A rare journey for South African cinema

Faan se Trein tells the story of a dusty town where the only certainties in life are drought and death.

Meet simple-minded Faan Oosthuizen, a middle aged man caught in a world that he doesn’t always understand, and which doesn’t understand him.

Willie Esterhuizen, who plays Faan, has made a big leap from his usual jocular roles. Known for penning and sometimes staring in TV shows and films such as Orkney Snork Nie, Vetkoekpaleis, Poena is Koning and Molly en Wors, his work has been elevated to public property in Afrikaans circles that devour his film contributions with gusto, due to its crude and hearty humour.

Now, he shocks the same audience with a role that proves there is an intelligent humour in Esterhuizen, that seeps through the screen making him the star of the show.

Anel Alexander has also become the darling of the South African big screen, especially after her success in the 2012 rom-com hit Semi-Soet.

Now, dusty and without make-up, she shines as the steadfast Truia, out to change her town’s perspective of Faan, and in the process scratches at the surface of the dark secrets and personal struggles people harbour.

Faan generates compassion, because he is truthful in his approach to the world. While the God-fearing townsfolk hide behind social niceties, he is a brash rebel, saying what he wants as he becomes a scapegoat for resentment and the unjust perceptions of society.

Where many locally produced films falter, Faan se Trein, under the keen cinematography of Amelia Henning, is glorious. Bulldozers are turned into monstrous creatures as they haunt the hills of the Karoo; a bare land is turned into a gorgeous empty canvas just waiting to be painted on with colourful characters. Under director Koos Roets the cast shines, as Faan se Trein transports you back to 1959 South Africa.

For once, statements about South African directors and actors being on top of their game, is justified.

FILMMAKERS PRAISED AT PREMIERE

On 20 January Cedar Square rolled out the red carpet for the cream of the entertainment industry as business executives, channel managers for kykNET, soap stars, sponsors, and a ravenous media came together to celebrate a good start to the South African film calendar.

But glittering gowns and tailored suits could not steal the spotlight from Faan se Trein stars Willie Esterhuizen, Deon Lotz, Anel Alexander, Marius Weyers, Nicola Hanekom, AJ van der Merwe, Cobus Rossouw and Sandra Kotzé.

Lotz, as the troubled mayor and doctor with a soft spot for Esterhuizen’s Faan, is again receiving praise for his ability to capture the spirit of his character.

In 2011 he made international waves for his portrayal of a closeted gay man obsessed with a younger man in Beauty (Skoonheid).

His latest on-screen wife, portrayed by Hanekom, also stole the show with her uncanny ability to play sickeningly sweet, dangerously patronising, and on the brink of implosion.

Weyers, a stalwart of South African theatre and film, portrays the town reverend, while Rossouw makes an appearance as Faan’s elderly, and forgiving, father.

Many of the premiere’s guests were other cast and crew members who wanted to see the fruits of their labour first hand.

Producer Helena Spring described the film as “a haunting, yet feel-good story about greed and human values”. She also thanked those involved with the production, saying their work paid off. And clearly it did.

The film has already won eight awards at the kykNET Silwerskermfees, and now that it is finally reaching the mainstream circuit on 24 January, the buzz around it could potentially beef up its winning streak.

THE STORY BEHIND THE MOVIE

Theatrephiles will know Faan se Trein as the country’s biggest box office play after it was written in the 1970s.

A love for its story, written by Pieter Fourie, has led to a film adaptation of the play, with a fresh narrative and exciting talent to bring the characters to life.

Faan se Trein is a story about a simple-minded man living in a tiny Karoo community, and his love of trains.

He lives with his aging father, Frik, and is supported by the unconditional love of their housekeeper, Truia.

But the town is divided about Faan. Some feel threatened by him and push for him to be institutionalised, far away. Others feel he is harmless.

Things come to a head when Faan’s father is awarded the contract to build the town dam, only to fall terminally ill before the work is completed.

The town doctor, a man with a dark secret, and his young resentful wife Beatrice, visit Frik. It is then that Beatrice notices the valuable possessions in Frik’s house – all destined for either Faan or the church when Frik passes on. Beatrice, overcome by desire for Faan’s inheritance, sets upon a scheme of manipulation and seduction.