The very notion of a contemporary melodrama set in post-Apartheid South Africa tricked out with the narrative and visual tropes of Spaghetti Westerns and revisionist American oaters might seem, at first blush, too film-geek clever by half. But “Five Fingers for Marseilles” turns out to be an impressively effective and engrossing cross-cultural hybrid that has a great deal more than novelty value going for it. Director Michael Matthews and scripter Sean Drummond skillfully employ recycled genre elements to enhance the mythic qualities of their slow-burn narrative and reinforce the underlying sense that their archetypical characters are fulfilling destinies as inescapable as the fates that might befall major players in a conventional Wild West saga.
During the lengthy pre-credits prologue, which unfolds during the later days of the Apartheid era, we’re brought to the outskirts of Marseilles, one of several Eastern Cape railroad towns named after European capitals, and introduced to the “Five Fingers” — childhood friends bound by...
During the lengthy pre-credits prologue, which unfolds during the later days of the Apartheid era, we’re brought to the outskirts of Marseilles, one of several Eastern Cape railroad towns named after European capitals, and introduced to the “Five Fingers” — childhood friends bound by...
- 10/27/2017
- by Joe Leydon
- Variety - Film News
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