| Photos (see all 4 | slideshow) |
| Taye Diggs | ... | Henry Nxumalo | |
| Gabriel Mann | ... | Jurgen Schadeberg | |
| Tumisho Masha | ... | Can Themba (as Tumisho K. Masha) | |
| Moshidi Motshegwa | ... | Florence Nxumalo | |
| Jason Flemyng | ... | Jim Bailey | |
| Zola | ... | Slim (Alpheus) (as Bonginkosi Dlamini) | |
| Fezile Mpela | ... | Todd Matshikiza | |
| Greg Melvill-Smith | ... | Major Att Spengler (as Greg Melville-Smith) | |
| Lindani Nkosi | ... | Nelson Mandela (as Lindane Nkosi) | |
| Keketso Semoko | ... | Fatsy | |
| Tessa Jubber | ... | Carol Shand (as Tessa Jaye) | |
| Bonnie Henna | ... | Dara Macala (as Bonnie Mbuli) | |
| Tanya Baleson | ... | Planning Clerk | |
| Emgee Pretorius | ... | Johan Snyman | |
| Israel Makoe | ... | Vy | |
| Connie Mfuku | ... | Mother Who Lost Her Son | |
| Walter Knight | ... | Morgan | |
| rest of cast listed alphabetically: | |||
| Jacques Gombault | ... | Cop #2 | |
| Dada Koyana | ... | Suspicious Woman | |
| Etienne Muller | ... | Cop #1 | |
Directed by | |||
| Zola Maseko | |||
Writing credits(WGA) | ||
| Jason Filardi | (screenplay) | |
| Timothy Grimes | (earlier screenplay) uncredited and | |
| Zola Maseko | (earlier screenplay) uncredited | |
Produced by | |||
| Dumisani Dlamini | .... | producer | |
| Jason Filardi | .... | executive producer | |
| Andreas Grosch | .... | executive producer | |
| Wendy Knill | .... | line producer | |
| Zachary Matz | .... | producer | |
| Matt Milich | .... | producer | |
| Andreas Schmid | .... | executive producer | |
| Chris Sievernich | .... | producer | |
| Rudolf Wichmann | .... | producer | |
Original Music by | |||
| Terence Blanchard | |||
| Cédric Gradus Samson | |||
Cinematography by | |||
| Lisa Rinzler | |||
Film Editing by | |||
| Troy Takaki | |||
Casting by | |||
| Mavis Khanye | |||
Production Design by | |||
| Eggert Ketilsson | (as Eddy Ketilsson) | ||
Art Direction by | |||
| Lisa Perry | |||
Set Decoration by | |||
| Susan Vermaak | |||
Costume Design by | |||
| Pierre Vienings | |||
Makeup Department | |||
| Charles Khoza | .... | hair stylist | |
| Mandy McDonald | .... | assistant makeup artist | |
| Debra Nicoll | .... | makeup department head | |
| Sheila Petlele | .... | assistant makeup artist | |
| Amanda Ross-McDonald | .... | assistant makeup artist | |
Production Management | |||
| Dale Tanguay | .... | post-production supervisor | |
Art Department | |||
| Arnold Oldknow | .... | props | |
| Evette Richter | .... | set dressing assistant | |
| Markus Root | .... | assistant property master | |
| Neil Swanepoel | .... | property master | |
Sound Department | |||
| Ian Arrow | .... | boom operator | |
| Dieter Keck | .... | sound mixer | |
| Peter Maxwell | .... | sound re-recording mixer | |
| Jim Petrak | .... | assistant sound recordist | |
Stunts | |||
| Aubrey Lovett | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Alan McIntyre Smith | .... | gaffer (as Alan Smith) | |
| Jürgen Schadeberg | .... | still photographer | |
Editorial Department | |||
| Nerissa Black | .... | post-production coordinator | |
| Leila Reekie | .... | post-production coordinator | |
| Andrea Shaw | .... | assistant editor | |
Other crew | |||
| Pierre André | .... | subtitle editor | |
| Kerstin Dyroff | .... | production coordinator: VIP Medienfonds | |
| Claudia Sendlbeck-Schickor | .... | tax advisor: VIP | |
| Berit Wetzel | .... | legal counsel: VIP | |
Thanks | |||
| Jürgen Schadeberg | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Thriller section | IMDb USA section |
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In South Africa in the 1950's, young journalist Henry Nxumalo helped fashion the magazine Drum into an outspoken voice against the repressive and dehumanizing effects of apartheid. Director Zola Moseka tells his story, from the lively Harlemesque nightlife of Sophiatown to the courageous infiltration of the farms and prisons outside of Johannesburg.
Taye Diggs gives a moving and multi-dimensional portrayal of Henry, supported by surprisingly strong performances from the entire cast. The film is shot completely in South Africa, and the sets and backdrops make for a much more believable period piece than you would expect to see from its $5 million budget.
One could argue that the movie too often uses an easy cliché and forced screen writing to keep the story tidy. But nevertheless, Drum manages to both educate and entertain. Those of us not intimately familiar with apartheid will find our eyes opened by the parallels to the civil rights struggles of our own country. At the same time, the story of Henry Nxumalo makes for a compelling narrative, and Moseka tells it with honesty and compassion.