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In the movie, Freeman tells the story of a South African police officer named Micah (Danny Glover), whose job upholding the white man's law brings him into conflict with his conscience, his people and even his own son. And in the telling, Freeman keeps his focus tight and his style simple. He's not grasping for any grand truths here -- just the normal, everyday ones that emerge out of the carefully observed details of his characters' lives. Set in 1980 in a small township, the film deals with the effect of apartheid on one man and his family. A proud, diligent, even-tempered man, Micah is proud to be seen as the symbol of law and order in his community. When he puts on his uniform, he does so with pride, and nothing would make him happier than to see his son, Zweli (Maynard Eziashi), follow in his footsteps. For Micah, it makes no difference that the white man calls the shots. His life is good, and he is able to provide well for his wife, Rosie (Alfre Woodard), and to keep a secure roof over their heads. For Zweli and his classmates, though, the white man's yoke has become increasingly difficult to shoulder. At school, the students are forced to answer all questions in Afrikaans, the language of their oppressors, even though they've asked repeatedly to be taught in English. Until now, the village has been relatively quiet. Recently, though, violence in the area has increased dramatically. A policeman has even been "necklaced" (burned to death with a rubber tire around his neck), and members of the government's Special Branch are dispatched to restore order. For a time, Zweli only dabbles in the protests, working in the background instead of out front. Eventually, though, he is forced to make a choice. Although he doesn't want to disappoint his father, he cannot join him in supporting the status quo -- a decision that puts father and son on opposite sides of the law. For Micah, these are puzzling times, and Glover does a phenomenal job of showing how this man has found a comfortable niche within the white man's world without compromising his integrity. For him, the need for self-rule is irrelevant, while for his son it is crucial. Freeman lays out the father-son dynamics with great skill and very little fuss. There's no hysteria in his approach; instead, he sticks to the facts, relying on his cast to provide the emotion. The result is a surprisingly powerful, insightful film. The dramatic curve of the narrative may not seem entirely fresh, and some of the characters are simplistic, but the movie still gets to you. When Micah goes down, he takes us with him.
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