Catch A Fire review

Australian director Phillip Noyce may have made his Hollywood name in the 1990s with commercial hits such as Patriot Games and Clear and Present Danger, but in recent years his output has slowly become more political, with the impressive Rabbit Proof Fence and The Quiet American indicating that this is a film-maker who is more interested in extracting important messages from past events than simply trying to make the next $100m blockbuster. He continues this trend with Catch A Fire, a stark reminder of the horrors of South Africa's apartheid regime.

Based on a true story, this is the tale of two very different men. Derek Luke stars as Patrick Chamusso, a hardworking family man who is unfairly indicted for a terrorist explosion at an oil refinery. His chief nemesis becomes security chief Nic Vos (Tim Robbins), who will stop at nothing to extract a confession from Patrick.

Although it's fair to say that the struggle for liberty in South Africa has already been well-documented on film, Noyce reminds us that this is an important part of twentieth century history that should not be forgotten. This is especially apt (and timely to the world today) in the second half, when Patrick becomes politicised by the ANC.

While by no means a two-hander, Robbins and Luke form an excellent partnership of good versus bad. Robbins' Vos is a contradiction: a family man who sings hippy songs to his children on the guitar, he is capable of the most ruthless actions against his perceived enemy. Luke, an established star since his role in Antwone Fisher, also delivers the goods and portrays the many dilemmas going on in Patrick's head.

But perhaps most important is the figure of Chamusso himself, an extraordinary character who showed incredible courage: not unlike fellow African Paul Rusesabagina, whose story was turned into an equally powerful film in last year's Hotel Rwanda. It's the strength of people such as this that give the rest of the world hope that oppression can really be overcome, and it is essential that their stories are told.

Paul Hurley