BEAUTY / SCHOONHEIT

South Africa, 2011, 105 minutes. Colour.
Dion Lotz, Charlie Keegan, Michelle Scott, Albert Maritz, Roeline Daneel.
Directed by Oliver Hermanus.
Beauty is in the eye of the beholder. Quite subjective. This is very much the case in this very serious, at times grim, portrait of Francois (Deon Lotz),a middle-aged Afrikaaner , a mill manager in Blomfontein, married with two adult daughters, whose life begins to unravel, especially as regards his sexuality.

The film opens with quite a long sequence of the wedding dinner of one of his daughters. The crowd greets the young marrieds, mingles – as do we. However, we can see that Francois is preoccupied, gazing at the twenty-something son of an old friend. The close-ups and the long gazes of Francois indicates that much more is going on. This is one of the visual styles of the film, the audience gazing and contemplating Francois as he gazes at and contemplates Christian (Charlie Keegan).

There are also some scenes of Francois, ordinary life, especially at home with his wife, taking each other for granted, tensions, a lot of humdrum. We see him at the mill, getting cash from the bank, talking with a friend who has left his wife and is disapproved of by Francois’ wife.

Then we go on a longish drive with Francois and find him gathering with a group of middle-aged men who meet for secret sexual gratification. This makes Francois’ obsession with Christian more understandable, especially when he goes to his doctor because he is irritated with everything and fears he will lose control of himself.

He invents a reason for visiting Cape Town, goes to Christian’s parents house but then tracks down Christian who is with Francois’ daughter. Francois’ behaviour becomes more erratic: a visit to a club, being propositioned, being sick. His plan is clear. Audiences will be horrified by Francois’ attitudes and his behaviour, especially in a graphic sexual encounter. The film tends to be visually reticent except for the two scenes, the latter of which is particularly grueling.

Advertising for the film mentions envy and jealousy, but thinking of the seven deadly sins, we can see this as a portrait of a proud Afrikaaner whose peers are still racist and think the country is going to the dogs (in contrast to the newer generation who mix easily with other races). He covets Christian and is envious of his and his way of life. He is also an angry man though he experiences that spiritual sloth that saps energy and willpower – and, of course, his motivation is lust.

Some have complained that the film does not ‘explore’ its themes, especially at the end. While it does not make its points verbally explicit, the whole film has explored in some depth Francois himself and leaves enough visuals for audiences to sort out for themselves what they have felt and thought.

1. The impact of the film? Serious? Demanding?

2. South African film, the atmosphere of Bloemfontain, homes, factories, the countryside? Capetown, the city, the sea, the beaches? Hotels, restaurants? Authentic atmosphere? Musical score?

3. The title, beauty in the eye of the beholder? Francois and his gazing at Christian? His contemplating of Christian? The long takes, the focus on Christian? The audience sharing Francois’ attitude and believer(**??) in Christian’s beauty? Not? The slow pace of the film, time for reflection, emotional identification or not? Understanding Francois while not approving?

4. Beauty, beauty and goodness, the gaze of beauty? The seven deadly sins: Francois and his pride, coveting Christian, his envy and jealousy, his anger, his spiritual sloth, his lust?

5. The moral issues of the film, violence and violation, sexuality out of control, selfishness?

6. The sexual issue, the issue of homosexuality? Closets? The repercussions for the psyche of the closeted person? Breaking out of control? Issues of rape? Audiences responding to issues of rape and women? The rape of men? Honesty, the suppression of reality?

7. The South African director, his portrait of Afrikaners, their standards, being in power for so long, apartheid, opposed to apartheid, attitudes towards the government, society, the black races, as servants, factory workers? As friends or associates? As sexual objects? Issues of sexuality amongst the Afrikaners? The suppression of homosexual tendencies? The middle-aged men and their meeting – Gideon, his bringing in the young African man, sexism and racism? The older generation and the statements, the country going to the dogs? The younger generation, their ability to mix races? As equals?

8. The wedding, as an opening for the film, the long sequence, the audience immersed with the guests, the couple, their greetings? The focus on Francois, his noticing Christian, watching him? Christian with his family, with Anika? The audiences watching and gazing at Francois gazing? But knowing what was in his mind, learning more about him? While not identifying with him?

9. Elena and Francois, at home, their ordinary world, Elena and her talk, the mundane subjects, the wedding, expenses, Francois’ work? The friendship with Wilhelm, his coming to the wedding? Christian and Anika together? The meal? Discovering more about Christian? Elena and her disapproval of the man who left his wife? Francois and his talk about clients, business? Francois at the mill, the interview with his friend, the workers, getting the cash, his reputation at the bank?

10. Christian, knowing Francois when he was young, calling him uncle? Christian’s parents, coming to the wedding, driving from Capetown? Christian and his enthusiasm, studying the law? The meal, the talk about his television ads? His study – Francois looking at him at the university, his friends and their meetings, interracial?

11. Francois and his car, going out into the countryside, the destination, the look of the building? Away from people? The men gathering, middle-aged, having their beers, their talk, Gideon and his bringing the young man, his being ordered out, the visuals of the orgy behaviour? The revelation about the men, about Francois?

12. Francois going to the doctor, his general irritation, fearing that he would lose control? His return home, talking with Elena, sitting in the dark? Francois and the issue of the friend and his ex-wife? The decision to go to Capetown?

13. At the hotel in Capetown, contacting Wilhelm, going for the visit, the meal, the watching of the football, his decision to leave on hearing that Christian was at the beach? Getting Christian’s phone number, going to the beach, watching Christian and his daughter, his spite in ringing the police and saying that his car was stolen when his daughter had taken it? The phone calls to Elena? Christian and Anika leaving?

14. Francois and his going to the club, the atmosphere, the dancing, the couples, the pickups, his being propositioned, his reactions? His drinking, vomiting? His having the meal – and phoning Christian to pick him up?

15. Christian and the lift, in the car, going to the room, the drink, Christian and his getting advice about cash, Francois’ approach, Christian’s reaction? The brutalising of Christian, the punches, the rape? The focus on Christian and the aftermath? The audience empathising with him? The callous behaviour of Francois?

16. Francois at home, ordinary life with his wife, his daughter coming back, her being upset at her father’s attitude, his forgiving her, solicitous care? His going to the bank, getting the cash – for Christian or not? His sitting in the cafe, watching the two young men, the couple, the kiss – and the close-up of his face? What he was thinking, experiencing? His own life, regrets?

17. The issue of exploring the theme or audiences feeling the theme? And the glimpse of people and their ordinary lives – and compartmentalising aspects of their life, especially sexuality?