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If you like reggae you need to watch The Harder They Come. The reggae soundtrack is the star of this film which brought reggae to the world. You’ll also meet Ivan (played by Jimmy Cliff) a poor man from rural Jamaica trying to make it in the city.
Ivan is traveling from rural Jamaica to the city in search of work after his grandmother dies. On the way to his mother’s house in Kingston, his bus almost crashes as it tears round downhill bends and a porter almost runs away with all his belongings after he arrives. This opening is all set to a energetic reggae soundtrack, giving you a chaotic introduction to the life and sound of Jamaica.
Ivan comes to the city in search of work, however work is scarce. Everywhere he goes he meets unskilled people like him also looking for work. He eventually manages to get a job after he fixes a broken bicycle, but gets thrown into prison after he slashes the bikes original owner when he tries to take it back. It’s at this stage of the film that Ivan’s hate for authority starts building.
You’re led to believe that it’s a combination of these reasons that makes Ivan kill a cop. However, it’s the film he watches (Django) which causes him to continue killing cops. The film romanticizes the outsider fighting against authority. In the clip we see, Django takes on a whole regiment of KKK members by himself while the whole crowd cheers on.
And it’s these shots of the crowd cheering on Django that director Perry Henzell chooses to show us interrupting Ivan’s cop-killing spree. Ivan’s popularity and fame grows rapidly when he’s on the run, much quicker than after he sold his hit song to that rich record producer. Like Django, he becomes an anti-hero in Jamaica because he’s a poor, downtrodden man who stands up to authority. Even though cop-killing isn’t really justified, the public cheer him on.
Whilst Henzell gives Ivan enough reason to hate authority, he doesn’t really justify Ivan’s complete u-turn mid-film from a guy trying to find work into a full on criminal. As a result, a lot of the sympathy you feel for Ivan which is built up in the first half of the movie is forgotten.
Therefore, my advice is not to watch this film for it’s plot. For example, you wouldn’t watch Arnold Schwarzenegger’s Predator for it’s great storyline. Instead, watch this film because it’s entertaining, it has a great soundtrack, and it finally brought Jamaica to the big screen.
A Taste of Our Land is the first narrative feature I’ve seen that speaks to the rising Chinese influence in African countries. It’s inspired by the director’s experience working in a Chinese mine in Rwanda, where he saw a colleague beaten so badly he was hospitalized. His crime? To ask for his pay.
A Taste of Our Land features a similarly brutal Chinese-run mine in Uganda. It’s operated by a Chinese convict named Cheng that brutally beats his employees for any acts of dissent. He works for a Chinese company that don’t appear in the film. We only hear them on the other end of Cheng’s phone, emphasizing their disregard for Africa and it’s people. They’re extracting Africa’s wealth from abroad with the help of a criminal. It paints a surprisingly blunt picture of the exploitative motivations of China in Africa
The victim of this film is an older African man called Yohani who struggles to provide for his pregnant wife. He tries to get compensation for the Chinese mine which was built on his land without permission. However, because the local authorities he appeals to have already been paid off, there’s nothing he can do. The African authorities have sold him out for temporary wealth.
When Yohani discovers a nugget of gold on his land, he becomes an obvious allegory of the world’s exploitation of Africa. Three protagonists are after his new found wealth, and each one of them representatives a different world power.
Credit is due to the filmmakers for avoiding the conventional African film tropes of war, HIV, and witchcraft to focus on the growing Chinese influence in Africa. It’s rare to see an African film implicating other national powers and religious institutions so blatantly in its demise. However, A Taste of Our Land’s bad acting makes the allegories a bit too obvious. It highlights the heavy handedness of the script and lack of production quality of the film (it’s made on a spartan $12,000 budget). As a result, what could be a subtle implication of religious and national powers in Africa’s exploitation comparable to Andrey Zvyagintsev’s Leviathan, ends up feeling a bit stereotypically comical.
Head to our Pan African Film Festival Hub for more reviews from PAFF 2020.
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