for a new life In Africa from England? The significance of the meeting and the atmosphere of hostility? The clashes of opinions and the anger? The fear? The extremists wanting to put down the Africans? The moderates trying to work with then? The people in the middle angry, yet trying to be friendly? The people in the middle often being the victims of the massacres? The incomprehensibility of such massacres?

10. The initial portrayal of David Howard's death and the impact for the audience, facing the problem with Alan? Mary's parents and their points of view? The fact that they were to be massacred, and Mary's mother and her fear before she died? Emotional involvement in the presentation of the problem?

11. The kindness and the possibilities of peace? Was it possible for this kind of black and white co?existence? What had to change in both?

12. Alan as the hero of the film, the audience entering the situation with him, his meeting of Mary, his explanation of his past, his wanting to take responsibility? His attitudes changing so much, his reaction to the death of his brother, support of Drummond, suspicion of the doctor? His being made desperate after the meeting, his own experience with his herds, the slaughter of Mary's parents? His final stands? Was there any possibility of Alan helping towards any solution?

13. The contrast with Mary and the fact that she was born in Kenya, that she decided to stay, no matter what? Her work with the doctor, her trying to mellow Alan? Her stand at the end with Alan, but her love for Africa and the Africans? Why is it easy to make this kind of heroine sympathetic, did she plead a cause in the film?

14. Comment on the military attitude, Drummond and his attitude towards the Africans, the administration of justice, the superiority of the British, his anger at the doctor, his trying to get information from the dying native? His superior attitude?

15. The presentation of live on the farms, the cattle, the nature of the work, the Africans working with the whites? life in the town, the native villages? The presentation of the way of life? The natives helping and yet pressurized by the Mau Mau, the native rifling the desk and stealing the guns, his death? The contrast with the atmosphere of superstition and ritual for the oaths of Mau Mau? The murdering of those not willing to participate?

16. The background of romance in the film, the power of love, love with a sense of realism and not opting out of situations?

17. The build up to the final siege, slaughter, possibility of peace? The final image of the African child?