"Something of Value" (1957) directed by Richard Brooks like that in itself it's a segregated specimen as genre in extinction of ancient black humor now as well told as positive discrimination, which means that memory and perception view from liberal democratic from the past itself is always old and not in mood. Even though when it was the rehearsal of the movie about Mau Mau incident, in 1952 and unrest that arose in the African continent, in which alarming peasants in a suddenly butchery contributes for that it finally aliments revenge from colons. The scene of the mentor chief in sermon of life, with some of the first group of insurgents, is still of master in black and white screening and screaming.
There are some characters of hunters with bwana's spirits and in itself this movie has scenes that by its crudity shocking a while inside the home of a given farmer, constructed as a resort near a kind of precarious compound for natives a half there in unrest, which took the viewers for the tragedy and switched targets during the fighting, but its melodramatic realism surpasses the confusion by the clarification of the strengths in presence and that holds the concerned characters of the colonization in its diversified reaction, before the lack of local institutions to compromise with the unlocked way of the people, by whom had taking as peasants and servants the way of uncontrolled answer to the oppression. This movie is a failed compromise between father and son at the pace for substituting oppression by religion and civilized youth by owners against employees of the soil without changing costumes nor structure of the soil, with a local chief and a young Mau Mau in enraged and prolonged injustice, deep both in violence that caught this specific colonial situation at the brink of irrationality and army genocide by lack of comprehension for the standing that the African continent meant against European presence before independence. Except more patient compromising with religious differences and beginning of separatist mind for calming interests.
As if things were like that in Kenya at the same time, that others out of this territoriality were also thinking less in such a dramatic structure, without enough presence to understand that phase of the fighting, without rules than terror and unrest out of democratic values of the colonists at the time. No way out at this stage of the movie, only waiting for the grow up of the black baby belonging to the killed young revolutionary - in 1954, Dedan Kimathi from Aberdare forest guerrilla whose evocation is made here in this movie three years after - at the time of awakening, as premonitory it was the book from where Brooks took his screenplay.
There are some characters of hunters with bwana's spirits and in itself this movie has scenes that by its crudity shocking a while inside the home of a given farmer, constructed as a resort near a kind of precarious compound for natives a half there in unrest, which took the viewers for the tragedy and switched targets during the fighting, but its melodramatic realism surpasses the confusion by the clarification of the strengths in presence and that holds the concerned characters of the colonization in its diversified reaction, before the lack of local institutions to compromise with the unlocked way of the people, by whom had taking as peasants and servants the way of uncontrolled answer to the oppression. This movie is a failed compromise between father and son at the pace for substituting oppression by religion and civilized youth by owners against employees of the soil without changing costumes nor structure of the soil, with a local chief and a young Mau Mau in enraged and prolonged injustice, deep both in violence that caught this specific colonial situation at the brink of irrationality and army genocide by lack of comprehension for the standing that the African continent meant against European presence before independence. Except more patient compromising with religious differences and beginning of separatist mind for calming interests.
As if things were like that in Kenya at the same time, that others out of this territoriality were also thinking less in such a dramatic structure, without enough presence to understand that phase of the fighting, without rules than terror and unrest out of democratic values of the colonists at the time. No way out at this stage of the movie, only waiting for the grow up of the black baby belonging to the killed young revolutionary - in 1954, Dedan Kimathi from Aberdare forest guerrilla whose evocation is made here in this movie three years after - at the time of awakening, as premonitory it was the book from where Brooks took his screenplay.