X
- 1992
- PG-13
- Warner Bros.
- 2 h 7 m
- 1992
- PG-13
- Warner Bros.
- 2 h 7 m
Summary An English boy, living in Africa during World War II, through his boxing prowess, becomes a symbol of hope, in a time of war.
Directed By: John G. Avildsen
Written By: Bryce Courtenay, Robert Mark Kamen
- 1992
- PG-13
- Warner Bros.
- 2 h 7 m
- 1992
- PG-13
- Warner Bros.
- 2 h 7 m
The Power of One
40
User Score
Available after 4 ratings
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Where to Watch
Summary An English boy, living in Africa during World War II, through his boxing prowess, becomes a symbol of hope, in a time of war.
Directed By: John G. Avildsen
Written By: Bryce Courtenay, Robert Mark Kamen
Where to Watch
Top Cast
Metascore
Mixed or Average
Based on 22 Critic Reviews
40
23% Positive
5 Reviews
5 Reviews
50% Mixed
11 Reviews
11 Reviews
27% Negative
6 Reviews
6 Reviews
Metascore
Mixed or Average
Based on 22 Critic Reviews
40
23% Positive
5 Reviews
5 Reviews
50% Mixed
11 Reviews
11 Reviews
27% Negative
6 Reviews
6 Reviews
The best thing about The Power of One is that it works as a history lesson. Avildsen and his writer, Robert Mark Kamen, have managed to simplify and sort out the players and their points of view in a way no other film about South Africa has done. It makes painfully clear just how deep the problems run, and how their solution will invariably require an almost evolutionary change in everyone. [27 March 1992]
How can you forgive a movie that begins by asking you to care who will win freedom, and ends by asking you to care who will win a fight?
A film that turns the savagery of apartheid into a crisis of conscience for one relatively privileged white boy. Worse yet, it suggests that his crisis is a matter of urgent concern for countless South African blacks. [9 Oct 1992, p.11]
The Power of One emerges as a broadly painted piece of rhetoric. It means well and has an undeniable dramatic pull, but its relegation of blacks to the sidelines and its creation of a white savior are unforgivable. [10 Apr 1992, p.10]
Seeing a movie that doesn’t know the meaning of shameless, that refuses to worry about plausibility, that acts as if subtlety hadn’t been invented yet, does have a very basic kind of intrinsically cinematic pull.
The film's facile treatment of racial issues may be enough to bring back the practice of throwing tomatoes at the screen.
Avildsen is a master at pulling populist heartstrings, Johnny Clegg provides the African music which is so essential to the movie's plot and the panoramic shots of the veldt are frequently breathtaking. But these things alone do not a good movie make.
User Reviews
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Awards
Young Artist Awards
• 3 Nominations
Political Film Society, USA
• 1 Win & 2 Nominations
