nan | 楠木

The Last King of Scotland is a film of many facets and virtues. It is at once a fascinating biopic of a psychopathic dictator as well as a biting critique of the western world’s forays into Africa. It offers some splendid acting by its two charismatic leads (Forest Whitaker and James McAvoy), and the rich if noisy soundtrack accompanies the vivid cinematography, and together make for a fulfilling and content-rich two hours of film.

Based partially on some real-life events, the film is nonetheless a work of fiction, offering a glimpse into the life of Idi Amin, the notorious dictator of Uganda of the 1970s. James McAvoy is a Scottish doctor, Nicholas Garrigan, who is fresh out of school and looking for fun and thrills. That his thrill-seeking should land him in Uganda is a bit of a stretch; but nonetheless the young man packs his bags and goes where he believes fate has decided for him.

Even in the first few moments of the film, while the credits are still rolling, we get to see the frivolous side of the young man, as he eagerly beds a fellow female passenger. His frivolous attitude seems likable at this point, as he is just a young man in a new and exciting world.

Garrigan arrives at his destination, a small rural clinic where a white doctor resides with his wife Sarah, played by the charming Gillian Anderson. Young Garrigan, casual and thrill-seeking, soon approaches Sarah, but Sarah is loyal to her husband.

Meanwhile, the country is undergoing political turmoil, as General Idi Amin topples the president. Through a bizarre incident, Garrigan encounters the charismatic general personally, and his recklessness in front of the general (as well as his Scottish nationality) leaves a lasting impression. He is offered the chance to be the general-now-president’s personal physician. Which is really a dream job, or so it seems.

Instead, Garrigan finds himself way in over his head, plunged into the twisted politics of Uganda. The charismatic general is at the very center of it: the man can be both delightfully charming and frighteningly paranoid and violent, depending on whatever mood he’s in. “You’re just a child,” Garrigan remarks towards the end of the film, but so is he, as his frivolity and naivety causes real casualties: his unfounded suspicions of the health minister leads to the man’s death, and his infidelity with one of Amin’s wives leads to the woman’s brutal murder. Ironically, Garrigan himself escapes death, being saved by a black doctor, so that he “could tell the world the truth”.

At the center of this politically charged thriller is Amin, played with real passion by Forest Whitaker. Amin is at times charming, at times vulnerable, at times paranoid, and at times  furious. Mr. Whitaker makes it believable that so many different attitudes and behaviors could belong to the same person, a troubled psychopath at the helm of a nation. He is surrounded by the most dismal group of people: fellow sociopaths who love nothing else than brutality against fellow countrymen; good-willed politicians who don’t know how to please the president and get whacked; conniving foreign diplomats (esp. the British), who wish to influence the course of things. It should be little surprise that the constantly paranoid Amin resorts to violence for most matters, or that he develops a nice little pet hobby in torturing.

Garrigan, on the other hand, is also interesting material for a character study. The man is arguably well-intentioned, but he is naive and reckless. He is easily charmed by Amin’s charisma, whereas Sarah, who’s been around for slightly longer, knows that they are all the same. His frivolity is at first harmless (who would argue against some consensual sex?), then annoying (when he approaches the wedded Sarah), and finally despicable (when his irresponsible actions cause real casualties). As even Amin rightfully questions at one point, Garrigan is no different from the rest of the white men, who “come to Africa to fuck”. The phrase rings true, both in the literal and the metaphorical sense, as anyone remotely familiar with African history will know of all the atrocities committed by the white, who were driven by their greed and lust.

That Garrigan is able to escape, although not entirely unscathed, is perhaps disappointing, if we’re to argue that everyone should be responsible for their deeds. However, the frighteningly brutal climax scene should be enough to drive that point home. This film is not for the light of heart – it is twisted, tormenting, and unapologetically powerful.

8/10