With both honesty and compassion, Mapantsula illuminates the brutal realities of apartheid, showcasing the resilience of the human spirit.
By Joseph Jonathan
It is not every day you get the opportunity to watch a 35-year-old film, especially in a time when there is a plethora of perhaps more appealing and trendy flicks from across the globe. Therefore, when I discovered that South African director, Oliver Schmitz’s 1988 crime-drama, Mapantsula, was streaming on Netflix, I jumped at the opportunity to watch it.
The film begins with a message or perhaps a subtle warning that immediately grabs attention: “It’s a miracle this film was made, it’s a miracle this film survived”. As I researched to fully understand the message, I discovered that Schmitz faced immense challenges, working under stringent censorship and evading authorities to bring the film to fruition.
At a time when South Africa suffered racial discrimination and segregation (apartheid), Mapantsula was the first anti-apartheid feature film made by South Africans—a true classic of guerrilla filmmaking. Not surprisingly, the apartheid government’s censorship board subsequently banned the film for ‘communist’ reasons. However, the film went on to screen in the Un Certain Regard section at the 1988 Cannes Film Festival and was selected as the South African entry for the ‘Best Foreign Language Film’ at the 62nd Academy Awards.
Written by Schmitz and the late Thomas Mogotlane, Mapantsula tells the story of Johannes ‘Panic’ Themba Mzolo (Mogotlane), a self-centred, small-time thief navigating the treacherous streets of Johannesburg. As the anti-apartheid movement gains momentum, Panic is unintentionally drawn into the struggle, forcing him to confront his priorities. He must decide between pursuing his interests and joining the fight against the systemic racism that has long oppressed his community.
As the plot unfolds, we are thrown into the midst of apartheid in the 1980s, but through the Panic’s lenses. His priorities include indulging in debauchery and spending time with his girlfriend, Pat (Thembi Mtshali-Jones). He deliberately avoids getting involved in the protests against exorbitant rents, opting for a carefree existence over political activism.
However, he gets caught at the wrong place (a protest venue) at the wrong time and is thrown in jail alongside other Black South Africans for illegal assembly and incitement to riot. Panic is unaware of the police’s sinister plans until he faces a relentless barrage of intimidation, torture, and psychological manipulation at the hands of Stander (Marcel Van Heerden) during his brutal interrogations, leaving him shattered and at their mercy.
Mapantsula employs a complex, film noir-inspired narrative structure, featuring a dual storyline. While the film begins with and is about Panic’s imprisonment, Schmitz uses the flashback technique to let us into the circumstances behind his arrest. The narrative is presented in a non-linear fashion, with Panic’s reckless exploits unfolding in flashback.
In the present, Panic is subjected to a gruelling interrogation by the cunning and ruthless Stander, who employs tactics of both persuasion and intimidation to coerce Panic into betraying his fellow radicals and becoming an informant. As Stander masterfully plays both good cop and bad cop, Panic is trapped in a precarious game of cat and mouse, where the stakes are his survival and loyalty.
Through this series of flashbacks, the film delivers a scathing critique of apartheid, exposing the far-reaching injustices inflicted upon countless Black South Africans. The story shines a light on the indiscriminate impact of institutionalised racism, affecting both law-abiding citizens and criminals alike, and illustrates the devastating consequences of a system built on discrimination and oppression.
One scene that particularly stands out is where Panic considers robbing Joyce, his girlfriend’s white employer. This moment not only highlights Panic’s desperation but also serves as a commentary on the complexities of theft in South Africa. It reveals that many instances of theft are driven by opportunity rather than vengeance or racial animosity, humanising the perpetrators and underscoring the socioeconomic factors that drive criminal behaviour.
The film’s riveting narrative is elevated by outstanding performances from the cast. Mogotlane shines as Panic, delivering a nuanced and intense portrayal that captures his frantic desperation. His performance is akin to a caged animal, conveying a sense of urgency and vulnerability that draws the viewer in. His portrayal of Panic is a masterclass in complexity, crafting an anti-hero who defies convention.
Similarly, Van Heerden’s portrayal of Stander is masterful, adding significant depth and nuance to the role. He conveys authority, intelligence, and calculated manipulation through subtle expressions and body language. His ability to exhibit quiet intensity and controlled aggression highlights his impressive range and talent, making his performance a standout element of the film.
Although this film was made in the 1980s, its cinematography seems ahead of its time. The Soweto street scenes are imbued with vibrant, kinetic energy, captured in a warm palette of golden hues, earthy browns, and deep crimson reds that reflect the lively spirit of the streets.
In stark contrast, the prison scenes are filmed with gritty, unflinching realism, featuring a colour palette of bleak blues and grays that underscore the harsh realities of life behind bars. Schmitz’s direction becomes increasingly deliberate and unyielding, mirroring the unforgiving nature of the prison system, as embodied by the relentless presence of Stander.
Mapantsula’s relevance extends far beyond its historical context, resonating deeply with contemporary South Africa and the broader African continent. As the region continues to grapple with the legacies of colonialism, racism, and economic inequality, the film’s themes of resistance, survival, and the struggle for justice remain strikingly relevant.
In today’s South Africa, new forms of oppression have emerged, including state capture, corruption, and xenophobia, which perpetuate economic inequality and social injustice. The rise in Afrophobic attacks and xenophobic violence targeting migrant communities underscores the need for ongoing vigilance against discrimination and hate crimes.
Mapantsula is a gripping crime story that offers a rare glimpse into apartheid-era South Africa. Through the complex protagonist, Panic, the film delves into the struggle for freedom and the difficult choices that come with it.
With both honesty and compassion, Mapantsula illuminates the brutal realities of apartheid, showcasing the resilience of the human spirit. This essential film serves as a powerful reminder of the importance of empathy and understanding, with its message being more relevant now than ever.
Rating: 3/5
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.