Cry Freedom and Issues of Human Rights - Movie Review Example

The issues of human rights and their violations, the difficulties of the pioneers in the field of social works, and the reforms to come out of the nexus of theory, ideology, and troubles while implicating them, have found rigorous mention and enough space within the framework of the modern cinema.

“Cry Freedom”, a film released in the year 1987 by Richard Attenborough, is a British drama film that is set against the backdrop of social scenarios during the late 70s in South Africa. The film projects the life events and revolts of the black activists against Apartheid named Stephen Biko and his compatriot Donald Woods. The film introspects the themes and social issues, like Apartheid, racial discrimination, and abuse, and corruption in politics as well as the aftermath and repercussions that evolve from violence.

There are myriad facets and aspects of the violation of basic human rights portrayed in the film along with the epoch-making struggle of the pioneer in the locale to fight back against the violence which was inflicted upon his fellow citizens (Claude and Weston, “Human Rights in the World Community Issues and Action”). The character, Steve Biko, played by Denzel Washington, is a staunch supporter of the protection of the rights of blacks in South Africa. As an activist, he has been condoned from exercising his movements. On the other end, Donald Woods, who is a journalist by profession, played by Kevin Kline, gets the message of the slum demolition in East London South Africa and runs on-spot to gather more information regarding the evacuation. Here, Donald comes across the information that Steve is banned and is confined within the area of King William’s Town.

At the outset of the film, one watches that Donald is against the ban of Biko, but is skeptical about his exact political views. Biko calls Donald to see the dehumanized conditions in which the blacks within the slums live and thereafter talk about his vision for an advanced South Africa with equal potential and opportunities for both black and white populations. A gradual understanding between Biko and Donald consequently deepens their friendship when Donald not only starts to comprehend Biko’s philosophy but also began to follow his dreams and ideals (Maslin, “Cry Freedom (1987)”).

In the film, the impositions and violations of human rights are shown by the way the South African government tries to condone the non-violent plunges of Biko, which he intends to run against the practice of Apartheid and dehumanized conditions of black people in South Africa. Consequentially, Biko has been shown arrested for giving a speech before the mass gathered in front of the banishment zone. He is vandalized off his property and security forces; even threat Woods for his attempts to meet Jimmy Kruger played by John Thaw, the South African minister of Justice.

However, this does not stop Biko and he attempts to reach Cape Town to address a student-run meeting. On his way, he is arrested by the police and brutally murdered in police custody without making any file of his arrest or death. At this juncture of the film, the violation of the basic rights to liberty, property, and life has been portrayed to be brutally snatched away by the South African government and manifested through its security forces, which is even more pathetic (BBC, “1978: Newspaper editor flees South Africa”).

Biko’s suspicious death in police custody along with many such incidents against the activists fighting for the demolishing of Apartheid, appear as a list and forms the epilogue of the film. The film, as a piece of realistic cinema without being overtly melodramatic, portrays the thin line of difference between idealizing the troubles faced by activists while executing those policies to attain their dreams and goals. It might sometimes lead to the brutal execution of life and tormenting extortion of their rights to liberty and properties (South African History Online, “Stephen Bantu Biko”).

The film, “Cry Freedom”, as an impeccable piece of social cinema, bears an important social message which shows that men of all ages, who stand against institutions and their atrocities, might face some catastrophic consequences but their ideals and thoughts never die; they illuminate myriad minds, culminating into great revolution and protest march. Most importantly, the movement of Biko was non-violent, but the kind of violence with which he has been murdered in police custody again raises questions and critical thoughts about terrorism across the globe.