The Bang Bang Club (2010)

A drama based on the true-life experiences of four combat photographers capturing the final days of apartheid in South Africa.

Director:

Steven Silver

Writers:

Steven Silver, Greg Marinovich (based on the book by)

Stars:

Ryan Phillippe, Malin Akerman, Taylor Kitsch

8 nominations.

Cast

Cast overview, first billed only:
Ryan Phillippe	...	Greg Marinovich
Malin Akerman	...	Robin Comley
Taylor Kitsch	...	Kevin Carter
Neels van Jaarsveld	...	João
Frank Rautenbach	...	Ken
Nina Milner	...	Samantha
Jessica Haines	...	Allie
Lika Berning	...	Vivian (as Lika van den Bergh)
Kgosi Mongake	...	Patrick
Russel Savadier	...	Ronald
Patrick Shai	...	Pegleg
Alfred Kumalo	...	Alf Khumalo (as Alf Khumalo)
Craig Palm	...	Amir
Nick Boraine	...	Colin
Patrick Lyster	...	Jim

Storyline

A drama based on the true-life experiences of four combat photographers capturing the final days of apartheid in South Africa.

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Plot Keywords:

1990s | year 1994 | photo journalist | south african | township | 

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Taglines:

It's not always black and white

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Genres:

Biography | Drama | History

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Motion Picture Rating (MPAA)

Rated R for strong brutal violence, disturbing images, pervasive language, some drug use and sexual content

Details

Official Sites:

Official site [Germany]

Country:

Canada South Africa

Language:

English Zulu Xhosa Afrikaans

Release Date:

22 July 2011 (South Africa)

Also Known As:

Fotógrafos de la muerte

Filming Locations:

South Africa

Box Office

Cumulative Worldwide Gross:

$221,292

Company Credits

Production Co:

Foundry Films, Instinctive Film, Out of Africa Entertainment

Technical Specs

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Kevin Carter's daughter Megan Carter is featured in the bar scene where she turns around and says 'you must be Ken Oosterbroek'. Standing next to her there is Kevin Carter's step daughter Sian Lloyd.

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Goofs

When Greg Marinovich and Joao Silva are reviewing Kevin Carter's film of the vulture and child, the negatives they view through the magnifier are actually halftone images, not normal negatives that one would be examining before publication. (Halftones are the "dotted" images used to print photographs in newspapers and magazines, etc.)

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Quotes

Kevin Carter: They're right. All those people who say it's our job to just sit and watch people die. They're right.

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Crazy Credits

Photos taken by the real photographers, including portraits of each other, are used as a backdrop during the first section of the credits. The taking of some of these photographs is portrayed in the film itself.

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Connections

References Casablanca (1942)

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Soundtracks

Take It Easy
Written by Max Mallinick
Performed by Mein

User Reviews

A beautifully shot film for the amateur photographer or historian

This film was a nice surprise; I'd not heard of it before I saw it. The set up is a group of intrepid South African photographers who want to go out and document the troubles surrounding the end of apartheid - a story of incomparable significance at that time. These fours guys each have their own unique personality and reactions to the events but share a desire to get the facts on film (and not just report on the contrived political goings on). They risk life and limb in riots and battles that were fought, very graphically here, within the townships - traditionally no go areas for white people.

The fact that the director (Steven Silver) managed to fit into the running time enough detail on each photographer for sufficient back story, plus was able to project the historical concept but tread lightly enough to not offend those that were caught up in it, was impressive. You could imagine, with a sufficient budget, the book morphing into a mini-series. The performances of the actors (in particular the one playing the black South African who'd recently lost his family) were believable, engaging and consistent.

There is included a romantic story - one which is based on real facts and thus one which must be included in any film which has hopes of scoring successfully at the box office. The story was true and therefor wasn't unnecessary, and added to the sympathy for some South Africans who were obviously against the mistreatment of their countrymen.

The overall feel of the film was one which was not overly 'Hollywood', yet still will be accessible to those who prefer western-style production. As a film about photography the images - still and moving - were beautiful and emotionally very captivating.

Anyone who has an interest in photography and/or social history should not miss this.