As far as action thrillers go, Heart of the Hunter is as convoluted as they come.
By Joseph Jonathan
Heart of the Hunter is a South African action thriller film directed by Mandla Dube and based on a novel of the same title, written by Deon Meyer. Interestingly, Meyer and Willem Grobler are responsible for the film’s screenplay. On paper, having a book’s author as part of the screenwriters for the film adaptation gives the impression that the film is well scripted, but not in this case. The plot follows a former assassin, Zuko Khumalo (Bonko Khoza), who, despite leading a new quiet life, is pulled back into his past life when his former handler and friend, Johnny Klein (Peter Butler), shows up at his doorstep. Klein, who is being hunted by the Presidential Intelligence Agency (PIA) on the orders of Daza Mtima (Sisanda Henna), a corrupt politician, tasks Khumalo with exposing the secrets that would halt Mtima’s presidential ambitions. On another side, an infamous journalist, Mike Bressler (Deon Coetzee), and his intern, Allison Bhaloyi, investigate Mtima’s alleged illegal dealings after receiving a tip from Klein. But unlike this recap, the actual plot is largely convoluted.
In the opening scene, there is a flashback of Khumalo (still an assassin at this time) taking out a target. However, problems with that mission force him to retire, and two years later, he lives in peaceful domestic bliss with single mom Malime (Masasa Mbangeni) and her son, Paka (Boleng Mogosti). It is from this first scene that my many questions start; who is the target and what has he done to warrant such a horrible end? What is in the briefcase that Khumalo takes away from him? What kind of professional assassin reveals his face to his victim, or is there some history between them?
While these questions tug at my mind, another scene unfolds where a team of mercenaries hunt Klein, a member of the Alkebulan group perceived as a threat to the presidential candidate’s aspirations. However, this mission goes sideways as Klein is nowhere to be found in the house and the mercenaries have to deal with a strange man who attacks them. This raises another set of questions; Who was the man at the house? Did he have any connection to Klein? Why did he choose to remain in the house and fight?
Unfortunately, there are more questions and fewer answers as the film prioritises action over in-depth character exploration. Heart of the Hunter lacks essential exposition, leaving the audience without crucial background information on the characters, their relationships, and the world they inhabit. Instead of gradually introducing these elements, the audience is thrust into the story, much like watching the finale of a series that’s been running for at least five seasons. For instance, while Khumalo’s determination and resourcefulness are evident, his motivations and emotional journey are mostly underdeveloped in such a way that the audience would find it difficult to root for him. Such is the case too for Bressler, whose internal conflict and his relationship with Bhaloyi could have benefited from further exploration. While we’re told that Bressler was a once prominent journalist whose career was ruined by Mtima, there is no backstory to explain why or how it happened.
As is often the case, the portrayal of antagonists shapes the narrative of a film. However, in the case of Mtima, the character becomes a caricature of a true antagonist, and the writing can be blamed for this setback. While Mtima embodies the traits of entitlement and corruption, his portrayal as a stereotypical malevolent character exploiting the system for personal gain limits his depth, failing to explore the events and circumstances that shaped his persona. This results in a missed opportunity for a profound exploration of human nature within the South African political milieu.
The film’s failure to give Klein more screen time diminishes the intended impact his eventual demise should’ve had, as his disclosure to Khumalo — unveiling evidence that could derail Mtima’s presidential campaign — serves as a crucial catalyst for advancing the plot. However, the Heart of the Hunter barely scratches the surface of Klein and Mtima’s relationship, missing an opportunity to explore their history and rivalry.
While the plot leaves much to be desired, the acting performances of Khoza as Khumalo and Mogosti as Paka are commendable. Khumalo has a simmering intensity to his person, which is expected of one who is forced to give up being a family man to become an assassin (again). He also forms an on-screen chemistry with Paka that would truly resonate with audiences, one that showcases the palpable bond between their characters. While audiences may have hoped for more depth from the character of Mtima, Henna still managed to impress, as he embodies the role of a proud politician rather convincingly, given the kind of script he had to work with.
As far as action thrillers go, Heart of the Hunter is as convoluted as they come. It is plagued by the known devils of the genre – a complicated antihero forced to do something for the greater good of his country and his people, and high-octane action but with little attention to the story. Embracing a more holistic approach to storytelling could have elevated the film to greater heights, resonating with audiences on a deeper emotional level. If you’re looking for a visually stunning film with explosive action sequences, Heart of the Hunter might keep you engaged for its runtime. But if you crave a more intricate story with better-developed characters and a full exploration of its thematic elements, this might not be your best choice.
Rating: 1.5/5
Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.