×
You will be redirected back to your article in seconds

Sarahsara

A true story about a handicapped African girl who becomes a champion swimmer, "The Waterbaby" is dignified family entertainment with particular appeal for kids. Though it's mainly a heroic sports story, its South African setting lets filmmakers slip in an anti-racist message. Pic should interest TV and children's markets.

A true story about a handicapped African girl who becomes a champion swimmer, “The Waterbaby” is dignified family entertainment with particular appeal for kids. Though it’s mainly a heroic sports story, its South African setting lets filmmakers slip in an anti-racist message. Pic should interest TV and children’s markets.

“Waterbaby” is producer/director Renzo Martinelli’s first feature, but his long experience in sports documentaries and commercials explains film’s slick, pro look. Especially exciting are the swimming scenes, lensed underwater and above with special equipment that allows the cameraman to move at high speed.

Tale is based on the exploits of a Sudanese girl, Gadalla Gubara, who swam 22 miles at the 1974 Capri-Naples long-distance race and came in fourth — despite being crippled in one leg. With the help of Nobel Prize winner Nadine Gordimer, who revised the script, Martinelli switches the setting to South Africa.

Sarah (Kim Engelbrecht) is the daughter of well-to-do parents who send her to an elite school and encourage her to swim. She suffers from the double discrimination of being “colored” and having a handicap.

Gershe (Giulio Brogi), a badly worn sportswriter and drunk, becomes Sarah’s trainer after an hour of screen time and infinite coaxing. But once he gets started, Sarah is ready for the Capri-Naples race in no time. Though the South African Swimming Federation refuses to enroll her (for both of the aforementioned reasons), Gershe and his pint-sized sidekick (Ciro Esposito) refuse to take no for an answer. They follow Sarah through the grueling race and on to victory.

The characters are clearly drawn and appealing. Lithe, fresh Engelbrecht is a discovery as the heroine, demure and a little mysterious yet emotionally communicative. The Neapolitan-born Esposito, playing a 12-year-old mechanic who runs a garage in Capetown, adds a much-needed note of comic skepticism to an often saccharine storyline. Brogi does a good job of individualizing the cliche-ridden role of a down-and-out Italian who has become “buried in the sand” bumming around Africa. Denise Newman also rises above stereotypes as Sarah’s loving, courageous mother.

Though script is generally absorbing, it sometimes gets sidetracked — the dramatically unnecessary murder of Sarah’s father is a blatant example. Also, South Africa’s racial problems come in for some gross simplifications, marking “Waterbaby” as a children’s film. But these shortcomings shouldn’t hurt it commercially.

Pic’s fancy cinematography and art direction create a bright, attractive environment dominated by light blue — the color of the pool, but also of African walls and murals. A trip across the desert gives lensers a chance to show off some breathtaking natural scenery. The only false note is Mauro Pagani’s “We Are the Children”-style music track. On the rare occasions that local African sounds are used, pic benefits 100%.

Exploiting his advertising connections, Martinelli has worked out an innovative scheme for launching the film in Italy. The national swimming federation will sponsor its premiere in Rome, social-minded sportswear manufacturer Benetton is sponsoring screenings in elementary schools, and controversial ad king Oliviero Toscani designed the posters.

Sarahsara

Production: An Istituto Luce/Italnoleggio release. A Martinelli Film Co. International/RAI-TV Channel 1/Istituto Luce production. Produced, directed by Renzo Martinelli. Screenplay, Martinelli, Maurizio D'Adda, Giulio Paradisi. Script supervision, Nadine Gordimer.

Crew: Camera (color), Fabio Cianchetti, Giuliano Giustini; camera operator, Martinelli; editor, Osvaldo Bargero; music, Mauro Pagani; art direction, Lisa Hart, Graeme Germond, Ada Legori; costumes, Titti De Micheli. Reviewed at International Recording, Rome, Feb. 8, 1994. (In Children's Film Festival, Berlin.) Running time:112 MIN.

More Film

  • Festival director Thierry Fremaux speaks to

    Cannes: Thierry Fremaux on the Lineup's Record Number of Female Directors, American Cinema and Political Films

    The Cannes Film Festival has unveiled a lineup for its 72nd edition that includes some high-profile Hollywood titles, genre movies and films from 13 female directors. The official selection has been applauded by many for mixing established auteurs like Pedro Almodovar (“Pain and Glory”), Terrence Malick (“A Hidden Life”) and Xavier Dolan (“Matthias and Maxime”) [...]

  • RUDOLF NUREYEV 1961

    Film Review: 'Nureyev'

    It would be absurd to say that Rudolf Nureyev lived, or danced, in anyone’s shadow. He was a man who leapt and twirled and flew onstage, all muscle but light as a feather, with a freedom and force that reconfigured the human spirit. There’s no denying, though, that over the last few decades, and especially [...]

  • Die Kinder Der Toten review

    Film Review: 'Die Kinder Der Toten'

    The hills are alive (or rather, undead), with the sound of music (also mastication and the moaning of zombies) in Kelly Copper and Pavol Liska’s experimental, dialogue-free, home-movie-style riff on Elfriede Jelinek’s “Die Kinder Der Toten” (The Children of the Dead). A seminal text in Jelinek’s native Austria, the 1995 book has never been translated [...]

  • Idol review

    Film Review: 'Idol'

    How many twists can a plot undergo before it snaps? This, more than any of the many political, moral and personal conundrums that snake through “Idol,” seems to be the question writer-director Lee Su-jin is most interested in posing with his extravagantly incomprehensible sophomore feature. A seedy political thriller by way of grisly revenge movie [...]

  • The Last to See Them review

    Film Review: 'The Last to See Them'

    Truman Capote’s “In Cold Blood” stretches long as a late-evening shadow over Italian director Sara Summa’s feature debut “The Last to See Them.” The Italian title, “Gli Ultimi Viderli Vivere” which translates literally to “The Last to See Them Alive,” is also the heading of the opening chapter of Capote’s book. The setting is, similarly, [...]

  • Kalank

    Film Review: ‘Kalank’

    Events leading to the 1947 Partition of India serve as the forebodingly serious backdrop for the exhaustingly overextended razzmatazz of “Kalank,” writer-director Abhishek Varman’s lavish but ponderous Bollywood extravaganza, which opened in the U.S. on more than 300 screens the same day as its Indian release. Despite the preponderance of sets and costumes spectacular enough [...]

  • WGA Agency Packaging Fight Placeholder Writer

    WGA: 92 Percent of Writers Who Signed Statement of Support Have Fired Agents

    The Writers Guild of America estimated that over 92 percent of their members who support a new code of conduct for talent agencies have fired those representatives. Letters announcing formal termination will be delivered on Monday, the guild said in a late-hitting memo on Thursday, as most agencies will be closed tomorrow in observance of [...]

More From Our Brands

Access exclusive content