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Wah-Wah (2005)
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Overview
User Rating:
Director:
Writer:
Richard E. Grant (writer)
Release Date:
2 June 2006 (UK)
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Tagline:
Every family has its own language.
Plot:
Set at the end of the '60s, as Swaziland is about to receive independence from Great Britain, the film follows the young Ralph Compton...
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Awards:
4 nominations
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NewsDesk:
(8 articles)
tMF Exclusive Interview - Nicholas Hoult: A Fascinating Study of Character
(From The Movie Fanatic. 11 November 2009, 6:30 AM, PST)
tMF Exclusive Interview - Nicholas Hoult: A Fascinating Study of Character
(From The Movie Fanatic. 11 November 2009, 6:30 AM, PST)
(From The Movie Fanatic. 11 November 2009, 6:30 AM, PST)
tMF Exclusive Interview - Nicholas Hoult: A Fascinating Study of Character
(From The Movie Fanatic. 11 November 2009, 6:30 AM, PST)
User Comments:
Well-paced ensemble multi-layered but 'old-fashioned' movie
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Cast
(Cast overview, first billed only)| Gabriel Byrne | ... | Harry Compton | |
| Emily Watson | ... | Ruby Compton | |
| Julie Walters | ... | Gwen Traherne | |
| Nicholas Hoult | ... | Ralph Compton - 14 years | |
| Miranda Richardson | ... | Lauren Compton | |
| Zac Fox | ... | Ralph Compton - 11 years old | |
| Celia Imrie | ... | Lady Riva Hardwick | |
| Julian Wadham | ... | Charles Bingham | |
| Fenella Woolgar | ... | June Broughton | |
| John Matshikiza | ... | Dr. Zim Mzimba | |
| Sid Mitchell | ... | Vernon | |
| John Carlisle | ... | Sir Gifford Hardwick | |
| Mathokoza Sibiya | ... | Dozen | |
| Sindisiswe Nxumalo | ... | Regina | |
| Michael Richard | ... | Tobias |
Additional Details
Also Known As:
Wah Wah (International: English title) (informal alternative title)
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MPAA:
Rated R for some language and brief sexuality.
Parents Guide:
Runtime:
USA:120 min | Canada:97 min (Toronto International Film Festival) | Argentina:120 min
Country:
Language:
Color:
Aspect Ratio:
2.35 : 1 more
Sound Mix:
Certification:
Filming Locations:
Company:
Fun Stuff
Trivia:
According to Richard E. Grant's diaries, 'Julie Walters' was the first to be cast.
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Goofs:
Factual errors: The movie supposedly starts in 1969 with the date appearing on the screen. Yet Swaziland received independence on 6 September 1968.
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Movie Connections:
References "Popeye the Sailor" (1960)
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Soundtrack:
Goodnight Sweetheart
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FAQ
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Message Boards
Discuss this movie with other users on IMDb message board for Wah-Wah (2005)| Recent Posts (updated daily) | User |
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| When Dr Zim said... | cambrige_girl |
| Oscar | CharlieWinslow |
| America?? | British_gal |
| Unknown Actor | adelaidev |
| why does Ruby.... | dogs5cats1 |
| Script? | Pottery14 |
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It was fairly brave of Richard E Grant to 'come out' as a director when acting would be such a secure option for him; particularly now as the role of director, especially of relatively small independent films such as this, involves all the hustling traditionally taken care of by the producer. Although he has been low-profile as an actor for some time, paying the rent by sticking to supporting roles ( lots of them, though), at the same time he has been fighting to get this semi-autobiographical saga up to the screen. A look at a disintegrating family could be set anywhere, but this is specific to Swaziland, where the collapse of the British Empire and the end of Deference mirror the uncertainties of young Ralph Compton's life. As a little boy (Zachary Fox) he finds himself in the back seat while his mother has it off with her husband's best friend; then as an adolescent rebel (Nicholas Hoult of 'About a Boy') he has to cope with mum's desertion and dad's alcoholism while discovering 'A Clockwork Orange' and experimenting with becoming a droog. There are so many concurrent plots that every time you think, Ah, so it's that kind of film, the layers shift again. Coming-of-age, end-of-empire, adults being stupid and cruel, the class system and white supremacy turning sclerotic; these elements weave and thrust against the African landscape and inbred British colonialism. This is the world that the kids will inherit. Celia Imrie and Fenella Woolgar are a joy to watch as they 'do' the snooty dames with such natural outraged dignity, but the surprise is to see the so-English Emily Watson make such a convincing low-class Manhattanite. The old ways are going out the window, serenaded as they go by the kind of lush, romantic soundtrack that also had had its time, and adds another taste of verisimilitude. Comparisons are useful, not odious, and it's fair to relate this kind of breathless well-paced ensemble production to Altman. One last touch of the Old Ways: it stops when it gets to the ... CLIFF HANLEY