In the parched wilderness,
six hundred miles away from civilization, Bushmen continue to exist;
environed by nature and family, they live a lifestyle some denounce as
“savage.” In truth, the natives inhabiting the Kalahari Desert are “the most
content people in the world” (Uys 0:02:54). However, as human beings, they too
can stumble on unfamiliar behaviors. In this case, they are influenced by an
item as strange and superficial as a Coca-Cola bottle. Despite sanctioned
segregation transpiring in South Africa, the 1980’s allegorical comedy, The
Gods Must Be Crazy, directed and written by Jamie Uys, portrays a diverse
selection of cultures through a selfless and humorous story-line of human
interplay. Uys depicts a fun tale of a bushman, Xi, played by N!xau, on
a walkabout-like quest to reach the “edge” of the world, to rid an evil gift
bestowed upon his tribe. En route to restore serenity, he casually encounters
persons whom he presumes are almighty Gods rather than the next-door,
sophisticated, blue-collar urbanites. The collective witty liaison that each
character shares with one another ridicules the ludicrous notions of apartheid.
For centuries humans have
annihilated one another over collateral differences that are indeed biologically shared
by all. Amidst the devastating era of African colonization, invaders not only
diminished treasured traditions, but they altogether enslaved African citizens. As if claiming private and personal property
was not enough, conquerors, especially in South Africa, further mandated legal
bigotry against its own people. The statutory division known as apartheid
permitted higher status to the white conquerors, leaving the Africans to become
second-class citizens and legitimately inferior in their own home; this system
“racially classified individuals and then denied fundamental human rights”
(Tutu). Similar to the racial caste system, Jim Crow laws, once granted in the
United States, sought “to limit the aspirations of blacks” as well as emphasize
a ferocious means of law enforcement (Auguste). Apartheid’s
stigma included its derogatory laws, not to mention its ironic intent declared on paper as a “call for equal development and freedom of cultural expression”
(Sahistory). The powerful force of the divergent protesters shone heavily on
its immorality, and they ceaselessly objected to the senseless law’s false
representation, exposing its irony. In spite of this
disaster, the making of the film The Gods Must Be Crazy persisted.
The merging powers of both
the privileged and underprivileged flared heightened resistance against
ignorant segregation, extending hope and inspiration. It proved such an inspiration that director Uys administers humor through
casting diversified actors and designing their exceptional personas in his
mockumentary. The film paints a relationship between two distinct
cultures assisting one another notwithstanding their cultural barriers. The
“pretty, dainty, small and graceful” Bushmen and the white “civilized man”
differ in language, appearance and demeanor (Uys, 00:01:33). Xi’s tribe does
not recognize aggression or animosity; nevertheless, they have no need to claim
ownership because they live collectively, enjoying and praising nature. On the
other hand, “civilized man refused to adapt himself to his environment, and
instead he built his environment to suit him” (Uys, 00:06:12). The two very
different groups have a peculiar encounter that spawns an incredible adventure.
Xi’s mission leads him to stumble on the “gods,” jaunty microbiologist Andrew
Steyn and his mechanic Mpudi. Although at first they have a slight
misunderstanding, later they befriend one another and genuinely offer
compassion and empathy toward Xi. Interestingly, Mpudi alone has previously
experienced a miraculous interchange among the Bushmen. It appears to have
further advanced his level of moral development and sense of understanding to
the environment around him (Kohlberg), not to mention enabling him to
comprehend their unique click-like utterances. The irresistibly engaging bond
forms between these men as they find themselves helping one another on a deeper
level than they previously imagined. So, as the two bizarre societies clash,
spontaneous hospitality sparks instead of hostility.
The idiosyncratic friendship
that ignites between the Bushman and the two civilized men demonstrates Uys’s
opinion on naturally peaceful human interactions and benevolent selflessness.
Even though apartheid was staunchly advocated and enclosed around the
production of the film, Uys still “violates” a few of its regulations and
proceeds forward. A segment of the heinous law suggests that, “to have a friendship with someone of a different race
generally brought suspicion upon you, or worse” (Sahistory). Regardless, the
film advanced. Uys persisted in writing the story of solidarity between
two people who do not share similar culture but do share the same tongue. Xi
embarks his journey in the sophisticated land but finds himself surrounded by
“societal rules” that are invisible in his eyes. He and his tribe believe in a
universal religion similar to that of the Australian Aborigines, that is, Dreamtime:
where all living spirits are “part of one vast unchanging network of
relationship which can be traced to the Great Spirit ancestors” (Dreamtime).
Because he believes in universal sharing, he unintentionally attempts to feast
on another’s goat. Much as he innocently tries to share it with the owner himself,
he sadly winds up enclosed behind walls. Mpudi, being the only “civilized man” who
can communicate Xi’s language, defends him in court but fails to keep him out
of jail. The mechanic was devastated so he confides to Steyn announcing that
Xi, “gonna die for sure. He never seen a wall in his life, now he got walls all
round him… I want to get him out” (Uys, 1:23:54). The dedication put into
rescuing the innocent Bushman acts as a foundation forging a cherished bond.
The two men put their privileges and work aside to allow a voice to the one who
was misunderstood. This theme of altruism infused with comedy repeats all over.
Omitting the imposed
genocidal creed, South African director Uys defies its absurd dogma extracting
it with humor. The comically brilliant film emphasizes natural responses all
humans have at least experienced once, such as clumsiness and awkwardness.
These traits are specifically enacted by the amusing character of Andrew Steyn.
The film entails abrupt funny moments that build the plot. Steyn’s persona stands
out the most and highlights his silly behavior, especially aside the glowing
character of Kate Thompson. Uys hilariously dramatizes his particular attribute:
“His inability to purport himself … creates sexual tension, and even portrays
Andrew as clumsy and dumb [;] in reality, he is merely trying to accommodate
Kate in an environment that she is not accustomed to” (Gottwald, Par.5). In addition to Steyn, Xi is also a hilarious
character. Since he comes from a complete paradoxical lifestyle compared to the
modern world, his discovery of modern innovations is playfully exhibited. Mpudi
teaches Xi how to ride one of the vehicles, and Steyn later asks him to drive it.
Xi’s attempt is not successful at first, but when he drives facing backwards,
it humorously works out for him. It is impressive to watch him struggle but
succeed with modern gadgets (Uys, 1:32:12). In rendering humor, Uys creates
scenes with Steyn’s persona and includes Xi’s innocence and complete
disorientation as part of the human emotion that anyone, regardless of race,
can relate to. In an interview with the New York Times,
Uys states, “Everybody’s funny, whether white, black or brown… you like
to see the funny side of the human condition, and you don’t see their color'' (Klemesrud). This is the unofficial theme and purpose
of his film, and Uys made sure to emphasize the propensity of humor within each
persona, again disregarding notions of apartheid.
The art of bravery is
another major theme that Uys brushes upon. Saturated with the humor of each
psyche, selfless acts are displayed all throughout the story line. An
unrecognized heroine in this plot is Kate Thompson. She illustrates incredible
valor. In the beginning of the film she relinquishes her journalism occupation
to teach in a small town that gravely lacks instructors. Andrew Steyn becomes
her guide to the village, but her determination further prompts her to risk her
own life to save the ones of her small pupils. The villain, Sam Boga, threatens
the lives of children to save his own and helpless Kate is bearing the dilemma
on her own. She loudly expresses the needs of her children, regardless of her
being captive with them as well. “The children need to rest.” Moreover,
tempting the leader, she proclaims, “Are you scared you’ll spoil your image if
you admit you let them escape?” (Uys, 1:26:45). In her moments of gallantry,
she constantly provides agency and comfort toward the young. Again, she too
abandons her privileges when she decides to teach a minority group. Similar to
the legendary Neerja Bhanot, who lost her life protecting children on her
flight from a hijacker’s bullets, Kate risks her existence to shield children
without question as well (Neerja). When affiliated with a crisis, charting
through it “demonstrates how a heightened vulnerability signals the emergence
of a potential strength, creating a dangerous opportunity for growth” (Gilligan
p.139). These actions require concealing narcissistic impulses, that in turn,
ignite a realm of empathy and altruism.
The ferocious intruders have
unimaginably ruptured South Africa ruthlessly implying explicit commands to
separate skin from soul and disguise respect with neglect. Nevertheless, the
dynamic voices that roar across the globe, in spite of an injustice, reflect a
deeper, larger comprehension of a post-colonial and post-conventional moral awareness
(Kohlberg). Uys applies such consciousness through the intimate alliances that
the hilarious and courageous characters possess, as well as indirectly defying
the laws of apartheid. Being extraordinary souls enfleshed in capable and
mighty bodies, we must accept and celebrate the differences we bear for the
real pursuit of the film is to help us lift the burdens from one another.
Works Cited
Auguste,
Ralph. “Apartheid vs Jim Crow.” Academia.edu - Share Research, www.academia.edu/10496111/Apartheid_vs_Jim_Crow.
Baden,
Graham T. “Film Analysis - The Gods Must Be Crazy.” Regarding Race, Nation,
and Our Future, 5 May 2015, http://grahambaden.com/2014/04/04/the-gods-must-be-crazy/
.
Bhanot, Neerja. Pan American Pursuer. Wikipedia, Wikimedia Foundation, 11 Apr.
2018, en.wikipedia.org/wiki/Neerja_Bhanot.
Dreamtime.
“Dreamtime Meaning.” Aboriginal Art & Culture Alice Springs Australia, www.aboriginalart.com.au/culture/dreamtime2.html.
Gilligan,
Carol. In a Different Voice: Psychological Theory and Women's Development.
Harvard University Press, 2016.
Gordon, Kirpal. Class
discussion 2 Feb. 2018.
Gottwald, Benny. “Putting Masculinity on the Chopping Block”.
Taking Giant Steps. Feb.6, 2018.
Klemesrud,
Judy. “'The Gods Must Be Crazy’ -A Truly International Hit.” The New
York Times, 28 Apr. 1985, www.nytimes.com/1985/04/28/movies/the-gods-must-be-crazy-a-truly-international-hit.html.
Kohlberg, Lawrence. Lawrence
Kohlberg’s Stages of Moral Development. 1958.
Sahistory. “A
History of Apartheid in South Africa.” South African History Online, 15 Mar. 2018, www.sahistory.org.za/article/history-apartheid-south-africa.
Tutu, Desmond. South African religious leader, anti-apartheid and
human rights activist.
Uys, Jamie, Director, writer
and director. The Gods Must Be Crazy.
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