It is so much more thought provoking and politically aware than it may seem on the surface

Rating: 8/10 (28 January 2010)

Invictus is set during the early 90s as Nelson Mandela (Morgan Freeman) is released from prison and then elected into office as the President of South Africa. South Africa at this time is divided by the contempt the blacks and whites hold for each other. Despite the objections of his office, Mandela pursues the game of Rugby as a means of uniting the country again. The national team is a disgrace though, lacking the ability to compete in matches, despite the best efforts of the captain Francois Pienaar (Matt Damon). Before he can address the issues of crime and poverty, Mandela views the game as a means of establishing an initial platform of unity for blacks and whites to live peacefully together again. He meets with Francois to inspire him to lift his team so that they can compete with some pride for the 1995 World Cup.
As an American filmmaker, Clint Eastwood came into this project with very little knowledge of Rugby Union. He stated that he had an uncle who played in the twenties but he insisted on researching the game himself by watching the students at The University of California at Berkeley practice. Invictus, the word meaning invincible in Latin, is far more than just a sporting film though. Rather, it is a examination of a country torn by conflict and the need for a passive resolution. When Mandela is told by a staff member that it is just a political calculation he states sharply that 'it is a human calculation', reflecting his concern for the lives of the individuals of his nation and the hope that the game can inspire. As with his most recent films, the skill that Eastwood brings to Invictus is indicative of his talent and experience in film-making. The film was photographed on location in Cape Town and Johannesburg by Eastwood's regular cinematographer Tom Stern and it looks particularly magnificent. The beautiful clean shots, long associated with Eastwood as a classicist filmmaker, have an expansive quality to them, projecting the harsh landscapes and the impoverished shanty homes. Eastwood has paced the film impeccably too, as despite the scope of the subject matter, it rarely lulls in its compelling nature, detailing the removal and reinstatement of the colours of the Springbok, the tension between Mandela's own security staff, Mandela's health and imprisonment and the gradual progression of the football team itself.
One of Eastwood's greatest assets as a director is the relationship he holds with his selection and control of his actors. Both Freeman and Damon are fine choices here. The former has a particular resemblance to the real Mandela and brings his physical fragility to the foray as well. His performance displays passion for his country but also smaller details, like the kindness and warmth he shows to his staff, to make him a more rounded reflection of Mandela. As this is not a autobiographical film about Mandela though, the relationship between his family is only hinted at and his voice is said by some to not be quite as accurate. Others have felt that his dialogue is too reflective of the films messages of liberating the country. Regardless, it is still highly contextual for Mandela to demonstrate to his plans and his vision for the country to his staff and doubters alike. Matt Damon has a near-perfect South African accent and he too physically enhances his role by bulking up to look like a Rugby player. He is surprisingly credible in this film, which along with The Informant! last year, demonstrates his range as more than just an action star.
The sporting scenes throughout Invictus have thankfully been filmed with as much precision as the rest of the film. Even if one does not understand the rules of Rugby, the frequent glances at the scoreboard during the matches ensure that it is still easy to understand. All of the matches are filmed with ferociousness, capturing the crunching tackles and thunderous hits. It is pleasing that Eastwood has shown his maturity here but not overloading these scenes with shaky hand-held cameras that distort ones view, like in other films. The tension here and the spectacle of some of the rapid passes and tries scored makes one question why the current state of Rugby isn't as fun or as exciting as this. Regardless of whether this seems like a conventional sporting rags to riches story, the themes and the message that are generated from this story are more significant than those regularly associated with the sporting genre. The way that an impoverished black child is allowed to move closer and closer to the radio of a white officers cop car over the course of the match is reflective of the excitement and national pride that the game brings to the country. It is certainly about more than just winning and coming out on top.
Invictus might not be as powerful or as hard-hitting as some of Eastwood's more challenging and devastatingly emotional films of recent years, but its heart is still firmly in the right place. The messages here are ones of universal interest, stressing Eastwood's more liberal views of recent years and the ability of nations of conflict to resolve their differences peacefully. This is a film that so many people will relish and respond to if they are willing to view this as more than just a film about Rugby. It is so much more thought provoking and politically aware than it may seem on the surface.