Bopha!
(1993)
PG-13 | 120 mins | Drama | 24 September 1993
Director:
Morgan FreemanWriters:
Brian Bird, John WierickProducer:
Lawrence TaubmanCinematographer:
David WatkinEditor:
Neil TravisProduction Designer:
Michael PhilipsProduction Companies:
Arsenio Hall Communications , Taubman Entertainment GroupThe following title card precedes opening credits: “In Zulu, it means arrest…detention.”
Production notes in AMPAS library files stated that producer Lawrence Taubman and co-producer Lori McCreary began development after seeing performances of Percy Mtwa’s stage play, Bopha!, in the mid-1980s. According to a 17 Sep 1993 HR news story, the producers spent ten days creating production boards, shooting prospective locations, and budgeting the film in Zimbabwe before pitching the $11 million project to Miramax, Fine Line Features, and New Line Cinema at the American Film Market. While the three turned them down, both Universal Pictures and Paramount Pictures expressed hesitant interest for several months before ultimately passing on the picture for being a “so-called ‘black film’” that was difficult to sell. The 20 Sep 1993 HR indicated that Taubman reached out to other black filmmakers, such as Sidney Poitier and Quincy Jones, who also declined.
Sometime later, Taubman went on a blind date with a woman who referred him to Karen Tangorra, Vice President of Arsenio Hall Communications, the production company owned by comedian and television host, Arsenio Hall. Hall loved the project, and used his existing relationship with Paramount to convince executives there to distribute the film, which he would executive produce. The 20 Apr 1992 Var reported that Morgan Freeman was hired to make his directorial debut. While Hall lobbied for a $13 million budget, Paramount’s Brandon Tartikoff was hesitant to allow more than $10 million, claiming that the project had similarities to the South African-set, Freeman-starring film, The Power of One (1992, see entry), which was not performing well at the box office.
A 15 ...
The following title card precedes opening credits: “In Zulu, it means arrest…detention.”
Production notes in AMPAS library files stated that producer Lawrence Taubman and co-producer Lori McCreary began development after seeing performances of Percy Mtwa’s stage play, Bopha!, in the mid-1980s. According to a 17 Sep 1993 HR news story, the producers spent ten days creating production boards, shooting prospective locations, and budgeting the film in Zimbabwe before pitching the $11 million project to Miramax, Fine Line Features, and New Line Cinema at the American Film Market. While the three turned them down, both Universal Pictures and Paramount Pictures expressed hesitant interest for several months before ultimately passing on the picture for being a “so-called ‘black film’” that was difficult to sell. The 20 Sep 1993 HR indicated that Taubman reached out to other black filmmakers, such as Sidney Poitier and Quincy Jones, who also declined.
Sometime later, Taubman went on a blind date with a woman who referred him to Karen Tangorra, Vice President of Arsenio Hall Communications, the production company owned by comedian and television host, Arsenio Hall. Hall loved the project, and used his existing relationship with Paramount to convince executives there to distribute the film, which he would executive produce. The 20 Apr 1992 Var reported that Morgan Freeman was hired to make his directorial debut. While Hall lobbied for a $13 million budget, Paramount’s Brandon Tartikoff was hesitant to allow more than $10 million, claiming that the project had similarities to the South African-set, Freeman-starring film, The Power of One (1992, see entry), which was not performing well at the box office.
A 15 Jun 1992 DV story suggested that Bopha! was temporarily re-titled without punctuation, as Bopha.
The 25 Aug 1992 HR production chart confirmed principal photography began 24 Aug 1992. After scouting in South Africa, fifteen locations were chosen across Zimbabwe, including the Goromonzi Administration building outside Harare, which required seven weeks and fifty local carpenters to redecorate as the South African Police Station. The nine-week shooting schedule was comprised of six-day workweeks. A 14 Sep 1992 HR brief stated that residents of Goromonzi filed a complaint with legislators after local government officials used their positions to secure roles as background actors, leaving no vacancies for the unemployed villagers. According to the 26 Sep 1993 Long Beach Press Telegram, production was completed on time and under budget.
On 2 Aug 1993, New York magazine claimed that Hall held an exclusive test screening for Nelson Mandela, who was given final approval of the film. A 17 Aug 1993 DV story announced that Bopha! was scheduled among the screenings at the Festival of Festivals in Toronto, Canada, in early Sep 1993. 23 Sep 1993 DV and LAT items indicated that the 21 Sep 1993 U.S. premiere sponsored by Paramount and the Reebok Foundation raised $80,000 for Artists for a Free South Africa, which aimed to promote awareness for South Africa’s first democratic election in Apr 1994.
Following release, the 28 Feb 1994 Var reported that Bopha! playwright Percy Mtwa filed a lawsuit to prohibit further distribution of the motion picture on grounds that filmmakers did not consult with him until the first draft of the screenplay had already been written. Although he claimed that his name was used in the picture without his consent, the 14 Mar 1994 Var announced that the case was dismissed because the contract was completed in Los Angeles, CA, beyond the jurisdiction of the court in Cape Town, South Africa.
End credits include the statement: “The Producers wish to acknowledge with gratitude the contributions made by Aubrey Radebe, Aubrey Moalosi Molefi and Sydney Khumalo to the stage play ‘Bopha!’” and note that the picture was “Filmed entirely on location in Zimbabwe.”
Producers also “gratefully acknowledge the following individuals and organizations: Government of Zimbabwe; City of Harare; the Residents and Town Council and Mufakosi; the Senior Secretary for Local Government, Rural & Urban Development; the Zimbabwe National Sports Stadium; Ministry of Information, Posts and Telecommunications; the Secretary for Education & Culture; Epworth School Committee; Kubatana Primary School; Goromonzi High School; Goromonzi Police; Goromonzi Administration Center; Marimba Park Police Station; Harare Fire Office; Institute of Technology; Sarurauda Store; Zimbabwe Republic Police Force; Zimbabwe Defense Force”; and give “Special thanks to: Cheryl Bonacci, Leslie Perlman, Margaret Black, Susan Grode, Larry Rose, Paul Harlan, Colleen Park, Robert Jacobson, Lori LaPlante, Alexandria French, British Airways, William J. Thacker II, Moviworld Ltd., Lindiwe Mazuba, Logo Visions, African National Congress, Premiere Percussion USA Inc., Marianne’s Incorporated”; and “Special thanks to Intel Corporation for use of the Pentium™ Processor.” A dedication reads: “In Memoriam, Kevin Greetham.”
In 1980 Moroka Township, South Africa, black police Sergeant Micah Mangena learns of the death of another officer, who was burned alive as a result of tensions brewing from apartheid. The news causes his wife, Rosie, to worry, and prompts his teenage son, Zweli, to doubt whether or not to follow in his father’s footsteps by joining the force. As Rosie reports to her job as a housekeeper, Micah leaves for the East Dorset Police Precinct, where he teaches a class of new cadets the value of pride, intelligence, and glory on the job. Police Commissioner Willem Van Tonder greatly admires Micah’s teaching methods, but warns that their township will soon be under strict supervision of Special Branch Captain De Villiers. Meanwhile, in Zweli’s all-black school, a rebellious student named Solomon Matanziman causes a stir by refusing to speak Afrikaans in class. Zweli quietly agrees with the sentiment, and approaches an anti-apartheid activist named Pule Rampa to help him and a group of dissenters stand up against the school system. Unaware that Zweli organized the meeting, one of Micah’s cadets overhears their plans and warns his boss. Micah leads a squad of officers to arrest Pule Rampa and some other students, while the rest, including Zweli, are allowed to escape. Pleased to have Pule in custody once again, De Villiers conducts his interrogation as Micah returns home. Zweli walks through the door moments later, claiming he was out studying with his girl friend, Thokozile “Thoko” Machikano. Just then, someone throws a rock through the Mangenas’ window, and Micah notices a burning doll hanging on their porch, left as a threat against his life. The next day, Van Tonder encourages ...
In 1980 Moroka Township, South Africa, black police Sergeant Micah Mangena learns of the death of another officer, who was burned alive as a result of tensions brewing from apartheid. The news causes his wife, Rosie, to worry, and prompts his teenage son, Zweli, to doubt whether or not to follow in his father’s footsteps by joining the force. As Rosie reports to her job as a housekeeper, Micah leaves for the East Dorset Police Precinct, where he teaches a class of new cadets the value of pride, intelligence, and glory on the job. Police Commissioner Willem Van Tonder greatly admires Micah’s teaching methods, but warns that their township will soon be under strict supervision of Special Branch Captain De Villiers. Meanwhile, in Zweli’s all-black school, a rebellious student named Solomon Matanziman causes a stir by refusing to speak Afrikaans in class. Zweli quietly agrees with the sentiment, and approaches an anti-apartheid activist named Pule Rampa to help him and a group of dissenters stand up against the school system. Unaware that Zweli organized the meeting, one of Micah’s cadets overhears their plans and warns his boss. Micah leads a squad of officers to arrest Pule Rampa and some other students, while the rest, including Zweli, are allowed to escape. Pleased to have Pule in custody once again, De Villiers conducts his interrogation as Micah returns home. Zweli walks through the door moments later, claiming he was out studying with his girl friend, Thokozile “Thoko” Machikano. Just then, someone throws a rock through the Mangenas’ window, and Micah notices a burning doll hanging on their porch, left as a threat against his life. The next day, Van Tonder encourages Micah to sleep at the police compound for his safety, and Micah reluctantly agrees. De Villiers arrests Naledi Machikano, Zweli’s friend and Thoko’s layabout brother, giving him the option of joining the South African Police (SAP) to avoid time in jail. During soccer practice, Solomon beats up Zweli, believing he set Pule up to get arrested. The two fight until Thoko breaks them up and chastises them for their childish behavior. During a visit home one evening, Rosie attempts to convince Micah that while working for the SAP would provide a stable income, it is not the job Zweli wants to pursue. She suggests Micah resign so they can move to the countryside, but he refuses. Back at the precinct, De Villiers uses violence to interrogate Pule, but the activist refuses to talk. When Micah notices De Villiers’ henchman, Reteif, leaving the cellblock, he finds Pule’s bloody body tied to a metal pole suspended horizontally across the room. Horrified, Micah urgently leads Pule back to his bed. After that year’s cadet graduation ceremony, Naledi’s father berates Micah for being a traitor to their country by serving in the SAP. In the market, Rosie is ridiculed by mothers whose sons were arrested for associating with Pule. After returning home, she bursts into tears, afraid that her life and family are being stolen from her by her husband’s duty to his job. That evening, Micah questions Zweli for not attending the ceremony and making alternate plans for his life. At school, Solomon once again defies the teacher, but is joined by Zweli and his classmates, who stand up and march out of the classroom declaring, “No more Afrikaans!” Using a megaphone, Micah orders them to return to their studies before Reteif releases a canister of teargas. As the students scatter, De Villiers instructs police to chase them through the streets and arrest them. Van Tonder is infuriated by De Villiers’ methods of conducting strip searches on the children, but the Special Branch officer convinces him such searches are necessary to prevent violent uprisings in the future. Across town, Rosie finds Zweli and Thoko preparing to leave Moroka. When Pule once again refuses to speak, De Villiers has him killed in a manner to suggest suicide. Upon realizing that Zweli has left, Micah finds him making anti-apartheid T-shirts with his friends in a hut on the outskirts of town. He warns Zweli that he will be tortured and killed if he is found, but grows angry over his son’s continued rebellion and nearly strangles him. Later, De Villiers persuades Micah that Zweli deserves “indefinite detention.” As Zweli and Thoko lead a peaceful student march to the police station, Micah and Van Tonder disperse teargas over the assembly while other officers beat children with batons and fire their guns. Micah deflects a bullet aimed at Zweli, but is forced by De Villiers to arrest his own son. The protesters retaliate by throwing Molotov cocktails at the officers and into several homes. In the police academy classroom, Van Tonder attempts to apologize to Micah and informs him that Rosie is out amongst the chaos. Micah rises from his seat without a word, leaving his uniform behind. Running home, he finds Rosie lying on the ground, but she is still alive. As other officers patrol the streets, Naledi grabs Zweli and the two escape in a police truck. Sometime later, the townspeople hold an illegal funeral for those slain during the uprising. Micah and Rosie eventually join the crowd, but numerous rebels jump on the former police officer and silently stab him with a knife. Rosie holds her dying husband’s hand as Zweli gives an inspirational speech and a line of SAP vehicles appear in the distance.
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