Originally published April 4, 2018. Updated November 4, 2021.
The Forgiven, 2018.
Directed by Roland Joffe.
Starring Forest Whitaker, Eric Bana, Jeff Gum, Morne Visser, Terry Norton, Rob Gough, and Debbie Sherman.
SYNOPSIS:
After the end of Apartheid, Archbishop Desmond Tutu meets with a brutal murderer seeking redemption.
Forgiveness is already a difficult process even if the results can offer inner healing and build towards communal peace, and it’s that dynamic within The Forgiven (directed by Roland Joffe and based on the play The Archbishop and the Antichrist written by Michael Ashton) that makes for riveting material. Appointed as Chairman of the Truth and Reconciliation Commission in South Africa following the democratic election of Nelson Mandela, Academy Award winner Forest Whitaker enters the religious garments of Archbishop Desmond Tutu, finding himself caught up in the investigation of a young teenage girl while feeling summoned to the penitentiary housing Piet Blomfeld (Eric Bana), a murderous racially and politically motivated criminal who pens a letter so articulately worded that Desmond feels obligated to meet for a conversation.
As I said, The Forgiven is based on a play, so that’s generally what one should expect during the three or four lengthy dialogue exchanges between the two will that passionately debate ideas back and forth. The intensity is upped the longer each visit goes on, but what’s most fascinating is that Piet seems to be challenging Desmond to find forgiveness and grant him amnesty rather than beg or make demands. As a result, Desmond slowly begins to question his faith as time goes by, because what would a religious movie be if that wasn’t a subplot? Regardless, Whitaker and Bana complement each other’s performances very well playing polar opposites; naturally, Desmond is more tempered and sage-like while Piet is somewhat of a loose cannon, perpetually boiling with rage on the inside. That juxtaposition only serves to make their interactions further engaging, offsetting a script that while competently written doesn’t exactly match up to the stage like turns from two veteran actors.
Outside of those engaging political wars of words, The Forgiven struggles to find an identity and generate interest in the other aspects of its overall narrative. It shouldn’t come as a surprise, but the knowledge of the missing girl is connected to details Piet is aware of (something called Operation Hacksaw), but the direction never succeeds in presenting this mystery in an urgent manner. None of the supporting characters are that well-developed or particularly interesting (Desmond’s wife is a walking cliche, hounding him for his dedicated work ethic despite sickness and old age), but admittedly, the culmination of a mother’s grief during an ending courtroom sequence is powerfully moving. There are also depictions of prison life containing brutal hazing and general nastiness that are executed harrowingly and fit within the context of the beliefs Desmond and Piet wage. Predictably, it also allows Piet a chance at redemption, which is entertaining nonetheless due to the harsh look at prison life.
If it sounds like The Forgiven is a bit disjointed and all over the place, that’s because it probably is (there are even a few quick snippets of Piet’s troubled past and upbringing from a racist killer of a father), but to the credit of Roland Joffe he knows how to balance the different story arcs and bring them together in an organic way. This is assuredly noticeable during the final 30 minutes, but it is a bit odd watching a film that transitions back and forth from being a glorified play to a made-for-TV looking political drama (disappointingly, the sets don’t really capture 1990s South Africa or leave an impression) that has none of the immediacy and depth of Desmond and Piet’s banter. At times, you almost wish you were just watching the play or a prison drama.
The Forgiven is a well-meaning and educational movie (the type that a teacher might throw on during a slow day at school) anchored by a pair of overactive performances from Forest Whitaker and Eric Bana. For as much as it works there is also loads that could have been trimmed (there are countless minor characters that add nothing to Desmond as a person, instead additionally bloating the running time) to further direct focus to the Archbishop and the Antichrist. With that said, you will easily be forgiven if you choose to skip this if you already know the importance and complications of forgiveness, no matter the horrifying deed.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Flickering Myth Reviews Editor. Check here for new reviews, friend me on Facebook, follow my Twitter or Letterboxd, check out my personal non-Flickering Myth affiliated Patreon, or email me at MetalGearSolid719@gmail.com
