The Daily Mail (Mail On Sunday: Night And Day Magazine) – Sunday 26th September, 2004

“Richard E Grant has returned to his roots for his directorial debut. The gangly thespian recently wrapped shooting on ‘Wah-Wah’ in his native Swaziland.

Set at the dog-end of the colonial rule in the late sixties, ‘Wah-Wah’ tells the story of a dysfunctional white family, whose gradual disintegration mirrors the end of British rule.

Grant describes the film, out next year, as a “coming-of-age story, set at the end of an age.”

The film promises to be a star-studded affair – all the British greats are here. Julie Walters plays a gin-soaked lush, and Miranda Richardson and Emily Watson are the women vying for the affections of teenage Ralph, played by Nicholas Hoult, the young star of ‘About A Boy’. Irishman Gabriel Byrne plays the young man’s alcoholic father.

The story is told through Ralph’s eyes as his parents’ relationship falls apart and he practices for a stage production of ‘Camelot’.”

ArtSmart.co.za – Sunday 26th September, 2004

By Caroline Smart

When my agent – who is also my husband – came home one evening and said “Don’t lose any weight”, I knew that something good was brewing! I wasn’t wrong. It was the offer of a part in a film currently titled “Wah Wah” directed by Richard E Grant to be shot in Swaziland. “Wah Wah” is semi-biographical and includes incidents in Richard’s early life in Swaziland. The break-up of his parent’s marriage mirrors the gradual dismantling of British rule in the countdown to the Swaziland Independence.

With a stellar cast headed by Gabriel Byrne, Emily Watson, Julie Walters, Celia Imrie and Miranda Richardson, it turned out to be one of the most enjoyable and memorable experiences of my acting career.

The first scene I was in was the burial of Harry Compton (the character of Richard’s father) and it must have been an evocative moment for Richard when Sibusiso Mamba – incidentally, the only Swazi citizen to enter RADA – re-enacted the moment when a zealous revivalist jumped into the coffin to revive the body. Harry is played by Gabriel Byrne who found it a fascinating experience to watch his “own” funeral. He announced that he was most appreciative that we all looked as if we really mourned his passing and even took photographs of himself lying in the coffin!

This scene, set on a steep grassy hillside in the Piggs Peak area and accompanied by the haunting sounds of a composition by Abdullah Ibrahim (formerly Dollar Brand), represents the finale. The magnificent scene down the Phophanyane valley with the mountains either side will undoubtedly provide a poignant ending to the film.

The two-day burial shoot was a tricky time for me as a former injury to my foot meant that I needed my ankle brace to negotiate uneven ground but there was always a ready – and much appreciated – hand of support from crew and cast to prevent me from falling.

The location then moved up the hill to the magnificent grounds of the Boshimela homestead which had been transformed for a garden party. This was one of those tricky scenes where the props crew is much in demand to ensure that drinks and cigarettes are always at the same level and length for continuity purposes! By early afternoon, a light wind had got up and the balloons were popping everywhere. One of the extras remarked laconically: “Now you know what it’s like to have a children’s party in Swaziland!”

Exciting new British star Nicholas Hoult plays the teenage Richard (sharing the role with Zachary Fox as the younger boy). Also proving that youngsters can hold their own with the stars, were Sid Mitchell and Richard E Grant’s daughter, Olivia. The local film industry should also take note of the talents existing just over the border of Swazi performers Mathokoza Sibiya and Sindisiswe Nxumalo who play the servants of the Compton household. I had a marvellous scene with Mathokoza in the vegetable garden where he is being auditioned for a singing role!

My part was that of a large and jovial member of the Swaziland Theatre Club where a group of avid thespians are putting on a production of “Camelot”. Adding to the excitement, is the prospect that the show will be attended by Princess Margaret who will officiate at the Independence celebrations. Here the delicious comedy qualities of Julian Wadham and Fenella Woolgar contributed considerable fun to the mild chaos that made up the “Camelot” preparation scenes.

Julie Walters plays Gwen who lands the role of Guinevere and so most of my scenes were with her. If I admired her ability before, my respect knows no bounds now that I have been able to work with her at close quarters. Petite and full of delicious humour, she is utterly focused, a generous performer who knows exactly what her director wants and gives a stunning performance – and more – in every scene.

There is a wonderful scene in the Cuddle Puddle (hot water springs) at night after the “Camelot” party where most of the cast are in the pool. I stand behind Gwen (Julie Walters) with two other friends trying to keep her under control as she blithely launches into a mock Gypsy Rose Lee strip! That’s when I recognised the true Walters’ genius. It was freezing cold, she was wearing spiked heels and dancing on a dangerously uneven surface but she sailed through it without demur to a standing – well, swimming – ovation from the rest of the cast!

Long-established Durban audience members will remember Tom Bayly who directed “A Man for All Seasons” for the Durban Theatre Workshop Company in 1978, returning in the late 80’s to direct “Zorba” for the then University of Natal. Having directed productions at the Swaziland Theatre Club since its inception, his input regarding the operations of the theatre was invaluable. His character was played by South Africa’s Michael Richard. Also from South Africa were John Matchikiza, Ian Roberts and Clare Marshall.

My final scene was at the Somhlolo Stadium where the imposing John Carlisle was impressively bedecked in the uniform of the High Commissioner. The sight catapulted me back to my youth in Kenya where as a child I was always fascinated by the fact that the egret feathers on those splendid helmets never took off in a breeze!

Richard E Grant’s long and illlustrious career as a movie actor means he understands the film-making maxim of “hurry up and wait”. He was always quick to thank his cast, extras and crew for their patience while the necessary technical changes were made to create new camera angles. “Wah Wah” is the first time he has scripted or sat in the director’s chair and with his appreciation of what happens on both sides of the camera, I am confident that he will be creating some fine productions in the future.

Caroline Smart

…But only in South Africa.

** WARNING: CONTAINS SPOILERS **

Famous South African Classic “The Story of an African Farm” launching on the big screen on the 8th of October.

Rodini Films is thrilled to announce that after 14 years of preparation, they are about to premier the classic South African film The Story of an African Farm on Ster Kinekor screens country wide.The film’s based on the acclaimed novel by Olive Schreiner (currently prescribed reading for grade 12’s in SA).

SYNOPSIS
1870s. South Africa. Life goes on as normal at the farm on the slopes of a Karoo Kopje. Fat Tant Sannie (Karin Van der Laag) looks after her charges, the sweet Em (Anneke Weidemann) and the independent Lyndall, (Kasha Kropinski) with a strict Biblical hand. It was Em’s late father’s dying wish. Gentle Otto (Armin Mueller-Stal), the farm manager, runs the farm and cares for Waldo, his son. Waldo (Luke Gallant) is bright and is busy designing a model of a sheep-shearing machine that he hopes will make them all rich.

Things change when the sinister, eccentric Bonaparte Blenkins (Richard E Grant) with his bulbous nose and chimney pot hat arrives. This stranger believes that Tant Sannie is wealthy – after all she owns a farm -and it’s not long before he’s thrown the narrow-minded, but simple woman into an amorous whirl. But his motives are all too obvious to the children and he makes enemies of them. And, worst of all, he connives to get Otto fired by lying to Tant Sannie. Defeated, Otto returns to his room where he dies of a broken heart.

While Tant Sannie’s heart’s awhirl, he’s cruel to the children. He ransacks Otto’s room looking for the pile of money he thinks he has stashed away. He creates a reason to give Waldo a thrashing to within an inch of his life. He destroys the model of the sheep-shearing machine. However, Lyndall prepares for battle. She suggsts that their cousin, Trana (Elriza Swanepoel), comes to visit. She sets a trap for Bonaparte. Bonaparte is under the impression that Trana is even wealthier than Tant Sannie. He plans her seduction in the front room, without knowing that Tant Sannie is within earshot, He’s exposed as a fraud and has to make an undignified exit form the farm, chased by Tant Sannie, a delighted maid, Waldo’s dog and Oswald the ostrich who knew all the time that Bonaparte was a thoroughly bad egg!

BACKGROUND
The Film’s Writer/Producer, Bonnie Rodini, spent over a decade getting The Story of an African Farm on the go. She wrote the screenplay in 1990 while she was living in New York. It took five years to raise 40% of the budget, but she just couldn’t close the deal. She attributes this to the fact that she was too young, and didn’t have the track record and expertise to handle deals. Some years later she decided to resurrect her project. This time it gained momentum. From approaching Richard.E.Grant to be Bonaparte to finding the farm, it all began to fall into place.

The film will be released countrywide on Friday, 08 October 2004

For any further information please contact Ster-Kinekor Local Department.

Eugene Mametse
Independents Local Films
(011) 445 7734

Thanks to Sue W for chasing up the news.