I was shocked when Anthony Minghella’s death was announced last week. He was far too young and it must have been dreadful for those around him. There have been tributes from all sides of the UK and international film, theatre and oprea communities. He obviously helped a lot of people in the industry and was highly respected. I wasn’t that interested in his films which I assumed to be in the ‘international Miramax mode’ and the only one I saw in a cinema was Cold Mountain, which after a fantastic opening battle scene I found quite literally cold and ultimately disappointing. As a result I approached the film pilot of the projected TV series of The No1 Ladies’ Detective Agency with some trepidation.
I was further taken aback to discover Richard Curtis was a co-exec producer and co-writer. His presence usually puts me off completely, but I’d heard great things of the novels that were the series’ inspiration and I was intrigued by how Botswana would look on film. The cinematography in the film pilot was by Seamus McGarvey and it was very beautiful — far too beautiful really. The opening sequences had numerous crane/cherrypicker shots that might have graced a mainstream Hollywood feature. Unfortunately, the novels (I’m told) are small scale, gentle tales that don’t need the epic treatment.
I have no problem with the BBC screening a series set in Africa (in a Sunday night ‘comfy telly’ slot, just like ITV) and I have no problem with Africa being represented by a gentle comedic series – I readily accept that it’s important to have alternative representations of African stories — they don’t all have to be about civil war, refugees and famine. But . . .
I do have problems with this series. I only lasted for less than half the running time and found something better to do. The opening was slow for no apparent reason. It looked like a one hour idea was being spun out over 100 mins or so. The beauty of the cinematography then began to look likeit was offering an alternative to the slow story. But my main concern is that the film isn’t really an ‘alternative’ to the other representations of Southern Africa. In fact it follows the usual British/American strategy of shipping in actors from the US and UK as well as writers, director, producer etc plus some heads of department. The heavy promotion of the film suggested ‘local’ sourcing of other crew, but as far as I could work out, this meant South African crew members alongside a couple of South African actors. Great play was made of being unable to find an African actor to play the lead role. I interpret this to mean that no African actor was considered suitable for a UK/US audience – I’m sure there are Zimbabwean women who could have played the character, or even South Africans. It wouldn’t be so bad if the BBC (or other UK channels) were prepared to put some money into African film production in Anglophone countries in the way that the French do in Francophone countries — or at least show some African film product.
South Africa is potentially the major source of African ‘films’ (ignoring for the moment the hundreds of video films being produced in Nigeria and Ghana) but as yet the South African industry has remained in thrall to Hollywood. I guess it was too much to expect the Weinsteins and HBO to do anything very different with The No1 Ladies’ Detective Agency.