'Ghett'a Life': a social commentary

When i was recently invited to see a special viewing of the uniquely Jamaican film, Ghett'a Life, a portion of the email read: "... Although violent, (it) shows an extremely sensitive analysis of inner-city life in its entirety. It is a picture about a young person who overcomes the challenges of his life and comes good."

I am a regular moviegoer; for me, the cinema provides a needed diversion and a brief escape from the realities and the stresses of life. In spite of the description, I expected to see a technically substandard, rough and, perhaps, raucous film filled with depictions of abject poverty, squalor, exploitation, sex, gratuitous violence, hard times, frustration and sadness. It was, therefore, only out of courtesy that I accepted the invitation and adjusted my work schedule to make it to the cinema at 11 o'clock on a Saturday morning.

During the moderator's preamble, I lost count of the number of times he alluded to his criterion (a social conscience) for selecting the invitees. So, by the time the movie began, my expectations had been somewhat altered but, nevertheless, it was, after all, still going to be just another Jamaican film about 'ghetto life' - or so I thought.

The movie was produced by Jamrock Films. The picture and sound quality were of the highest international standards, which enhanced the 'watchability' factor. Writer/director Chris Browne far exceeded his previous effort (Third World Cop, 1999). However, in all fairness, this is immeasurably more than a movie - it is a soul-spun presentation that begged for intervention from inside and outside the ghetto, from the rich and the poor, from the empowered and the disempowered, from the enchanted and the disenchanted, from home and abroad, from you and from me.

Gripping representation

This is as close to ghetto life as most viewers will ever get. While remaining focused on the theme of the movie and the message in his film, Mr Browne delivered a gripping representation of everyday inner-city life; the ridiculousness of entrenched politico-gang division, rivalry that destroys many lives (while benefiting only a few) and the easy availability of guns (destructive tools for the resolution of all conflicts/disagreements). There was just enough violence and expletives to make necessary points and move the plot forward while bestowing authenticity.

The plot was straightforward and - unlike what most other moviemakers do in order to increase the commercial value of their films -Mr Browne never wavered from it. Viewers were able to connect with, understand and even empathise with the appropriate characters from both sides of the politico-gang divide. Although not based directly on any particular factual events, it felt like a docudrama. It was an accurate representation of several snippets of life in the inner-city, complete with indoctrination/socialisation, violent coercion, and betrayal. However, it ended with hope.

Kudos to veteran actors Teddy Price (boxing club owner/manager Jingles), Winston 'Bello' Bell (coach Manuel), Carl Davis (Lenford), Christopher McFarlane (Don Sin), Lenford Salmon (MP Hewlett), and Karen Robinson (Dawn). Very special praise and appreciation are in order for excellent performances by neophyte thespians Kevoy Burton (lead character, Derrick), Odane Oliver (Big Toe), Kadeem Wilson (Gully Rat) and Lisa Williams (Camella).

They, along with cameo appearances by Rohan Daley ('CVM At Sunrise' host/sports commentator), Kerlyn Brown (CVM news anchor) and Etana (singer/songwriter), significantly contributed to the believability factor that helped make the film realistic, emotionally moving and enthralling.

Aside from the worldwide distribution and acclaim that it deserves, it should be required viewing for all appropriate ages. I intend to see it again.

Garth A. Rattray is a physician with a family practice. Email feedback to columns@gleanerjm.com and garthrattray@gmail.com.