A perilous journey encompassing prejudice and morality, “The Power of One” demonstrates how film can illuminate the human condition and the ability for one voice to become powerful, even when the whole world is silent. Alex Watson From the birth of the human voice, the ability to share stories has manifested into our main social device for communicating the lessons our human race as a species has learnt from the world and the things within it. The existential, the spiritual, even the laborious grind of everyday life; all aspects of humanity, are explored through the stories we tell.
Within the archetype in relation to film, also lies the potential for serious discussion and consideration of themes and issues that allow people to redefine their experiences and interactions with others. Through this art form we arrive at a deep understanding of the human experience. The Power of One is a film confronts its audience with a dark time in human history. Created by the brilliant Bryce Courtney and adapted to the screen by John G.
Avildsen, ‘The Power of One’ follows the life of Peter Philip (Peekay) an English boy brought up within a divided society; a divide that eventually leads to the dehumanizing phenomenon that was Apartheid. As a powerless observer of the effects of the Boer War, and the tensions created by its competing cultures, Peekay witnesses the power struggle between the Afrikaners and the English South Africans. Living his life among those who despise him, Peekay learns about the importance of peace through a series of wise mentors and a subjective upbringing where lessons are learnt through powerful visions of cruelty juxtaposed with the alancing power of nature.
An epic story, The Power of One rarely fails to create a sympathetic feeling within viewers while witnessing the misfortunes of Peekay’s unfortunate situation. PK stands with his Mentor Figure Geel Piet. The Mentor guides PK in the right direction and aids him in becoming the powerful man he is by the end of the film. The roles of the peacemaker in society, and the impact of immorality and prejudice, are quickly constructed as the film’s dominant themes.
These themes are expressed in a hard hitting manner, through the clever combination of characterisation, setting and symbolism that work hand in hand with vivid imagery and confronting set pieces. The director doesn’t shy away from exposing the harsh reality people were confronted with in Apartheid South Africa. The setting is in itself is used as a character. The raw beauty of the African plains where the animals roam connects deeply with the story, as it juxtaposes against the inharmonious lives of the people who claim its vast landscape.
Doc, an early mentor figure states early in the film. every question we might have can find its answer in nature. ” – Representation of historical context. In conjunction with its powerful representation of setting, The Power of One employs strong characterisation. The brilliant characterization is the product of stereotyping and the creation of easily recognizable binary opposites. The ‘bad’ guys wear dominating uniforms and enforce unruly pain among the groups. The sympathetic characters of the story are constructed in a similar stereotypical form. They are the morally victimised margins of society.
Their appearance is softer, lighter, and infinitely more likeable, while still staying true to the harsh conditions they were forced to live by in the hot African landscape. For a majority of the film, Peekay remains silent and submissive as the world around him unfolds, listening and watching, becoming an observer of the war around him. He dresses in dirty clothing, which represents how the orphanage/prison views him, someone of low worth with no importance among them. Despite the constant judgement he receives, Peekay chooses not to react rudely to the emotional and physical abuse.
He instead, acts as the peacekeeper, someone whose soul hasn’t been tainted by lies and prejudice, he’s witnessed how power tends to corrupt and “absolute power corrupts absolutely”. With this, the film situates itself as one shrouded in Terror of a government with a constant power play occurring between the segregated groups. The marginalisation of minorities becomes instantly apparent upon viewing The Power of One. Deftly, the film highlights the corrupting power of prejudice and how it affects the morality of different groups. Through the juxtaposition of several binaries: black vs white, intelligent vs ignorant we can see…
The director’s intention is to expose that the discourse of racism is not only driven by hatred and prejudice, but also from ignorance. He asserts this superbly through the contrasting relationships of Peter Philip Kenneth Keith ‘PK’ (Stephen Dorff) the accepting English schoolboy, Maria Marias (Fay Masterson) the rich Afrikaans schoolgirl who has been sheltered from the horrid truths of society, and Gideon Duma (Alois Moyo), who is desperate to save his people from white oppression. Avildsen cleverly utilises swastikas, widely recognised as symbols of evil, he uses them to portray the evil of the racism occurring in South Africa.
The underscore composed brilliantly by Hans Zimmer, provides a powerful undercurrent that flows with the other movie elements that also provides a symbolic perspective. The music/singing conjures in times of sorrow or anger. The use of this music that influences instruments, shapes how the audience should feel while watching the movie. The film applies clever aesthetic devices to further promote the themes and messages. The director used wide shots of Africa to symbolically represent the connectedness of the people, events, and settings in the story.
The struggles represented are of greater importance than the people involved. PK seen winning a boxing tournament, an important moment visually and symbolically in the film, showing PK’s power to overcome all he’s experienced. Colour shifts were also frequently used, which related to the contrasting groups of people inhabiting this great continent. The cinematography was an intimate viewing for the audience, the use of extreme close ups of the characters emotional faces were raw and confronting, providing the most realistic experience.
Zimmer’s powerful score provides of magnificently defiant undercurrent for the film. As the uniformed Afrikaans are slaughtering the innocent Zulus, Avildsen & Zimmer once again create an intertextual link, linking the setting of the cold blooded slaughter, with the most evil of acts. The massacre commences and the tragic orchestral music accompanied by the solemn vocals of African tribal music begins. The African voices foreground the Zulus’ innocence and helplessness as images of Afrikaans shooting and bashing men, women and children are projected.
The power of film to translate the mystery of the human condition and can never be underestimated. The Power of One which engages the viewer’s morals and feelings. Uses visual, auditory stylings to provide an opportunity to touch on complex ideas and important themes that are still relevant in today’s society. The Power of One exemplifies this in its purest form, creating a narrative for the human condition through its construction of the role of the peacemaker, morality and prejudice. Proving that one voice, has the ability to create change.
