Forgotten Afrikaners

Our executive producer, Lyndon Plant, has been in Joburg recently for the shoot. He writes to me from there and his email is below. Please comment on your thoughts regarding the names used to characterize the Benade family. We are interested in your feedback:

Dear Lisa,

I had my laptop stolen in London and did not have backups of my photographs so I am afraid I cannot help any further with photographs. [I had asked him for another one of his beautiful photos to submit to the Beautiful Africa Blog Carnival.]

On a different point, I would like to sound you out about our description of the Benades as white trash. Whilst I accept that white trash is an understood genre (especially in the States), I don't think that it describes the movie's characters well.

In particular, Treppie's intelligence and obsession with science and philosophy, Treppie's disdain for incest, Treppie's and Lambert's 'affinity' to Cleo, Lambert's friendship with Sonnie et al indicate that a different description by us would be appropriate.

I have discussed this matter with some of the actors who consider the use of the genre to be somewhat offensive, unfair and even misleading. I asked them about Afrikaner phrases that they would consider appropriate to describe the Benades or the people I have met in the community that we are filming. They came up with English words like "forgotten," "lost," "close-knit," "protective," "damaged," "deprived," "Afrikaaner underdogs," et al.

I personally like the sound and meaning of "Forgotten Afrikaners" but I would be interested to find out how our internet community who have read the book (and perhaps the author of the book) would describe the Benade family and their community collectively.

Alex has been ill and I returned to Joburg yesterday afternoon from a week's break in Harare. In brief, the weather held out for us [for the filming], although the temperature drop in the evening had Vanessa asking whether she could do the outside burial scene early Thursday evening instead of late Wednesday evening, as she was shivering from the cold.

I returned to the set with stories of a Jan Hofmeyr resident who chased and attacked a crew member and was subsequently picked up by the police in connection with other crime(s), an expensive light blowing, a generator breaking down, the volksie catching fire due to an auto electrical fault and a neighbor who is irate after being woken at 5am by the catering team setting up for breakfast and by the number of crew and cast vehicles parked on an adjacent residential road.

Its time for a cup of strong coffee!

Lyndon

In my research about Triomf, Sophiatown, apartheid and the 1994 first Democratic vote, I get a sense that the human beings referred to as "the poor whites problem," have been first set up and then abandoned by their government. I am not an expert, and invite your comments.

Marlene van Niekerk and Her Book Triomf

As I await the next update on the shoot from Alex in Jo'burg, I wanted to give you a link to a Mail & Guardian ZA@Play article that has the best information I've been able to find about Marlene van Niekerk's novel, Triomf. This is the book on which Michael Raeburn based the film, which he's shotting right now.

So, if you're wondering about the background, history and plot of Triomf, check out this article.

Thanks go to Lyndon Plant, our executive producer, who sent me that link.

Here's a little excerpt to get you started:

This violent, incestuous, alcohol-saturated family represents the "poor whites" courted and favoured by the Nationalist government, given jobs on the railways and homes in the new suburb of Triomf. That suburb, with its hubristic name, was, of course, famously built on the ruins of the demolished Sophiatown.

In the novel, Lambert, the 40-year-old epileptic, is obsessively digging a hole in which to store petrol for an emergency trek to "the North" if and when South Africa collapses under the weight of black rule. From this excavation he draws the fragmented remains of what was once a lively, multiracial area: this is what underlies the white Afrikaner triumph of 1948 and after, the rubble beneath the ideology to which the Benades, in a half-blind tribal way, have so long been loyal.

Location Recce - Sunday August 26

This past Sunday Michael took a small group of us out to the film's main location - a small house in Jan Hofmeyer Park in Brixton - to discuss various aspects of the shoot. Art director Tiaan van Tonder got the opportunity to see how much work he would have to do to get the place looking the way Michael wants it to. Our DOP Jamie Ramsay got to see the dark & cramped spaces in which he would have to shoot for around 5 weeks. Michael and Natalie spoke to the homeowners - Ernest, his sister Doreen and her truck driver husband - about the alternative living arrangments being made for them for the duration of the shoot: they will move into a caravan that will be placed in their neighbours' backyard. In the meantime, I shot lots of material for the film's "Making of...", and we all marvelled at how closely the entire place - the home where we will shoot, the surrounding neighbourhood and its inhabitants, even the mangy dogs - resembled exactly Marlene van Niekerk's description of the place in her novel.

The effects of grinding poverty are everywhere visible, from the mud-soaked and rubbish-strewn backyard, to the men and women lurching drunkenly across the open field at 11am, to the skinny dirt-covered kids playing with home-made wire toys in the dusty streets.

Now while there are many communities in South Africa that have failed to find their place under the warm sun of the new democratic South Africa, there is something about this place that sets it apart from every other: one has the sense of a place that has truly fallen off the edge of the world. There is not the slightest ounce of hope in these streets.

But I'm quite certain the film will change all that: the homeowners - Ernest & co. - are sweet and humble people, but already they are utterly gobsmacked that their home is to become the prime location for an international feature film. They are talkative and curious and surprised at the fact that anyone would want to point a camera in their direction. Although the other residents mostly ignored us on Sunday, this too will change once cast and crew start moving in and causing a commotion. Then we can expect crowds of curious onlookers. The countdown has begun...

Insight Into Marlene Van Niekerk

I've been considering Triomf's "dysfunctional" characters. You know, dysfunctional; as in incestuous, mentally ill and just plain nasty. It made me want to know more about Marlene van Niekerk, and whether she was a nutcase too. I mean, where did she get all of those details? Did she live with these people? Or is it from her very own lively imagination?

Here's a little backgrounder taken from Niekerk's bio on the Stellenboschwriters website:

• Born on the farm Tygerhoek near Caledon in 1954
• Studied Languages and Philosophy at Stellenbosch University
  
• Obtained a MA with the thesis: Die aard en belang van die literêre vormgewing in 'Also sprach Zarathustra' in 1978. (Not sure what that translates to but there's something in there about "Thus spake Zarathustra.")
• At university she wrote three plays for the lay theatre.
• Moved to Germany in 1979 to apprentice for directing at theatres in Stuttgart and Mainz
• Continued philosophy studies in Holland
• Obtained a Drs with a thesis on the works of Claude Lévi-Strauss and Paul Ricoeur: "Taal en mythe: een structuralistische en een hermeneutische benadering."
• Lectured in Philosophy at University of Zululand, and later at Unisa.
  
• Lectured in Afrikaans and Dutch at University of Witwatersrand.
• Currently Professor at the Department of Afrikaans and Dutch, Stellenbosch University.
  

When I looked for answers to why Ms. Niekerk might think that poverty, ignorance and incest can be knee-slappingly funny, I found an interview with Marlene by Michiel Heyns (who translated Ms. Niekerk's book Agaat in 2006) on LitNet. Heyns asks Ms. Niekerk specifically about her viewpoint of humor:

Heyns: It is not only The Reluctant Passenger that was funny. Your readers marvel at the specific type of dry ironic wit that you wield in your novels, also in The Typewriter's Tale. Could you say something about the place and use of humour in your work?

Niekerk: Humour happens. I didn't think, when I started writing The Typewriter's Tale, that there was anything particularly funny in the material, but somehow it turned out that way. Of course, few situations are inherently funny: the poor bugger who slips on the banana skin and breaks his coccyx fails to see why the rest of the world is laughing. It's a matter of the perspective one adopts, and again I can only say that it happens: I see these people and they're funny. It's possible that reading authors like Jane Austen and Henry James schooled me in a certain oblique way of looking at things, so that the more seriously people take themselves, the funnier they are. In any case, in the South Africa I grew up in, in which some people took themselves very seriously indeed ("Dit is ons erns"), humour was a mode of survival.