‘Don’t Let’s Go to the Dogs Tonight’ Review: An Extraordinary Adaptation Takes a Child’s-Eye View of an African Civil War

As a film enthusiast with a soft spot for tales of resilience and personal growth set against the backdrop of historical turmoil, I must say that “Don’t Let’s Go to the Dogs Tonight” has left an indelible mark on me. Embeth Davidtz, known primarily for her acting prowess in films like “Schindler’s List,” has proven here that she is a multi-talented gem, directing, writing, and delivering a poignant performance as the troubled mother.

2001’s memoir by Alexandra Fuller titled “Don’t Let’s Go to the Dogs Tonight” paints such a dramatic and cinematic picture of her childhood in Africa, filled with personal struggles and political turmoil against a backdrop of breathtaking landscapes. It’s surprising that it hasn’t been made into a movie earlier. However, Embeth Davidtz’s skillful adaptation was certainly worth the wait, offering an insightful portrayal of a child’s perspective on the civil war that shaped Zimbabwe, once known as Rhodesia. This was a conflict that the girl’s white colonial parents fiercely opposed.

In the role of an actress famously recognized for films such as Schindler’s List, Helena Davidtz assumes the duties of director and screenwriter for the film Don’t Let’s Go to the Dogs Tonight. Within this production, she also portrays Fuller’s melancholic, alcoholic mother – a role that, in actuality, is shared as the entire movie hinges on the minuscule yet powerfully realistic performance of Lexi Venter, who was only seven years old during filming, marking her first acting experience. It takes audacity to entrust so much responsibility to a child’s talent, but as with many of Davidtz’s decisions in this production, it proves to be a wise move.

“A wise approach for the story ‘Don’t Let’s Go to the Dogs Tonight,’ set in 1980 during a pivotal election that transitioned South Africa’s power to its Black majority, is to delve deeply into one particular phase of Fuller’s childhood. The protagonist, known as Bobo, is a disheveled boy with a consistently grubby face and unkempt hair. He’s depicted at various moments riding motorcycles or stealing cigarettes. The narrative unfolds on the family farm, which appears worn-out and covered in dust, indicative of a challenging life. The movie was filmed in South Africa, and Willie Nel’s cinematography, characterized by harsh bright light, conveys the oppressive heat of the sun.”

In this gripping game, I, a young girl named Bobo, narrate many of the events through my voiceover, delivered flawlessly by Venter. An intriguing decision made in the script is to tell the story from my perspective. Davidtz’s screenplay masterfully allows us to witness and hear the racial prejudice that permeates my surroundings, and subtly reveals the harmful beliefs I’ve unknowingly absorbed from my parents. The emotional toll of war becomes evident to us, even when it remains hidden to me.

At some point, the convoy passes through a prosperous, predominantly white neighborhood. This view allows Davidtz to understand where the Fullers fit in, giving their perceived privilege some perspective. Despite absorbing these notions, Bobo hasn’t completely lost her naivete. Through her narration, we learn that Sarah (Zikhona Bali) and Jacob (Fumani N. Shilubana) reside on the farm, with Bobo commenting that they don’t typically have surnames in Africa. Bobo cherishes Sarah and the folklore she shares from her own culture, yet she sometimes feels entitled to order Sarah around.

Venter is astonishing throughout. In close-up, she looks wide-eyed and aghast when visiting her grandfather, who has apparently had a stroke. At another point, she says of her mother, “Mum says she’d trade all of us for a horse and her dogs.” When she says, after the briefest pause, “But I know that’s not true,” her tone is not one of defiant disbelief or childlike belief, as might have been expected. It’s more nuanced, with a hint of sadness that suggests a realization just beyond her young grasp. Davidtz surely had a lot to do with that, and her editor, Nicholas Contaras, has cut all Bobo’s scenes into a sharply perfect length. Nonetheless, Venter’s work here brings to mind Anna Paquin, who won an Oscar as a child for her thoroughly believable role as a girl also who sees more than she knows in The Piano.

The predominantly South African cast mirrors Venter’s naturalism, maintaining a uniform atmosphere throughout. Rob Van Vuuren takes on the role of Bobo’s father, who frequently leaves for battles, and Anina Hope Reed portrays her older sister. Bali and Shilubana give standout performances as Sarah and Jacob; their characters subtly depict a silent rebellion against white rule that they can’t openly express.

In this movie, Davidtz plays a more prominent role as Nicola Fuller. The film’s title, “Don’t Let’s Go Home Tonight,” is derived from a line by early 20th-century writer A.P. Herbert.

There could be additional parts of Fuller’s memoir that could inspire other interpretations. It’s challenging to conceive of any rendition that might surpass the elegance of this one.

2024-08-31 10:54

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