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| Credited cast: | |||
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Willie Esterhuizen | ... |
Faan Oosthuysen
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| Deon Lotz | ... |
Dr. André Dippenaar
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| Marius Weyers | ... |
Dominee
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Cobus Rossouw | ... |
Oom Frik Oosthuysen
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A.J. van der Merwe | ... |
Sersant
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Nicola Hanekom | ... |
Beatrice Dippenaar
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| Anel Alexander | ... |
Truia
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Sandra Kotze | ... |
Tante Magriet
(as Sandra Kotzé)
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Gamiet Pietersen | ... |
Stinkhans
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Pierre van Heerden | ... |
Willem
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Andahr Cotton | ... |
Gert
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Chanelle de Jager | ... |
Annie
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Flip Theron | ... |
Oom Barend
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Nic de Jager | ... |
Prof. Con de Goede
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| Rest of cast listed alphabetically: | |||
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Madeleine Pienaar | ... |
Sus
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Faan (Willie Esterhuizen) lives in a small Karoo town with his father, and his housekeeper, Truia (Anel Alexander). He's a little slow and a little confused a lot of the time, but for the most part he's harmless, except when he's being teased by the local school boys, which seems to be happening more and more frequently. During the last teasing episode Faan accidentally runs into the Doctor's (Deon Lotz) wife, Beatrice (Nicola Hanekom), a woman who was raised in Pretoria, but now lives in this one horse town because of a secret she and her husband have to hide. This confrontation between Faan and Beatrice causes Faan to become very interested in Beatrice, especially when her blouse rips during the encounter. Beatrice has no interest in even knowing this individual exists, until she discovers that he, along with his father, own some antiques that were passed down from father to son for years, including a very valuable violin, so starts her plan to get her hands on the goods, ... Written by Jon Broeke
The producers of this film casted well-known South African actors to star in the film, resulting in perfect portrayal of the characters. The script nostalgically supports the characters with charming Afrikaans expressions. Detail especially shines in this film: props, costumes, make-up and sets were carefully chosen to support a Cape village set in 1959. The music was well composed and supported dramatic moments in the film.
Unfortunately, some of the humour will be lost in translation: some idioms and expressions will only be understood by native speakers. A traditional folk-song "Al lê die berge nog so blou" was played on a violin, furthering the feeling of nostalgia. Perhaps the composer could have incorporated song fragments into the film to unify the music. The only "thematic transformation" of "Al lê die berge nog so blou" was a representation of the song in the dorian mode.
Outstanding direction and attention to visual detail made Faan se Trein a joy to watch: strongly recommended for all members of the family.