Dingaka (1964) User Reviews

Wonderful Looking Film

[krocheav · 6/10 · 6 May 2013]

The first time I saw 'Dingarka' was on TV, it made a powerful impact in the late 70s'. Then, after seeing it on Film some years later on a full CinemaScope screen, I understood what gave this slight movie such a powerful look.

The real stars of the film are: Firstly; the remarkably strong 'On Location' Cinematography by South African Photographer/actor Manie Botha (Botha was also known to take an acting role in several films he photographed) Additional Photography is superbly supplied by Judex C.Viljoen. Both these talented folk worked well under the Direction of fellow South African Jamie Uys.

Secondly: Eye Popping Color, courtesy of magnificent IB Technicolor. A process now sadly lost to us. The images were first shot on Black and White film stock, then the Primary Colors are added in the lab by layered dyes. This Color never faded, prints remained with the same vibrant living Color till they literally fell apart.

Thirdly: The tremendous use of Music and Song, with sterling compositions by South African Bertha Egnos. An odd addition to the Music credits was Eddie Domingo who appeared with American Ballad singer Jim Reeves in his only Movie: 'Kimberly Jim'. Reeves, best known for his No.1 world hit record "He'll have to Go" was killed in a plan crash the same year. Not a great deal seems known of the Third member of the Music team Basil Grey. All the compositions within this score are winners and range from gentle songs, to thumping African dance routines.

Ken Gampu gives a never faltering performance as the father forced to leave his tribal grounds - searching for the murderer of his little daughter in unfamiliar and hostile big city locations. His strong performance holds the film together through some of the more shaky moments. Stanley Baker is OK as the big city Lawyer with Juliet Prowse trying hard with a thankless role as his wife.

It's early Jamie Uys (Beautiful People - The Gods Must be Crazy, etc) but his own distinctive style was evident even in 1964. Some character development is at times weak, and there's too much of the tourist treatment for the scenes involving 'local color' ~ but as a clash of cultures piece, it makes for good entertainment. Don't be too demanding and it should reward well enough. KenR.

A brilliant but rare South African film...

[samturpin12 · 6/10 · 4 October 2012]

As a South African I know pretty much what to expect from South African films, so in terms of the South African film industry (from the 1930s - now) I give it 8/10, worldwide however (and due to its directional history, the film I mean), I give it 6. Aside from it being a remake of an earlier South African short film, I feel that Jamie Uys did an outstanding job of directing "Dingaka". The music score, scenery, progression and intrigue are absolutely amazing. It is easy for anybody to follow and understand and the story is gripping and the concept of the two worlds clashing is put very well to film. The characters are very magnetic (especially Mpudi) and Stanley Baker is always great. A must see for anyone who loves a good story, South African film lovers and people who love to enjoy rare films. In my opinion, it should be put to DVD for the world to see!

Excellent portrayal of a classic dilemma: obey God's law or man's.

[orh61 · 8/10 · 27 September 2010]

I saw this movie while studying Greek tragedies in the 1960s and the dilemma of "Antigone" was a close comparison to this film for me. In "Dingaka" the protagonist MUST avenge his daughter's murder or suffer spiritual damnation. The murderer is also protected by a religious injunction and to violate it, the protagonist will also suffer eternal damnation—an even worse choice than that in the Greek tragedy. At least Antigone satisfied the religious law in burying her dead brother. In so doing, King Creon put her to death to satisfy the penalty he invoked in barring the burial to satisfy his own vengeance. Presumably Antigone found spiritual redemption at death. The turmoil of Dingaka's protagonist is the film's strongest feature for me. Although the musical score was so rich that I saved it to replay many times and it made me a fan of indigenous South African music. Look past the the court element to see the rich character development of the family and tribal life.

A marvelous African fable

[Mike-754 · 1 June 1999]

Ken Gampu, a black South African, carries this beautiful fable of a man conflicted between two worlds, on his broad shoulders. Stanley Baker is competent in a secondary role, and Juliet Prowse is equally competent in a totally unnecessary role. The music is exceptional. Watch this, and you can see Jamie Uys dealing with the subject matter that he would turn into a worldwide hit 15 years later in THE GODS MUST BE CRAZY.

Seen on Pittsburgh's Chiller Theater only in 1969

[kevinolzak · 6/10 · 1 May 2020]

1964's "Dingaka" proved a rarity even for Joseph E. Levine's Embassy Pictures, a dramatic feature from South Africa's documentary director Jamie Uys (best known for his award winning "The Gods Must Be Crazy" from 1980), offering much splendor on actual locations with local tribes and customs playing a major part overall. The crux of the story revolves around the tribal witch doctor, a cruel and wicked charlatan who enriches himself by holding everyone in the superstitious grip of fear. A defeated stick fighter comes to him for strong medicine, which requires the fighter to eat the heart of an innocent little girl, her vengeful father seeking justice not only for his child but also his fallen wife. The witch doctor puts a curse on the grief stricken parent, who then follows the stick fighter to the big city, where the white man's law cannot prove the accused to be guilty of the crime while imprisoning his pursuer for attempted murder. Stanley Baker plays his defending attorney, initially dismayed when his client escapes back to the tribe, but determined to prove the misdeeds of the witch doctor to dispel his evil power. The first half tends to drag in showcasing music and dance, but once Baker is introduced midway through the pace picks up considerably, leading to a satisfactory climax where one man must choose to defy the gods. Juliet Prowse adds little to the dispensable role of Baker's pregnant wife, but his reliable presence anchors the film for Western audiences.

Great, underwatched film.

[artzau · 9/10 · 3 April 2001]

Stanley Baker was a vastly underrated actor. This film about a barrister faced with the task of defending a murderer who within his own cultural framework is hardly committing murder, is gripping, poignant and thoughtful Based on the days of apartheid in South Africa, Baker defends a man who took revenge on a man who killed one of his children to enhance his prowess as a stick fighter. The peek into the violent world of the Xhosa is very well done and the attack created by Baker in defense of his client is excellent. This is an excellent film, undershown and underseen. If you have the chance to see it, do so. You will be informed as well as entertained by this engaging tale based on actual cases (Yes. There were several of these revenge killings based on witchcraft that appeared in South African courts).

Uys's best

[echerlin · 10/10 · 24 December 2006]

What is this movie about? Depends on what you are looking for. It is about the disastrous situation of Blacks in Apartheid South Africa, with con men, murderers, and an unjust, broken legal system.

But it is also about one man's (Ntuku Makwena, played by Ken Gampu) personal journey from revenge to redemption. A man faced with the ultimate injustice: his God has forbidden him to call his daughter's murderer to account. Or at least, so says the tribal priest who is eventually revealed as the murderer. Ntuku's solution is as fine as Huck Finn's decision to save his friend Jim, even if it means going to Hell. That scene of realization, and the confrontation that follows, are my favorite scenes in all film.

"I will do right, though the Gods slay me."

"I will do right, though the Gods slay me."

[higherall7 · 9/10 · 31 May 2016]

This is a fascinating film that I first saw on the Canadian Television Station Channel Nine. This film is head and shoulders above many releases in both thematic content and cinematography. The latter owing to the rich and lush landscapes of South Africa to some extent. The former is developed from actual cases of murder involving Witchcraft, I am advised.

Here in the states, you often hear African American men and women speak of a desire to know more about the Kings and Queens of Africa rather than that part of our cultural legacy as slaves here in the West. A substantial portion here act as though they are descended from Royalty, and indeed, this may not be far from the truth. But some can also remember being simple farmers and goat herders or millers and blacksmiths, and being Kings and Queens nowhere but in their own homes.

Recently, I spoke of the films I AM WRATH and THE DARK KNIGHT. Both these films feature stories that revolve around protagonists who are seeking justice through revenge. I AM WRATH has a flawed and improbable Exposition and resolution and begins too early in the narrative. The interior monologues where John Travolta's character moves from grief to rage are not quite as successful as Robert Redford's in JEREMIAH JOHNSON. THE DARK KNIGHT has so much razzle-dazzle and high-tech circus stunts in it, that the themes of right and wrong seem secondary to the wonders of Bruce Lee style combat and new age weaponry.

These may be moot points to some, but when it comes to artfully presenting the theme of moral dilemma, I believe the directors and screenwriters of both I AM WRATH and THE DARK KNIGHT can learn something from and find inspiration in the tale of DINGAKA.

DINGAKA, happily does not suffer from these disadvantages. The story is straightforward and held my interest throughout to the end. Whenever I have viewed it, I have always felt as though I was getting a fascinating glimpse into the culture of a rural community with a spiritual cohesion involving music, song and dance seldom found in more urban and industrialized communities. I also felt more immediate empathy for the characters, although this may be because this is a different kind of story.

When tragedy strikes the protagonist Ntuku Makwona, a subsistence farmer with a happy family and home life, it is conveyed in a deep and soul rending way. The irony is that his loss is all due to a contract made between a champion stick fighter who has lost his title and the community witch doctor. The result of a sporting contest that has nothing to do with Ntuku is yet the cause of his woe. He finds himself compelled by duty and tribal law to redress the situation and in doing so, unavoidably runs afoul of both the legal systems of his tribe and community and that of the whites across the line of apartheid in South Africa. Ntuku's quest for justice makes for a great moral adventure.

Ken Gampu proves to be a compelling Ntuku Makwona. He could easily be the African grandfather of Malcolm X. This is also a role Samuel L. Jackson could play to Oscar winning success as it is less of a stretch to envision him as Ntuku Makwona than it is to view him channeling Nick Fury. Stanley Baker also serves an admirable turn as Makwona's lawyer, Tom Davis, as does Juliet Prowse as his dispirited wife, Marion.

At the end of this tale, Makwona feels maneuvered by the Gods into a situation where he is literally 'damned if he does, and damned if he doesn't'. Once you see this film, you will know what I mean.

After that, this simple statement made by Ntuku Makwona may ring true and haunt you forevermore.

"I will do right, though the Gods slay me."

The music, the harmony of the people seared in my memory

[adolfoa · 10/10 · 28 February 2016]

I remember the choirs harmony blew my mind, not professional singers, just folkloric music, I had never heard such sounds and it gave me an appreciation of that music ant that culture.

It was the mid 1960's, my teenage pals and I skipped school, went to the movies instead, Dingaka was playing, loved it, I have been looking for a copy for decades, I can't find it on Netflixs, would love to see it again, the music was just hunting, the unfairness of the story, If one knows where to rent, borrow, I recommend it, please let one know.

I wish I could remember more details about it, it was 50 years ago, but I do remember how the tribe's men songs were such a surprise musically, where the notes would go next, the baritone sounds and harmonies were like nothing I had heard before.