Invictus: Rugby as parable for a new South Africa

Invictus
Directed by Clint Eastwood
Starring Morgan Freeman and Matt Damon
On national release from Jan 28 (Roadshow)

The idea of linking the launch of South Africa’s post-apartheid “rainbow nation” with the Rugby World 1995 has special resonance with New Zealanders.

Yet this film may leave them wondering. For a start, the alleged food poisoning of the All Blacks is missing. The All Blacks themselves are depicted as little more than Jonah Lomu and some Sunday afternoon players.

In fact, rugby is the least reason for seeing this film, as the playing sequences are mostly close-ups of grid-iron wham bangs, referees blowing whistles, kicks at goal and a few touchdowns.

This makes it no different from other Hollywood sports films about team codes.

I’m also told the matches, though they appear to take place in South Africa’s large stadiums full of yelling spectators, were actually filmed on grounds that look more like a sprinkler-free California sports fields.

These sequences were then "blue screened" with live footage of the actual Cup games. The best rugby is, in fact, shown on TV in the film.

But let these deficiencies pass: this is a Clint Eastwood film that delivers a rare “feel-good” entertainment with political punch, marvellous backdrops and location photography, a strong narrative and great acting from the principals.

It is highly conventional, in the best Hollywood tradition, and just as predictable. That leaves little room for surprises but enables plenty of crowd-pleasers in the real-life detail, most of which are no doubt owed to the book, Playing the Enemy, by British journalist John Carlin.

The story is well known: newly elected Nelson Mandela (Freeman) decides the republic’s future for both black and whites will best be served if the demoralised and unloved Springboks (even by fanatical Afrikaans rugby fans) are turned into a Cup-winning combination.

Mandela forms a bond with team captain François Pienaar (Damon) to ensure this happens, even as the president battles political opposition within the African National Congress and threats to his personal security.

Thus begins a typically inspirational comeback story, even as Eastwood also builds on the evolving revenge themes he has explored in his other films – from the Dirty Harry vigilante cop through to the Christ-like sacrifice of the character he plays in last year’s Gran Torino.

Eastwood may still make less of an impact behind the camera than in front of it but a triumph of substance over form in any film these days is worth cherishing.