October 29, 1989
Benson implies that most black South Africans would condemn the final scene in "A Dry White Season." That argument ignores both the mass support that black South Africans give the African National Congress, which pursues an armed struggle, and the tenets of liberation theology as developed in South Africa. Indeed, Lindiwe Mabuza, the representative of the African National Congress to the United States, attended the Los Angeles premiere of "A Dry White Season" and said the film was authentic, moving and important.
May 7, 1989
. . . Batman is not the only masked man headed our way. New World TV plans to shoot a pilot for . . . "Zorro." . . . It's a long way from "The Last Picture Show": Timothy Bottoms has been cast in an episode of the syndicated "Freddy's Nightmares." . . . We're told that Marlon Brando--in the tradition of rotund Sidney Greenstreet and Orson Welles--truly fills the big screen in MGM/UA's upcoming "A Dry White Season."
March 24, 1991
Judging from the transcripts of the computer messages released by the Police Department, including police officers referring to African-Americans as being right out of "Gorillas in the Mist," I'd say that there are officers in the LAPD who are right out of "A Dry White Season" or "Cry Freedom" (March 19). If Field Marshal Daryl Gates doesn't see fit to resign after this latest development, he is only showing his solidarity with a troubled and racist system. SHAUN MASON Los Angeles
September 27, 1989 |
The anti-apartheid film, "A Dry White Season," was shown five times in South Africa on Monday despite an earlier ban by censors. The film, based on South African writer Andre Brink's novel, stars Donald Sutherland as a white liberal who tries to discover the truth about the deaths of his gardener and gardener's son in police custody. It contains scenes of police opening fire on schoolchildren in the black township of Soweto in 1976 and security police torturing black prisoners.
September 22, 1989 |
"A Dry White Season" (at the AMC Century 14) moves so swiftly, catching you up into its hellish chain of events, that you're left reeling. That's exactly the effect it should have, for no other contemporary mainstream film takes us so deeply, so unflinchingly, into the tragically divided heart of South Africa.
July 7, 2004
Re "A Hollywood Iconoclast Who Transformed the Art of Acting," July 3: Readers might be interested to know that Marlon Brando was a strong critic of U.S. foreign policy. After reading my March 3, 1999, Op-Ed article in The Times criticizing U.S. actions in Guatemala, Brando contacted me and initiated an hourlong discussion about the history of U.S. operations there. Outraged at U.S. military training and CIA manuals on killing in Central America, he wanted to understand how it was possible to turn normal American boys into killers and torturers abroad.