Crime Drama. Director Gavin Hood. Gavin Hood Athol Fugard novel. Top credits Director Gavin Hood. See more at IMDbPro. Trailer Photos Top cast Edit. Presley Chweneyagae Tsotsi as Tsotsi. Mothusi Magano Boston as Boston. Terry Pheto Miriam as Miriam. Kenneth Nkosi Aap as Aap. Zenzo Ngqobe Butcher as Butcher. Zola Fela as Fela. Jerry Mofokeng Morris as Morris. Thembi Nyandeni Soekie as Soekie. Gavin Hood. More like this. Watch options.
Storyline Edit. In Johannesburg, a small time criminal, Tsotsi, is a teenager without feelings, hardened by his tough life. After a series of violent gang hits, Tsotsi hijacks a car. Butcher and Die Aap take a woman from the bar outside with them. Boston asks Tsotsi if he feels nothing but Tsotsi does not want to understand the question. Boston takes out a knife and cuts his arm in order to show Tsotsi how he feels about the murder earlier that night, which makes Tsotsi hate Boston even more than before.
After Boston says that even Tsotsi must have a soul, Tsotsi lunges at him and beats him up brutally until Soekie, Butcher and Die Aap enter the room and keep Tsotsi back. Then Tsotsi walks out into the night. Up to that point the plot of the film adheres quite closely to the original version.
In the film version Tsotsi rather runs out of the room instead of walking. A: Uwe Mehlbaum Author. Add to cart. Content 1. Introduction 2. Athol Fugard as a writer and the historical context 3. Apparent commercial reasons for changes in the plot 5.
Summary 6. Works cited 1. Athol Fugard as a writer and the historical context Harold Athol Lannigan Fugard was born in near the South African village of Middelburg as a child of a white father of English descent and an Afrikaner mother Afrikaner is a term for a white ethnic group in Africa, mainly descended from northwestern European settlers. Tsotsi as a novel and Tsotsi as a film - a direct comparison Although the novel and the film follow roughly the same structure, there are also many differences.
The atmosphere When a novel is adapted into a film, the writer of the screenplay and the director have many possibilities to change the atmosphere.
Gavin Hood answered an interview question about this topic in the following way: The typical gangster-ghetto style film is portrayed with lots of handheld cameras, but I wanted to use my own style instead. Cowley 3. The setting Another general difference dealing with the adaptation of novels into films is that the plot can be moved to a different place time or even a different time. When Gavin Hood, director and editor of the screenplay, was asked why he moved the setting to a time 40 or 50 years later, he answered: First of all I just thought that the great thing about Tsotsi is it's a very kind of universal story, not only could you set it in the contemporary world, but in fact you could have set it in almost any city in the world and just given it back it's flavour.
The language In the case of Tsotsi, the language was changed in the adaptation. Sign in to write a comment. Read the ebook. Nathanael West and John Schlesinger Differences Between Movie and Graphic Uncovering the sinister side of Willy A novel and its adaptation: Stanley K Vertigo d'Alfred Hitchcock comme James Fenimore Cooper: The Last of th Guilt in Ian McEwan's "Atone Le Paris de Jean-Pierre Jeunet dans l Touching Upon Boundaries.
An Analysis The p Story-time and discourse-time in the Such areas in Joburg are usually gated communities, each house surrounded by a security wall, every gate promising "armed response. Tsotsi shoots her and steals her car. Some time passes before he realizes he has a passenger: a baby boy.
Tsotsi is a killer, but he cannot kill a baby. He takes it home with him, to a room built on top of somebody else's shack. It might be wise for him to leave the baby at a church or an orphanage, but that doesn't occur to him. He has the baby, so the baby is his. We can guess that he will not abandon the boy because he has been abandoned himself, and projects upon the infant all of his own self-pity.
We realize the violence in the film has slowed. Tsotsi himself is slow to realize he has a new agenda. He uses newspapers as diapers, feeds the baby condensed milk, carries it around with him in a shopping bag. Finally, in desperation, at gunpoint, he forces a nursing mother Terry Pheto to feed the child.
She lives in a nearby shack, a clean and cheerful one. As he watches her do what he demands, something shifts inside of him, and all of his hurt and grief are awakened.
Tsotsi doesn't become a nice man. He simply stops being active as an evil one, and finds his time occupied with the child. Babies are single-minded. They want to be fed, they want to be changed, they want to be held, they want to be made much of, and they think it is their birthright. Who is Tsotsi to argue? What a simple and yet profound story this is.
It does not sentimentalize poverty or make Tsotsi more colorful or sympathetic than he should be; if he deserves praise, it is not for becoming a good man but for allowing himself to be distracted from the job of being a bad man. The nursing mother, named Miriam, is played by Terry Pheto as a quiet counterpoint to his rage.
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