Disgrace (2008)

After having an affair with a student, a Cape Town professor moves to the Eastern Cape, where he gets caught up in a mess of post-apartheid politics.

Director:

Steve Jacobs

Writers:

J.M. Coetzee (novel), Anna Maria Monticelli (screenplay)

Stars:

John Malkovich, Natalie Becker, Jessica Haines

5 wins & 3 nominations.

Cast

Cast overview, first billed only:
John Malkovich	...	Professor David Lurie
Jessica Haines	...	Lucy Lurie
Eriq Ebouaney	...	Petrus
Fiona Press	...	Bev Shaw
Antoinette Engel	...	Melanie Isaacs
Natalie Becker	...	Soraya
Antonio Fisher	...	Sidney - Student
Isabella De Villiers	...	Mrs. Cundell - Student
Cindy Mkaza	...	Mrs. Mbeti - Student
Liezel De Kock	...	Student Director
Charles Tertiens	...	Ryan
David Dennis	...	Mr. Isaacs (as David Denis)
Paula Arundell	...	Dr Farodia Rassool
Anne Looby	...	Rosalind
David Ritchie	...	Manas Mathbane

Storyline

Cape Town professor David Lurie blatantly refuses to defend himself for an affair with a colored student whom he gave a passing grade for an exam she didn't even attend. Dismissed, he moves to his daughter Lucy's farm, which she runs under most disadvantaged terms, favoring the black locals. Yet rowdies, unprovoked, violently rob and abuse them both. Lucy refuses to fight back, unlike David, who is surprised by his own altruistic potential.

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Plot Keywords:

based on novel | professor | student | abuse | farm | 

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Taglines:

He is what he calls himself, a monster.

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Genres:

Drama

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Motion Picture Rating (MPAA)

Rated R for sexual content, nudity, some violence and brief language

Details

Official Sites:

Official site [Australia] Official site [France]

Country:

Australia South Africa

Language:

English Xhosa Afrikaans Zulu

Release Date:

18 June 2009 (Australia)

Also Known As:

Desgracia

Filming Locations:

South Africa

Box Office

Budget:

$10,000,000 (estimated)

Opening Weekend USA:

$12,615, 20 September 2009, Limited Release

Gross USA:

$66,643, 4 October 2009

Company Credits

Production Co:

Fortissimo Films, Sherman Films, Whitest Pouring Films

Technical Specs

Runtime:

119 min

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

The film was financed by the Film Finance Corporation Australia, Newbridge Film Capital, Whitest Pouring Films, the New South Wales Film and Television Office and the South Australian Film Corporation.

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Goofs

The notices in the lecture theater "Mid-term test" and "Casanova - your time is over" appear to have been written by the same person. Given the professionalism adopted by the university in its investigation of Mr Laurie it does not seem plausible to suggest that one person (say, a teacher's aide) wrote both notices.

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Quotes

[first lines]
Professor David Lurie: I haven't heard from my daughter.
Soraya: Still living with a woman.
Professor David Lurie: Yes, still a lesbian. Still on the farm. She thinks it's safe there.
Soraya: No where's safe. Too many people with nothing to do but cause trouble. How's work?
Professor David Lurie: They look through me when I speak. Forget my name.
Soraya: There's no respect anymore. Have you missed me?
Professor David Lurie: I miss you all the time.

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Connections

References Goodbye, Mr. Chips (1939)

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Soundtracks

"Mieleni'
Written by K. Motijoane
Performed by Western Holdings

User Reviews

Intelligent, disciplined, thought-provoking

I haven't read the award-winning book on which it is based, but Steve Jacob's film 'Disgrace' is a thoughtful and intelligent story about wrongdoing and reconciliation that quite explicitly functions as a microcosm of post-Apartheid South Africa and its relationship with its own past. In it, John Malkovich's disgraced, womanising and cynical ex-University professor comes to understand the value of offering contrition (when reparation is not obviously a feasible outcome) after his daughter is attacked and there is nothing corresponding to justice available for her. Indeed, she lives (in the remote highlands) where the very basis of power (which is ultimately needed to support justice) is undergoing a practical (though ugly) renegotiation, and the attack itself is seen (by her, though not by her father) in this context. The fact that both the professor and his daughter are, in their own ways, prickly and proud characters, makes the story more interesting; and the temptation for melodrama is resisted at every turn (indeed, while the most obviously dramatic scenes are being played out, the bigger event is occurring off-camera). It takes a lot of discipline to make a film this way; but there's a pay off - it feels real throughout, and makes you think by avoiding all the easy clichés.