I don’t have much to add about this review, originally written for my former online home. I’m a little surprised it’s as long as it is, given this is a film I’ve barely spared a thought for in the years since, even if it was responsible for Forest Whitaker winning an Academy Award.
I would argue that film has a greater capability than any other medium to forcefully depict the unthinkable acts perpetrated by humanity against itself. The shock of visually seeing something awful can transcend even the most intricate descriptions of the same act, and the immersive quality of film — that settling into a theater seat and allowing the images to create an overwhelming experience — can lock out distractions that would otherwise blunt the impact. Whether in a documentary or a fictional depiction of actual events, filmmakers can make the desperate horrors of the world more real to those of us removed from them than they would be otherwise.
Idi Amin was took power in Uganda in 1971 and remained the president until deposed in 1979. During that span, as many as 500,000 were murdered under his regime. In the new film The Last King of Scotland, those deaths are reduced to a few photographs scattered onto a table in front of the the protagonist. The movie is about Idi Amin and his rule, but the missed opportunity to make us feel the damage of his rule, perhaps even the abdicated responsibility to bring us the emotions and fear and terrors of that time and place, suitably encapsulate everything that is wrong with the film.
Strangely enough, director Kevin Macdonald’s previous film, the reenactment-aided documentary Touching the Void, was all about recreating and conveying the emotions of the story he depicted. That film related the tragic consequences of a duo’s mountain climbing adventure in the Andes, and every agonizing bit of their dilemma is there on the screen. With more freedom in Last King, Macdonald counter-intuitively winds up with a final product that is far less impactful.
The film is based on an award-winning 1998 novel by Giles Foden. The story centers on a fictional Scottish doctor who impulsively journeys to Uganda for relief works, and finds himself drawn into Amin’s circle as a personal physician and political confidant. Not only does this follow in the sorry filmmaking tradition of examining the history of Africa through the eyes of white lead characters, but it ostensibly provides a conduit to reasonably accessing any facets of Amin’s rule that the film wishes to examine. If the character is completely invented and established as close to Amin, he can get anywhere, see anything the filmmakers want him to see. He is also, theoretically anyway, always in danger. The film decisively establishes Amin’s volatility, but there’s little tension. Moments that should be harrowing are instead distant. James McAvoy does a passable job with the role of the doctor, but he’s given little to do beyond pine after married women and spiral into guilty despair over the history he’s witnessed. His character is there to build some contrived conflict into the film (a largely unnecessary conceit given that the region itself is already rife with conflict) and spiral into guilty despair when a third act is needed.
Forest Whitaker is admittedly a powerful presence as Idi Amin. Whitaker captures the swagger in Amin’s self-composure, the boldness in his public pronouncements of dedication to the people. Without every compromising the undercurrent of madness in the dictator, Whitaker manages to demonstrate how he could be a compelling figure. He shows why Ugandans would initially cheer for this man. He digs as deeply into the character as the film and the script will allow, but when he largely disappears for significant stretches — at one point doing little more than play the accordion during a crucial stretch in the middle of the film — it’s hard to buy into the enveloping quality the man had, and harder still to understand him as a full-blooded character. It’s nice work by Whitaker, to be sure. It’s just a shame that the film builds in so many buffers to keep us from feeling the performance and the horrible touch of the man he portrays.