There is an exchange between the titular character and Miriam (Terry Pheto) about Miriam’s two glass art pieces. Both pieces have similar geometric shapes yet are different in color. Tsotsi, played by the incredible Presley Chweneyagae, asked about the differences and what they represent. Miriam replied when she created the rusty and bleak glass art piece, she was sad, oppose to her colorful and vibrant glass art piece, which she was happy. This is an excellent example of how screenwriter and director, Gavin Hood, illustrates the two different social classes in Johannesburg, South Africa, by using symbolism with color, dialogue, and unique film techniques. Through Lance Gewer’s amazing cinematography and Hood’s direction and writing, Tsotsi tackles difficult subject matters about class, individualism, and the powers that may dictate a person’s livelihood.
Throughout the film, there is a through line about social classism. Tsotsi is from the township in Soweto, marginalized in society. He lives in a small shack with very little to his name. Pumla (Nambitha Mpumlwana), the woman that Tsotsi shot while stealing her car, is wealthy and lives in a neighborhood outside of the slums of Soweto. The aforementioned glass art pieces of Miriam epitomize the two main conflicting social classes in Johannesburg, the poor and the rich. Tsotsi’s shack is made of rusty sheets of corrugated metal and plywood. It is barely standing up. Like Miriam glass art pieces, the rusty piece was created out of sadness, similar to Tsotsi’s upbringing. The trauma he experienced echoes the sadness he has endured throughout his life. From his mother’s death to his father’s abuse, Tsotsi’s rusty shack is a representation of lost hope. Contrary to Tsotsi’s shack, Pumla and her family home is vibrant and full of color. Her baby’s room is imaginative with colors. The animals in her crib are colorful and seem to be alive. Even Pumla’s master bedroom with her husband is gaudy. Pillows, bed sheets, and curtains are purple and violet—perhaps it represents royalty and honor, and how their lives are prosperous—while the red decor is a representation of their love. Unlike Tsotsi’s life, Pumla’s family is happy and buoyant. For both cases, Tsotsi’s shack and Pumla’s home are expressed in Miriam’s glass art pieces. They are a reminder of what had happened during the Apartheid, and in many cases, it wasn’t just institutionalized racial segregation, but also institutionalized class segregation. From Tsotsi, there is resentment towards people who are financially stabled or fortunate to live their lives without living his struggles. Yet, the institutions that are supposed to provide resources to Tsotsi, also ignore his circumstances. As a viewer, we are supposed to believe the people living in the slums are dire and hooligans, granted Tsotsi is a gang leader, but he does petty crimes, until he shot the woman. The classism is reflected upon what the viewer thinks of Tsotsi’s situation. He was wrong but the system is not benefiting him, it failed to recognize him.
Besides the symbolism in colors, the dialogue, although subtle with its message, is thought-provoking. One particular scene stands out. Several characters socializing at a restaurant, or some sort of establishment. A wealthy gang leader, Fela (Zola), is attempting to recruit Boston, Aap, and Butcher (Mothusi Magano, Kenneth Nkosi, Zenzo Ngqobe)—all are Tsotsi’s friends. They are joking and gambling, until Boston challenges Fela about the meaning of the word ‘decency’. Fela obnoxiously answers but doesn’t really know. Boston replied with “Respect, man, for yourself”, in a way, this is one of the main messages in the film. Having dignity, pride, self-respect. We watched Tsotsi and his friends propel themselves into a horrendous predicament, because their erratic decisions got the best of them. Every decision isn’t thoughtfully decided. They always acted on emotions. They aren’t living decently, instead it is inappropriate. We can’t blame them. Throughout Tsotsi journey we see him trying to live decently. He is challenged since he accidentally kidnapped the baby. He is looking to find respect through the baby, which allows him to reconsider his decisions, and for the first time, probably in a while, he isn’t acting on his emotions, but through compassion and goodwill. I believe all the characters are trying to find decency. Living a decent life. Can’t imagine how an individual is living in South Africa, especially in Johannesburg.
Relating to decency, is also the idea of individualism in the film. Whether or not Tsotsi can live independently without relying on friends or strangers. In many cases, Tsotsi relies on a weapon over his intelligence. It is always leading his decisions. Due to his traumatic experiences, he has lived on his own as an orphan, until he met his gang. In his gang, he adapted the moniker, Tsotsi. His actual name is David. I found it fascinating that his name was David. The name is Hebrew, which means “beloved”. There are several stories about David in the bible, but one particular parable is well known, the story of David and Goliath. In the parable, David defeats Goliath. Goliath can be a representation of many things. For Tsotsi, it is his will to change. He must overcome the obstacles of a broken system, that is constructed to keep people poor, classism, and the Apartheid. To earn this, he seeks individualism by taking care of the baby he kidnapped. He finds empathy through characters like Miriam, Boston, Morris (Jerry Mofokeng), and to an extent, Pumla’s husband, John. They are individuals representing the different social classes, yet due to the Apartheid, they are not necessarily equals to their white South Africans counterparts.
Towards the end of the film, there was no better interpretation about Tsotsi becoming a better human being than him interacting with Morris for the last time. Prior to the scene, Tsotsi decided to return the baby to his family but before he does, he wanted to make amends with several people he had interactions with throughout the film. Morris is one of the individuals. The scene is endearing. Right before meeting Morris we see Tsotsi leaving a train. He has a white shirt, which represented his purity, because throughout the film he has always wore dark clothes, this represented how unclear his life is, hindered by uncertainty. He walks upstairs, which is literally him rising above. This scene encompassed his growth as a character. He is growing, gaining goodwill, earning respect. Although it might feel obvious, the messaging of the scene is subtle. It’s literally a couple of seconds long but it’s a remarkable feat for Tsotsi. Initially, I didn’t know what to make of Tsotsi character. I despised him. I don’t condone his criminal actions in the film, yet I also have to consider the circumstance he was put into. In America, we are also faced with the same division in our social classes. After watching Tsotsi, I learned that we need to be more empathetic and listen to each other, especially those who are marginalized. Understand, as individuals, we are not alone, and we need to help each other.
Leave a Reply