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Innocence is a war zone in the feisty, unsentimental ‘Don’t Let’s Go to the Dogs Tonight’

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The intense period drama “Don’t Let’s Go to the Dogs Tonight” offers a compassionate portrayal of a childhood that may initially seem unappealing. It’s 1980, and a 7-year-old named Bobo Fuller (played exceptionally by Lexi Venter) is freely roaming her family’s farm in the turbulent country of Zimbabwe-Rhodesia, which is on the brink of an election that will determine its destiny. The majority of Black Africans are supporting Robert Mugabe, who vows to restore their land. Conversely, Bobo’s white immigrant family supports Bishop Abel Muzorewa, a Western-educated opponent. “He’s not like a true African,” Bobo clarifies, innocently echoing the sentiments she has picked up from adults around her.

Bobo’s parents are quite anxious. Tim (Rob Van Vuuren) belongs to a secret military group. Nicola, portrayed with great tension by Embeth Davidtz, who also directed and adapted this story from Alexandra Fuller’s memoir, is seen sleeping with an assault rifle. The Fullers don’t have much money, but they do have local workers, Sarah (Zikhona Bali) and Jacob (Fumani Shilubana), a stockpile of bullets, brandy, and a sense of entitlement. To establish the mood, there’s an early scene where a hungover Nicola shoots a snake in the kitchen, then asks the help to clean up the mess, saying casually, “Sorry about the mess,” before requesting her tea.

In this conflict, civilians on both sides are being brutally killed, however, it seems that the news reports that reach Bobo focus more on the white victims. From the girl’s point of view: mornings involve antagonizing Shona children as she speeds by their camp with a rifle slung over her shoulder, afternoons are spent recklessly vandalizing their sacred burial sites, and nights are filled with fear as she dreads using the bathroom for fear of being shot by intruders or her own trigger-happy companions. Davidtz experienced a similar situation when her family moved from New Jersey to apartheid South Africa during her school years. “Don’t Let’s Go to the Dogs Tonight” may not be her autobiography, but she can empathize with its message.

In the book, Bobo’s perspective is straightforward yet cheerful, often mistaken; it’s our job to interpret beyond what she says. (I chuckled at her use of the term “terrorist.”) The innocence of a child reminds us of settlers like Nicola who firmly believe they would defend this land with their bare hands. For a contrast, we have Bobo’s older sister, Vanessa (Anina Reed), who adorns her walls with ABBA posters and dresses fashionably in prints, seemingly longing to experience puberty in a place distant from here.

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In my recent conversation with the talented artist behind the scenes, I delved into her groundbreaking directorial debut, “Don’t Let’s Go to the Dogs Tonight”, and gained insights into her captivating South African background.

The appeal of the movie comes from Davidtz’s portrayal of Bobo, who seems carefree on the surface, yet we sense the underlying darkness. The truth can be found in the haunting gazes of the silent characters, particularly the bloodied prisoners handcuffed to the police station stair railing where her mother works. There is also a sense of confusion, such as when Shilubana’s powerful Jacob displays a Black Power fist and the girl responds, or when lively men approach her car window with a chicken – are they mocking her or playing a friendly prank?

Fuller’s life story primarily revolved around chronicling her unconventional upbringth, a tale that’s definitely worth checking out, considering her family’s peculiar camaraderie, even in times when they survived on impala meat alone. Mugabe’s election is a recurring backdrop but isn’t explicitly discussed. This narrative leans more towards political intrigue, bordering on fabrication. Bobo constantly bombards the adults with numerous persistent queries. Nicola provides vague responses.

“Are we African?” It’s complicated.

“Are we racist?” Certainly not.

“What sort of people are we?” We have breeding.

I really hope we don’t die in a land mine today.

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This summer promises an array of compelling offerings, including blockbuster spectacles akin to major Hollywood productions, intelligent independent films serving as refreshing alternatives, and a suitable portion of entertaining yet intellectually light fare – essential elements for any summer moviegoer’s diet.

Davidtz derives significant enjoyment from observing Bobo, who ambles about and commands Sarah to prepare food for him. (She seemed particularly snotty as she wiped her nose.) In the novel, Sarah, whose true name is Violet, plays a minor role. However, in this instance, she has been elevated to serve as the story’s conscience. Bali skillfully portrays a veneer of politeness concealing annoyance, tinged with a hint of affection for this woefully overlooked little girl.

Sarah is deeply cared for and anxiously protected by the script, as caring for her can be risky; a public embrace could make Sarah a marked target. From afar, there are eyes on the Fuller house, peering from the hillsides. Willie Nel’s cinematography employs horror-film techniques to instill tension: close, stalking perspectives through binoculars and suspenseful, stealthy tracking shots that creep about like a secret agent. While these tricks are impactful, they might be somewhat misleading.

Davidtz tends to use slightly excessive theatricality in her performances. A scene is emphasized by a nonexistent set of church bells echoing through the barren landscape. However, the movie does offer an impressive soundtrack featuring tracks from the Zimbabwean psych rock band Wells Fargo, Roger Whittaker, a Kenyan-born vocalist, and Scottish bagpipe music that serves as relaxation music for Nicola. (Indeed!)

In her fiery, scene-devouring portrayal, Nicola Davidtz exhibits a progressively tougher demeanor as the movie unfolds. Despite our confusion about why she insists on remaining on the property, her stubbornness seems inexplicable (yet, she finds pleasure in squashing ticks with her bare feet). However, a poignant line near the end, delivered with anguish, provides a rationale that, though illogical, resonates. Additionally, a scene showing her effortlessly riding a horse conveys a sense of tranquility and connection to the land that feels authentic. This single image leaves no doubt about Nicola’s bond with this land.

Regardless of your feelings towards the Fullers, “Don’t Let’s Go to the Dogs Tonight” is a captivating viewing experience. Beneath each casual comment lies anger, and watching this fractured community tear each other apart is heart-wrenching. The existence of Zimbabwe-Rhodesia as an independent nation will soon come to an end, hanging precariously on that thin hyphen. It’s painfully obvious how fragile it is and how inevitable its downfall seems.

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2025-07-10 21:31

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