Winning a Continent

Plot

Winning a Continent chronicles the epic journey of the Boers' Great Trek during the late 1830s, as Dutch-speaking settlers leave the Cape Colony to escape British rule and seek new lands in the interior of South Africa. The film follows several families as they face numerous hardships including harsh terrain, dangerous wildlife, and conflicts with indigenous peoples, particularly the Zulu kingdom. The narrative builds to a climactic reconstruction of the 1838 Battle of Blood River, where approximately 470 Voortrekkers, led by Andries Pretorius, defeated an estimated 10,000-15,000 Zulu warriors. The film portrays this battle as a divine intervention that secured the future of Afrikaner civilization in South Africa, concluding with the establishment of the short-lived Natalia Republic. Throughout the story, themes of faith, perseverance, and manifest destiny are woven into the fabric of this pioneering saga.

Historical Background

The film was produced in 1916, during a pivotal period in South African history. The country had been unified as the Union of South Africa in 1910, just six years earlier, bringing together the former British colonies and Boer republics. World War I was raging, and South Africa was actively involved, with tensions still present between English-speaking and Afrikaans-speaking communities. The film's focus on the Great Trek and Boer heroism reflected the growing Afrikaner nationalist movement that would eventually culminate in the National Party's rise to power in 1948. In cinema terms, 1916 was during the silent film era's golden age, with feature films becoming the industry standard worldwide. South Africa was attempting to establish its own film industry to compete with imported American and European films, with figures like I.W. Schlesinger investing heavily in local production capabilities. The film's portrayal of historical events also reflected the colonial attitudes of the period, presenting European settlement of Africa as a civilizing mission.

Making Of

The production of 'Winning a Continent' was a landmark undertaking for the nascent South African film industry. Director Harold M. Shaw, who had previously worked in England and the United States, was hired by entrepreneur I.W. Schlesinger to lend international credibility to African Film Productions. The company had to import much of their equipment and technical expertise from abroad, as South Africa had virtually no film industry infrastructure at the time. The battle scenes required coordinating hundreds of extras, many of whom had never been in front of a camera before. The production team built makeshift studios and editing facilities in Johannesburg, essentially creating the country's film production capabilities from scratch. The filmmakers consulted with historians and descendants of the Voortrekkers to ensure historical accuracy, though the perspective was inevitably shaped by the Afrikaner nationalist viewpoint prevalent at the time. The film was shot on location in areas that closely resembled the historical settings of the Great Trek, adding authenticity to the production despite the technical limitations of the era.

Visual Style

The cinematography of 'Winning a Continent' was typical of the silent era but ambitious for South African production standards of the time. The film utilized static camera positions for most dialogue scenes, as was common in 1916, but employed more dynamic camera work for the battle sequences. The filmmakers made extensive use of the South African landscape, capturing sweeping vistas that emphasized the scale of the Great Trek journey. The Battle of Blood River sequence featured long shots that could capture hundreds of extras, creating an impressive sense of scale despite the technical limitations of the period. Natural lighting was used throughout, with the bright African sun creating high contrast images typical of outdoor filming of this era. The cinematographer, whose name is lost to history, managed to create some striking compositions that took advantage of the dramatic South African terrain. The film's visual style was influenced by American epic films of the period, particularly D.W. Griffith's work, though with a distinctly South African subject matter.

Innovations

For its time and place, 'Winning a Continent' represented several significant technical achievements. The production successfully mounted large-scale battle scenes with hundreds of extras, demonstrating that complex action sequences could be filmed outside of the major Hollywood or European studios. The film's production team had to overcome the lack of established film infrastructure in South Africa, essentially creating their own technical solutions for lighting, camera work, and editing. The use of actual South African locations provided an authenticity that studio-bound productions couldn't match. The film's length, at approximately 70-80 minutes, placed it in the emerging feature film category rather than the shorter one- or two-reel films that were still common. The production also developed techniques for working with non-professional actors, many of whom were local residents rather than trained performers. Perhaps most significantly, the film proved that high-quality narrative cinema could be produced in Africa, challenging the notion that serious filmmaking required the resources of Hollywood or Europe.

Music

As a silent film, 'Winning a Continent' had no recorded soundtrack but would have been accompanied by live musical performance during theatrical exhibition. The score would likely have been compiled from popular classical pieces of the era, with selections chosen to match the mood of each scene. For the dramatic moments of the Great Trek, somber classical pieces might have been used, while the battle sequences would have been accompanied by more rousing, martial music. Theaters might have also included Afrikaans folk songs or hymns to enhance the patriotic and religious themes of the film. Some larger theaters in Johannesburg and Cape Town might have employed small orchestras, while smaller venues would have used a single pianist or organist. The musical accompaniment would have been crucial in conveying emotion and driving the narrative forward, as was typical for silent films of this period.

Memorable Scenes

• The dramatic crossing of the Drakensberg mountains, with families and wagons struggling against impossible odds
• The solemn covenant ceremony before the Battle of Blood River, where the Voortrekkers pray for divine intervention
• The epic Battle of Blood River sequence, showing the tactical brilliance of the laager formation against overwhelming Zulu forces
• The emotional scene where families say goodbye to loved ones who will not survive the journey
• The final victory scene where the survivors give thanks for their miraculous deliverance

What Critics Said

Contemporary critical reception of 'Winning a Continent' was generally positive within South Africa, with newspapers praising the film as a milestone in national cinema. The South African press particularly commended the ambitious battle sequences and the film's patriotic themes. International reception was limited due to distribution challenges during World War I, but where it was seen, it was noted as an impressive production from a relatively unknown film-producing country. Modern film historians view the film as an important historical document, though they critique its colonial perspective and nationalist propaganda elements. The film is now studied primarily for its significance in the development of South African cinema rather than its artistic merits, as most copies have been lost. Film scholars note that while the technical aspects were competent for the period, the film's historical perspective reflects the problematic racial attitudes of its time.

What Audiences Thought

The film was reportedly well-received by South African audiences, particularly among the Afrikaans-speaking community who identified with its subject matter. Many viewers were reportedly moved by the depiction of their ancestors' struggles and triumphs during the Great Trek. The battle sequences generated particular excitement, as they represented some of the most spectacular action scenes ever filmed in Africa up to that time. The film's success encouraged further investment in South African film production throughout the 1910s and 1920s. However, the film's appeal was largely limited to white audiences, as it presented a version of history that excluded or marginalized the perspectives of indigenous peoples. The film's patriotic themes resonated strongly during the World War I period, when national identity was a particularly sensitive topic in South Africa. Audience attendance records from this period are incomplete, but contemporary accounts suggest the film was a commercial success by the standards of the time.

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