Zola Maseko’s new film The Whale Caller opened this weekend in theatres, after playing at the Durban Film Festival in July, and the Joburg Film Festival last year, where it won the award for Best African Film. It stars Sello Maake Ka-Ncube as the sexually dysfunctional whale crier and Amrain Ismail-Essop as the woman keen for his affection, in a domestic melodrama adapted by Maseko from the novel by Zakes Mda. I’ve collected other critics and reviewers’ pieces on the film here, for you to gain a broader view of the responses the film has elicited. Let me know of any others that could be included.
Click here to read The Back Row’s review of The Whale Caller.
In his review for the City Press for the screenings at Durban in July, Charl Blignaut describes the film as “a grand, silly, audacious and metaphysical tale of love, loss and jealousy,” and declares that “The Whale Caller should be one of the great South African films, but it isn’t, not by a fairly long shot.” In diagnosing its flaws, he writes,
“In my opinion, it was the casting. There was lots of big old stage acting but very little onscreen chemistry between Sello Maake Ka-Ncube’s Whale Caller and Amrain Ismail-Essop’s Saluni. And it tore a hole in the fabric of an often exquisite piece of knocky, romantic magic realism bursting with blooms of African surrealism. …
In its art direction, its visual choices, and its score by Pops Mohamed, The Whale Caller matches the lyricism of Mda’s novel. … The Whale Caller also reinvigorates the tired landscape tropes in African cinema to display a nature that is alive and seething with messages from the other side.”