A rough tale about a cold-hearted thug (in local dialect Tsotsi means precisely that...a thug) whose luck runs out as he finds himself stuck with a crying infant on the back seat of a freshly-stolen BMW Tsotsi was last year's Oscar winner in the Best Foreign Language Production category. Shot on location in Soweto, South Africa the film examines the gradual transformation of a man who begins to see life rather differently.

Based on the novel by Athol Fugard Tsotsi is indeed one of the most curious picks for a Best Foreign Production which the Academy has made in a very, very long time. There have been quite a few films in the past that I certainly felt should not have been awarded the prestigious award (the 2002 German production Nowhere in Africa quickly comes to mind) considering what they had to compete with yet this year for the first time I am convinced that the best foreign language film did not win.

Predictable, marred by endless clichés, and frankly not up to the standards with what South Africa has produced in the past Tsotsi left me unimpressed. The story, which focuses on the moral transformation of a young man with a troubled past, could be easily inserted in a dozen or so films that we have seen in recent years, the actors substituted, and you would hardly tell why Tsotsi was singled out. Frankly, put aside the marvelous cinematography by Gavin Hood and Lance Gewer and there isn't much that I can favor over what some of the other Oscar contenders had to offer.

There are three issues that I have with Tsotsi that I believe destroyed the film's potential. First, it is the fact that despite of the spectacular camera work which Tsotsi boasts and a director who I felt was at ease with the subject the story tackles the South African cast is far and away from being believable and most of the time it clearly shows. In crucial moments where morality, one of the numerous themes the film addresses, becomes too big of a burden for Tsotsi he resorts to overused clichés (a simple glance at the lines he utters reveals plenty) that if applied in any other context (sans the issues Gavin Hood and Co. are attempting to address here) will be quickly dismissed by critics and knowledgeable fans without any recognition.

Second, there isn't a tiny bit of originality in this production and once again it clearly shows. The images of a self-destructing youth from the slums of Soveto are powerful but over-polished. Does poverty really need to be this glamorous, exotic if you will, so that it impresses those who witness it? Without being this flashy Darrell Roodt's Yesterday (2004), a South African Oscar-entry that was unceremoniously snubbed by the Academy only a year earlier, was much more convincing, alarming, and effective!!

Third, the adaptation of Athol Fugard's novel (completed in 1960) leaves plenty to be desired here. The film clearly lacks a political message even though it opts for more than one. There are glimpses of the alarming "present" South Africa is facing-blacks have entered the wealthier middle-class while a much larger contingent of people has slumped even deeper into poverty, AIDS is right around the corner, crime is an "expected" way of life. Yet, not a single one of these themes is convincingly built upon.

My impression after seeing Tsotsi is that director Gavin Hood, a man whose work I will definitely be looking for in the future, and those he directed did not know how to address the script. In fact, I am puzzled as to how such a poorly-written and cliched script, whose creators claim was "updated" as to reflect South African reality, has garnered so much attention. Last but not least I am certainly stunned to see that the Academy saw Tsotsi as the one film outshining everything else.

I realize that after the sea of glamorous reviews Tsotsi received my take on it will probably be deemed as too harsh and unfair given the history behind this production, the subject(s) it attempts to tackle. Yet, having seen Tsotsi twice now my initial impression was only further solidified-the Academy made a poor choice and this year it most certainly shows!!

How Does the DVD Look?

Presented in its original aspect ratio of 2.35:1 and enhanced for widescreen Tsotsi has been graced with a marvelous transfer: an exceptional degree of detail, strong and piercing colors, no edge-enhancement issues that would detract form your viewing experience, and an overall excellent progressive image. Furthermore, the image reveals remarkable stability with a great sharpness that certainly fits accordingly the beautiful imagery from South Africa. Last but not least even after meticulous inspection I could not spot any disturbing digital artifacts.

How Does the DVD Sound?

Presented with a Dolby Digital 5.1 Tsotsi-Taal mix the film sound exceptionally well! The audio treatment this film has received is just short of being perfect. Dialog is easy and clear to follow, the rears are very active while the center channel provides plenty of activity as well. The music, a vital part of Tsotsi, is mixed very well as it certainly provides the electrifying atmosphere during moments where such was intended. Overall, there is hardly anything here that I am unimpressed with. With optional English and Spanish subtitles.

Extras:

Miramax have provided plenty of extras for the R1 release of Tsotsi. First we have three alternate endings, each providing a commentary by the director. Without giving up the finale I must point out that they are equally unimpressive even though I do believe that Gavin Hood has chosen the most appropriate one. Next, there is a gallery of deleted scenes where once again each scene could be viewed with an optional commentary by the director. Most of the deleted scenes do not provide anything substantial to the story and in my opinion there is a good reason why they have been omitted. "The Making of Tsotsi" is one of the better pieces of supplemental material here as it actually shows plenty of footage from Soveto as well as some notable comments from the South African cast. Next, we have feature-length commentary by Gavin Hood who does an admirable job in discussing in detail the story behind the film while at the same time commenting on specific scenes. I did listen to entire commentary and I stand to my comments above that Gavin Hood is a director that will certainly be seen again with a better project. Next, there is a music video "Mdlwembe" by Zola (with a part in the film). Last but not least as an extra bonus Miramax have provided the director's short The Storekeeper which was completed in 1998 and tells the story of an old man owning a tiny shop in the middle of rural South Africa.

Final Thoughts:

Despite of the numerous accolades Tsotsi received last year I am left fairly unimpressed by it. I do not think it was the one foreign film that stood above everything else and most certainly I do not think it was the best film that South Africa produced in recent years (Yesterday was). The Miramax-produced R1 DVD is of exceptionally high-quality and as far as I am concerned if you liked the film there is hardly anything that should prevent you from owning it.