"I Dreamed of Africa", directed by Hugh Hudson, tells the story of newcomers to the continent who come to carve out a new life and fall in love with the mysteries and wonders of its countryside. Any adventure in such a fascinating and photogenic setting can't help but intrigue. The film suffers, however, from an annoying vagueness about the motives and inner lives of its personalities.
At times reminiscent of "Out of Africa" and the more recent "To Walk With Lions", "I Dreamed of Africa" starring Oscar winner Kim Basinger traffics in enough wild animals, rugged scenery and emotional trauma to give Columbia Pictures plenty of promotional hooks. Yet the episodic tale lacks a clear theme and sense of purpose, which may limit its boxoffice potential. The film is the closing-night screening in Un Certain Regard at Cannes.
Paula Milne and Susan Shilliday's screenplay is based on a memoir by Kuki Gallmann, an Italian woman who moved to Kenya with her young son (Liam Aiken) and new husband (Vincent Perez) to run a large cattle ranch. Life in Africa -- which, we are told ad infinitum, moves at "a different rhythm" -- creates a magnetic hold on these three tenderfeet, who come to love its magnificent grandeur and painful challenges.
Ever on guard against marauding wildlife, destructive storms and ruthless poachers, Kuki discovers that she must battle a more surprising adversary -- loneliness. Her husband disappears for long stretches of time to hunt big game or pal around with other men in the small European community.
Tragedies strike, too, from the deaths of animals to the devastating loss of family members. As the years roll by, Kuki learns that Africa claims a very high price from those who wish to dwell on her untamed land.
As staggering as this true story is -- with the kind of setbacks no one would dream of inflicting on fictional characters -- the filmmakers seem reticent to probe the private life of a living person and respected author. This results in more than a little ambiguity in its characterizations.
The relationship between Kuki and her husband, Paolo, is the chief puzzler. They are introduced at a moment of crisis, a mysterious nighttime auto accident in Italy. Both are badly injured, and others in the car are killed. Out of this tragedy is forged a friendship that quickly -- all too quickly to have any emotional impact -- turns to love. Swiftly, they are married and abandon Italy for Africa with less discussion than most couples would devote to the question of where to dine for the evening.
Then, within moments of their purchase of a ranch and with seemingly enough chores for a lifetime, Paolo is off with other white men who are suddenly his best buddies, leaving his bride and her small child to fend for themselves. What gives?
This pattern continues until his death, which stirs resentment but is never quite explored. His whole background and finances also go unexplained. Nor does the film ever probe the relations between whites and blacks in Kenya or other intimacies within the European community. Even the time period is vague, though the costumes and makeup hint that the story begins during the 1960s.
The film also develops the bad habit of lurching from crisis to crisis. Nearly all of the highlights the writers choose to dramatize from Gallmann's book concern emotional or physical traumas. Consequently, the film tips off its punches. An audience can see every tragedy coming from miles off, making the characters look foolish for stumbling so blindly into seemingly avoidable disaster.
Why, one wonders, after years in Africa, does Kuki never carry a gun? And why, if her 17-year-old son (Garrett Strommen) is going to play with poisonous snakes, does he not have an antidote for the venom near at hand? And why, if the family insists on chasing poachers off their ranch, does Paolo politely stop on a deserted road for a suspicious-looking hitchhiker?
The international cast also causes confusion, with Americans including Eva Marie Saint as Kuki's mother and Perez, an actor of German and Spanish origin, all playing Italians.
Hudson is most successful at establishing the lure of the African landscape, the awesome sunsets and sunrises and the ferocity of its ecosystems. Maurice Jarre's music successfully mixes African motifs with full-throated orchestral music. If nothing else, "I Dreamed of Africa" should contribute greatly to Kenyan tourism.
I DREAMED OF AFRICA
Columbia Pictures
Jaffilms
Producers: Stanley R. Jaffe, Allyn Stewart
Director: Hugh Hudson
Screenwriters: Paula Milne, Susan Shilliday
Based on the book by: Kuki Gallmann
Director of photography: Bernard Lutic
Production designer: Andrew Sanders
Music: Maurice Jarre
Co-producer: John D. Schofield
Costume designer: Shirley Russell
Editor: Scott Thomas
Color/stereo
Cast:
Kuki Gallmann: Kim Basinger
Paolo: Vincent Perez
Franca: Eva Marie Saint
Emanuele (7-year-old): Liam Aiken
Simon: Lance Reddick
Emanuele (teenage): Garrett Strommen
Running time -- 112 minutes
MPAA rating: PG-13...
At times reminiscent of "Out of Africa" and the more recent "To Walk With Lions", "I Dreamed of Africa" starring Oscar winner Kim Basinger traffics in enough wild animals, rugged scenery and emotional trauma to give Columbia Pictures plenty of promotional hooks. Yet the episodic tale lacks a clear theme and sense of purpose, which may limit its boxoffice potential. The film is the closing-night screening in Un Certain Regard at Cannes.
Paula Milne and Susan Shilliday's screenplay is based on a memoir by Kuki Gallmann, an Italian woman who moved to Kenya with her young son (Liam Aiken) and new husband (Vincent Perez) to run a large cattle ranch. Life in Africa -- which, we are told ad infinitum, moves at "a different rhythm" -- creates a magnetic hold on these three tenderfeet, who come to love its magnificent grandeur and painful challenges.
Ever on guard against marauding wildlife, destructive storms and ruthless poachers, Kuki discovers that she must battle a more surprising adversary -- loneliness. Her husband disappears for long stretches of time to hunt big game or pal around with other men in the small European community.
Tragedies strike, too, from the deaths of animals to the devastating loss of family members. As the years roll by, Kuki learns that Africa claims a very high price from those who wish to dwell on her untamed land.
As staggering as this true story is -- with the kind of setbacks no one would dream of inflicting on fictional characters -- the filmmakers seem reticent to probe the private life of a living person and respected author. This results in more than a little ambiguity in its characterizations.
The relationship between Kuki and her husband, Paolo, is the chief puzzler. They are introduced at a moment of crisis, a mysterious nighttime auto accident in Italy. Both are badly injured, and others in the car are killed. Out of this tragedy is forged a friendship that quickly -- all too quickly to have any emotional impact -- turns to love. Swiftly, they are married and abandon Italy for Africa with less discussion than most couples would devote to the question of where to dine for the evening.
Then, within moments of their purchase of a ranch and with seemingly enough chores for a lifetime, Paolo is off with other white men who are suddenly his best buddies, leaving his bride and her small child to fend for themselves. What gives?
This pattern continues until his death, which stirs resentment but is never quite explored. His whole background and finances also go unexplained. Nor does the film ever probe the relations between whites and blacks in Kenya or other intimacies within the European community. Even the time period is vague, though the costumes and makeup hint that the story begins during the 1960s.
The film also develops the bad habit of lurching from crisis to crisis. Nearly all of the highlights the writers choose to dramatize from Gallmann's book concern emotional or physical traumas. Consequently, the film tips off its punches. An audience can see every tragedy coming from miles off, making the characters look foolish for stumbling so blindly into seemingly avoidable disaster.
Why, one wonders, after years in Africa, does Kuki never carry a gun? And why, if her 17-year-old son (Garrett Strommen) is going to play with poisonous snakes, does he not have an antidote for the venom near at hand? And why, if the family insists on chasing poachers off their ranch, does Paolo politely stop on a deserted road for a suspicious-looking hitchhiker?
The international cast also causes confusion, with Americans including Eva Marie Saint as Kuki's mother and Perez, an actor of German and Spanish origin, all playing Italians.
Hudson is most successful at establishing the lure of the African landscape, the awesome sunsets and sunrises and the ferocity of its ecosystems. Maurice Jarre's music successfully mixes African motifs with full-throated orchestral music. If nothing else, "I Dreamed of Africa" should contribute greatly to Kenyan tourism.
I DREAMED OF AFRICA
Columbia Pictures
Jaffilms
Producers: Stanley R. Jaffe, Allyn Stewart
Director: Hugh Hudson
Screenwriters: Paula Milne, Susan Shilliday
Based on the book by: Kuki Gallmann
Director of photography: Bernard Lutic
Production designer: Andrew Sanders
Music: Maurice Jarre
Co-producer: John D. Schofield
Costume designer: Shirley Russell
Editor: Scott Thomas
Color/stereo
Cast:
Kuki Gallmann: Kim Basinger
Paolo: Vincent Perez
Franca: Eva Marie Saint
Emanuele (7-year-old): Liam Aiken
Simon: Lance Reddick
Emanuele (teenage): Garrett Strommen
Running time -- 112 minutes
MPAA rating: PG-13...
- 4/27/2000
- The Hollywood Reporter - Movie News
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