Along the way we accompany them on free-lance assignments to other war-torn regions, including the former Yugoslavia and the Sudan, where one member of the group shoots what has become a world-famous photograph of a starving child stalked by a vulture. The boldness that earned the group its nickname, that prompted them to rush headlong into dangerous situations in pursuit of an image, forces them to consider difficult questions that lie at the heart of their work: When does their sense of humanity overwhelm their ambition and professional duties?
The film follows the real-life of four snappers who cover the tribal factions and violence on the streets of Soweto, able to get relative free access to the township due to the colour of their skins all white, therefore not deemed to linked to any of the warring tribal groups and the fact they all have several camera hanging around their necks.
But as well as busing themselves in the world of journalism, the four are also party animals, favouring hard drinking and spending quality time with the ladies. The sequences of them photographing the violence around them — a violence the start to become immune to — is wonderfully staged, and a scene of Ryan stumbling onto a brutal photograph of a killing that will win him a Pulitzer Prize is quite memorable.
So too a similar though very different scene where Carter travels to the Sudan and take a photo of a starving girl stalked by a menacing vulture, which will eventually win a Pulitzer for him as well. Naturally enough when they are surrounded by violence so much, it comes as no surprise that it finally impacts on them, with Ken accidentally hit by bullets by the South African army when they ineptly try and try and assault a township stronghold. Initially, the film seems like something worse: A weirdly tone-deaf portrait of a quartet of hunky guys - Greg Marinovich Ryan Philippe , Kevin Carter Taylor Kitsch , Joao Silva Neels van Jaarsveld and Ken Oosterbroek Frank Rautenbach - caught up in the dubious excitement of photographing atrocities.
The opening scene sees Phillippe, as Greg, joining a scrum of photographers snapping pictures of the corpse of a man cut down by a Zulu group in Soweto.
The Bang-Bang Club: Snapshots from a Hidden War is a autobiographical styled text about the Bang-Bang Club, a group of four South African. The Bang-Bang Club: Snapshots from a Hidden War [Greg Marinovich, Joao Silva, Archbishop Desmond Tutu] on miecliminor.tk *FREE* shipping on qualifying.
His bravado and exclusive photos earn him the respect of his peers. All four of them in a bit of poetic licence work for the same publication, under the supervision of sexy photo editor Robin Malin Akerman.
In the mornings the gang heads out in a van to photograph the latest horrors, jumping into the bloody street battles hair-raisingly re-enacted by South African extras between Zulu nationalists of the Inkatha Freedom Party and members of Nelson Mandela's African National Congress. At night, the babes and booze flow freely.
It's cheers all around when Greg becomes the first to get Robin alone in the darkroom, and then cheers again when he lands a Pulitzer for his shot of a man doused in gasoline and lit afire before being struck down by machete. There are some hints of dissonance.
A black journalist says bitterly: "Another whitey photographer making money off the spilled blood of Africans," but it takes a long time before the cracks begin to show. When they do, nearly all the dramatic heavy-lifting is left to Canadian actor Kitsch Friday Night Lights as the emotionally fragile Kevin Carter.
Carter, who loses himself in a haze of dope each night, decides to leave South Africa. He heads off to the Sudan, where he takes a famous, controversial picture of a starving little girl being stalked by a vulture. The shot earns Carter a Pulitzer as well, but cannot rescue him from his depressive tailspin.
Our nominal protagonist, Greg Phillippe in familiar, furrowed-brow, obtuse mode is slower coming to an awareness of his blocked empathy. It starts when his girlfriend, Robin, reacts in revulsion as he begins staging the lighting for a shot of a grieving mother holding her dead son. For all director Silver's attempts to simulate the experience of war photographers, he somehow manages to miss both on the wide shot and the close-up in a film that overlooks both the broader political context and the intimate psychology of his characters.
As for the pain of the victim, it remains as abstract as old newspaper images. This is a space where subscribers can engage with each other and Globe staff.
Knowing that everyone remembers Carter for the Pulitzer-prize winning photo, the drugs, and the suicide, Kitsch did not want to play the character for his last moments, but for all the moments which lead up to it. I met with her at The Times where she works now and she took me through her day-to-day work. I realised that had there not been a camera in her face, no one would ever know why or how her child died. Dust Jacket Condition: Good. The Bang-Bang Club exacted a high price of membership; Oosterbroek was killed by a stray bullet, Carter committed suicide and Marinovich was badly wounded and it's certainly not a club I would have been keen to join myself.