It is indeed rare to find a film that is both exquisitely crafted, yet hauntingly real. But ‘The Constant Gardener’ is able to do both – appear to be a documentary style tale on the face of it and also pull at the viewer’s heartstrings through its touching storyline. A landmark film with a definite message, it manages to evoke a sense of desperate helplessness, anger and pain all at once – as we follow the lead characters on their tedious journey in search of the truth.
Made in 2005 and directed by Fernando Meirelles, the film is based on a novel - of the same name - by John le Carre. Yet, when one watches the film, one will forget completely to compare it to the original novel – so great is the cinematic appeal. But the film definitely owes some degree of its success to the novel, after all that is where the original storyline for the movie adaptation stems from.
Made in 2005 and directed by Fernando Meirelles, the film is based on a novel - of the same name - by John le Carre. Yet, when one watches the film, one will forget completely to compare it to the original novel – so great is the cinematic appeal. But the film definitely owes some degree of its success to the novel, after all that is where the original storyline for the movie adaptation stems from.
The film is a classic example of ‘art imitating life’. This is because, like the novel, the film revolves around a pharmaceutical company’s scam involving the innocent people of Africa. The "marriage of convenience" between KDH (the company that makes the drug - Dypraxa) and ThreeBees (which tests this drug) is discovered and exposed in the movie, along with the potentially fatal tests that are carried out on the African ‘guinea pigs’.
Filmed on location in Berlin, London and Nairobi and various other parts of Kenya, the movie offers diverse settings and even more dissimilar music. Both these elements add to the dramatic nature of the film, making it appear real and vital, something that cannot possibly have been reflected with the same urgency in print.
At the start of the film itself we are shown a low point in the lead character’s life – the murder of his wife. One would usually expect such an event to lead to one’s eventual downfall/depression/alienation – but for the character of Justin Quayle (Ralph Fiennes) this incident marks a starting point in his journey towards completing his wife’s unfinished work. This is, ironically, also the start of a wondrous transition for him, from mild-mannered diplomat to vengeful truth seeker.
Fine Acting
The cast of the film does a mind-blowing job, seeming so uncannily realistic that one cannot help but be drawn into the story. Ralph Fiennes plays his role of unambitious diplomat and devoted husband to perfection. The transformation in his character is so subtle yet distinct that one cannot help but feel for the character in his time of pain and deep sense of loss. In fact he makes the character so relatable that it impossible to stare at ‘Justin’ on screen and not feel the pain mirrored in his eyes. The near-tangible suffering that one sees depicted on screen is another element that cannot be suitably generated in the minds of the audience through the printed word alone.
The cast of the film does a mind-blowing job, seeming so uncannily realistic that one cannot help but be drawn into the story. Ralph Fiennes plays his role of unambitious diplomat and devoted husband to perfection. The transformation in his character is so subtle yet distinct that one cannot help but feel for the character in his time of pain and deep sense of loss. In fact he makes the character so relatable that it impossible to stare at ‘Justin’ on screen and not feel the pain mirrored in his eyes. The near-tangible suffering that one sees depicted on screen is another element that cannot be suitably generated in the minds of the audience through the printed word alone.
Rachel Weisz shines in her portrayal of Tessa Quayle, managing to bring an easy realism to Tessa, a passionate and strong willed activist, dedicated to her cause. Her character is so diametrically opposed to that of her husband that the couple makes for an interesting study in themselves. Their differences are highlighted beautifully throughout the film, until we reach the places where they come together as a couple. Here, their chemistry appears to be so real and touching that instantly one falls into the trap of believing this skilfully constructed reality.
The rest of the cast is equally brilliant. They bring just what is required to the table, under the expert guidance of their Brazilian director, Fernando Meirelles (the Academy Award-nominated director of ‘City of God’). He unravels the intricacies of the our class system, highlighting the differences between the people of Africa and those of Britain as he darts a camera around Tessa and Arnold while they walk around Kibera. The distinction is so clear to our eyes, as the camera moves from upper-class Britain to poverty-inflicted Africa. Yet, only such a marvellous piece of cinema could make us perceive such a blaring reality.
The film is mature in its content, handling an issue of grave importance in the most forthright manner. It integrates both personal and political conflicts, revealing the kink in mankind’s armour and forcing us to open our eyes to the reality of our times. Merielles proves his mettle as a director of spirit and vision - one to be remembered for producing such a splendid cinematic interpretation of John Le Carré’s novel.
Telling Images
The cinematography of the film deserves a special mention. The images vary greatly in their look as we are taken, in the split of a second, from the cool, clinical blues and greys that are typical to Britain to the warm, earthy tones of rural Africa. Each image is so unique from the other that it tells a story in itself. The story of the great divide in our society: a story of poverty and another of privilege. One - a tale of indifference and the other - of simple faith in humanity. It is this stark contrast that lends the overall human appeal to these images, compelling the viewer to react to each frame. No matter how intense the writing, the visual impact of these diverse shots cannot be captured in black and white text. It is this disparity that causes us, as viewers, to sit back and take notice of the unfortunate state of our world today.
The images in the film are not just beautiful storytellers, but they draw the audience into the narrative – helping us explore the hugely diverse lands, cultures and people that it speaks of. We are transported from the opulent settings of Britain to the dingy shantytowns of Africa – with their rusting tin roofs and disease infested streets. There is a particular shot which pans from a golf course to a rugged location in Africa – exquisitely highlighting the gap between these two worlds without the use of actions or words. One simple image tells the whole story.
The images also underline our narrow-minded attitude to life. Let us consider the time when we find African patients with European doctors in a hospital (set up by the Westerners) and similarly when we see the Europeans, amidst the African people, against the African backdrop. We find that there is a sense of disconnection due to the contrasting elements in each image. We are so well-conditioned by now to reject what does not fit into our regular mould of what we consider ‘normal’, that such unconventional pictures make us uncomfortable or at least force us to think. They compel us to reconsider the current disparity in our society and hopefully do something about it.
Another integral element of the film is its splendid music score. Again we notice two sets of distinctive musical backgrounds. On the one hand we have the quiet, soothing music typical to Britain; and on the other hand we are exposed to the rhythmic beats of the African instruments. The latter is used particularly well to build up to an earth shattering climax in some scenes. The effect is mesmerising, yet chillingly haunting. It lends an extra punch to the storyline, giving it a new flavour.
All in all, the film makes for a gripping story and at the same time manages to leave an indelible impact in the minds of its audience. It delivers a real-life story in a beautiful cinematic package, inspiring us to rethink our role in the larger scheme of things. It draws us into an intangible web, where we are left with no choice but to evaluate our stand about the occurrences around us. We are obligated to open our eyes to the reality of things – and bound by the humanitarian streak present in each of us to do something about the atrocities that transpire in our unequal world. It teaches us a lesson in love and humanity – life lessons that most of us had forgotten, yet ones that we get to relearn only through the unique medium of cinema.
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