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reviews

71
Based on 14 Reviews
critic reviews (10)
fan reviews ( 0 )
  • 100
    Peter Stack San Francisco Chronicle

    Not every moment of the film is as potent as the book (which is noted for passages of passion and impassioned eloquence), but Cry, the Beloved Country overcomes its own limitations to become a glorious tribute to the workings of a faith that does not blind but opens up the human spirit. show more

  • 75
    USA Today

    But this telling of the story filmed on location in the now democratic South Africa is especially heart-rending thanks to superb performances by James Earl Jones and Richard Harris. [1 Jan 2000] show more

  • 100
    James Berardinelli ReelViews

    There is not a false note in Cry, the Beloved Country. Every scene is an example of near-perfect composition and execution. show more

  • 63
    Roger Ebert Chicago Sun-Times

    We go expecting to be inspired and uplifted, and we leave somewhat satisfied in those areas, but with reluctant questions about how well the story has aged, and how relevant it is today. show more

  • 63
    TV Guide

    Billed as the first film to originate from the newly democratic South Africa, this disappointing prestige production is a ploddingly earnest adaptation of Alan Paton's 1948 novel. show more

  • 50
    Barbara Shulgasser San Francisco Examiner

    There isn't much to hold onto with this movie. If anything, Cry trivializes the plight of the South Africans in its breezy treatment of apartheid. show more

  • 100
    Seattle Post-Intelligencer

    James Earl Jones and Richard Harris both gave heartbreaking, virtuoso performances as fathers who find a special bond in this subtle, flawlessly acted, immensely powerful new film version of Alan Paton's classic novel of South Africa. [29 Dec 1995, p. 3] show more

  • 50
    Entertainment Weekly

    Alan Paton's seminal novel of apartheid in 1940s South Africa receives a sanitized and overly sentimental treatment, trivializing the book's relentless power. show more

  • 80
    Stephen Holden The New York Times

    Because movies have become so invested in the unleashing of violent emotion and the escalation of hostility, that expressions of restraint, reconciliation and forgiveness can easily be read as corny cop-outs. Cry, the Beloved Country is not corny, and it doesn't cop out. show more

  • 80
    Washington Post

    Alan Paton's haunting novel is brought rather splendidly to life in this moving production. show more

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