Lesbian Suitcases, Welding Visors and Headless Cats

It seems like the Triomf production crew can finally take off their wellies and get some shooting done. It was also discovered that it is not beneath Triomf's director, Michael Raeburn, to get down on his hands and knees to coax a wayward actor (a dog who needed to be more vicious). This report came in from Alex Pearse late last night:

After three weeks of relentless rain, Jo'burg finally came aglow with the kind of scorching summer day it is famous for. Needless to say, the cast and crew of Triomf were more than relieved that the weather lottery looked to be ending and that the important job at hand could continue.

So it was smiles all round at 6:30, the damp atmosphere at breakfast having been replaced with some kind of enthusiasm (well, as much as is possible at that hour.)

It was good that spirits were high, such was the scale of the task at hand. With eight scenes to shoot and a host of actors and extras to coordinate, Day 20 promised to be one of the biggest yet. Just a quick glance at the props list - lesbian suitcases, cat without a head and Lambert's welding visor - tells its own story.

Recreating early nineties South Africa is a deceptively challenging task because unlike a period drama where everything needs to be recreated and the lines between what is real and what is not are very clear, the recent past and the present blur into each other, yet also include a number of very stark differences.

Negotiating this challenge has been a major task for Triomf's Art Department and today proved to be their day in more than one way: AWB campaigners on horseback, rag and bone men, a couple moving house - all meant wardrobe and props standby were working off their feet. It all came together nicely though, under Michael Raeburn`s fastidious eye, DOP Jamie Ramsay brought it all to life.

It wasn't all work-work though - the day had its lighter moments too. In particular, the crew's attempts to get Producer Natalie Stange's dog (playing the role of obnoxious neighbor Beer Guts' pet) to shake off its docile demeanor and play vicious (or at least bark), was something to behold. Not one to let his troops do all the hard work, Director Michael Raeburn got down on his own haunches and tried to coax an award winning performance out of the beast. (Notice the dog's nose sticking menacingly through the bars in between Michael's legs.)


With a glorious highveld sunset telling us the lighting department was about to stand down, First AD Grant Nale called it a day. With the shadows getting longer by the minute, we wrapped and packed, with cold beer, good wine and something other than the set's staples of chicken and rice on everyone's minds!

Red Pill Ramblings

So myself (Ryan) and Natalie are naturally very excited to be involved in the Triomf film. It's our first project together, it's a big one, and so a bit daunting, but we feel we're more than up to the challenge. Not only do we have the requisite skills and experience to make it happen, but it's also a film with exactly the themes we've been talking about ever since we first met. Themes we've felt were sorely lacking in contemporary South African cinema, resulting in anaemic films bloated by political correctness. Anyway, we believe Triomf is about to change all that, so we're going hell for leather! (dunno exactly what that phrase means, but I've always wanted to write it...)

I first met Michael Raeburn last year, at a script workshop in Johannesburg. I sat in on some of the discussion and viewing sessions around Triomf, was impressed by the clips now playing as a trailer on YouTube, but I didn't keep track of the project after that. Fast forward about 10 months and here we are, gearing up to shoot Triomf in a very short while.

The past few weeks have been interesting on several levels. Mention of the film to people not directly involved elicits some strange reactions: Natalie has gotten calls from respected SA directors who cannot believe we're doing the film, and that they are not directing.

Other producers have reacted with a measure of awe: "Wow," they say, "you're really brave to be doing this film." Another said it "had no light." We generally laugh in their faces. Clearly they have not read the script properly, or the book on which it is based. It's one of the funniest scripts I've read in ages, fully of acutely observed South African irony and satire. Of course it's also quite tragic - incest always is - but it's also warm and tender in many places.

I don't know about Natalie, but I've also had other concerns of a more political nature: Triomf places the microscope on a family of white Afrikaners on the very lowest rung of South Africa's socio-economic ladder. Some of the things they get up to are so repulsive that one cannot help, but recoil in horror. Could not my more sensitive Afrikaner friends therefore construe the film as a wilful attack on Afrikaner culture?

Another niggling doubt has been over the "necessity" of making this film at all. My more Black Consciousness friends could easily allege that by helping to make a film that elicits sympathy for poor white Afrikaners, I am complicit in re-inscribing the superiority of whiteness in South Africa?

Both these concerns have been answered by reading the novel, as I've been doing these past few days. Triomf is not about "Afrikaner Culture" understood in its monolithic sense. If culture is survival, it is simply the brutally honest portrayal of one family and how they have managed to survive (just barely) in this topsy-turvy country called South Africa.

My response to the second charge - that Triomf will re-inscribe white superiority - requires the retelling of a personal anecdote brought to mind by my reading of the novel. Some years ago, I was back living in Cape Town, my hometown. My regular route to work took me through St. George's Mall, a thoroughfare frequented by all sorts of Capetonians, including a couple of white beggars, seemingly husband and wife.

One day, in a cheerful and generous mood, I reached out with a few large coins for their begging bowl. Before I could drop my meagre gift, however, the woman pulled the bowl away at lightning speed, and flashed me a dirty look from her bloodshot eyes. I stared at her in shock as it dawned on me then, perhaps for the very first time, exactly how deep white racism goes. Dirt poor as they were, the colour of their skin was still their final refuge from the devil of equality with "the blacks". Since that moment, I have never once given money to a white beggar.

Instead of re-inscribing white racial superiority in South Africa, what Triomf does is to shatter the myth expressed by that beggar woman's reaction. The book and the film say that skin colour doesn't matter at all. We are all human beings, and when things get rough, as they sometimes do, we are all capable of the most extreme behaviour. Perhaps next year, when the film is done, I will be able to give money to white beggars again...

Red Pill Productions: Triomf's South African Production Company

Red Pill Productions, a partnership of Natalie Stange and Ryan Fortune, has joined the Triomf movie team as the South African production company.

Natalie Stange has a broad range of production experience as a screenwriter, editor, producer and production manager on live events, animation, corporate video, television commercials, documentaries, short and feature films and factual drama. She is the General Secretary of the Documentary Filmmakers Association and a member of The Producers Alliance. Natalie matriculated from St. Paul’s College, Windhoek, Namibia and received a Diploma in Theatre/Dance from Pretoria Technikon and an IMM Marketing Diploma from Damelin Randburg.

Ryan Fortune has been a radio news journalist, news editor, anchor and entertainment commissioning editor for the South African Broadcasting Association (SABC). In recent years he has worked on award-winning film and television projects for Matabane Filmworks, a company well-known on the international film festival circuit. As a print journalist he has written film and theatre reviews for the Cape Times, ThisDay and the popular Sunday Times Lifestyle. Ryan holds a degree in Journalism from Peninsula Technikon in Cape Town and an MA in European Journalism Studies from Cardiff University in Wales.

We look forward to hearing from them in future posts.