REVIEW | A gripping tale, just peek past cliched scenes and blunders

In the realm of golden wisdom, it is often stated that “there is no honour among thieves”.

Nevertheless, an intriguing question arises when the thieves in question pilfer from those who exploit the impoverished, intending to restore the ill-gotten gains to their rightful owners: does this act redeem their honour? Was Robin Hood, in his pursuits, a paragon of virtue? Or was he, in essence, merely a cog within the intricate machinery of corruption?

Donovan Marsh, in his latest film iNumber Number: Jozi Gold, presses into this age-old quandary, presenting it as the planchet to his narrative.

Marsh employs a tried-and-true formula of a gripping cops-and-robbers action thriller, melding the lives of two inseparable police officer partners on a quest to crack a monumental case.

The first protagonist, Chilli (portrayed by Sdumo Mtshali), embodies ambition and physical prowess driven by a deep desire to make a meaningful impact through his work. Shoes, the other is a slightly out-of-shape family man, dedicated to providing for his loved ones, upholding the law and preserving his job. Additionally, he serves as the film's source of comedic relief. Presley Chweneyagae plays the character of Shoes.

Despite their contrasting natures, they symbolise two facets of the same coin, intricately connected by their shared profession and long history.

The director deftly spins this coin into motion by orchestrating a conventional narrative. Chilli delves undercover, immersing himself in a Robin Hood-esque syndicate (The Gold Gang) that purloins gold from unscrupulous businessmen, subsequently melting it down and converting it into Kruger coins, which are then bestowed upon the impoverished. Consequently, he finds himself ensnared in an existential predicament: should he expose this clandestine syndicate and adhere strictly to the letter of the law, or join their ranks, driven by his own conviction for a grander cause?

iNumber Number presents a storyline that may appear clichéd at first glance but possesses the potential for refreshing reinterpretation. The film incorporates interesting nuances of South African socio-political stereotypes through its choice of characters.

One notable aspect is the composition of the syndicate, consisting of Lesotho nationals. Intriguingly, in the year 2023, a group of nine suspects, all identified as Lesotho nationals and residing unlawfully in SA, along with one South African citizen, faced a range of charges including armed robbery, ATM bombing and possession of tainted money.

This narrative adds layers of complexity and depth, inviting contemplation on the portrayal of diverse groups within storytelling. It also serves as a catalyst for exploring how corruption in SA can be influenced by foreign nationals, thereby prompting critical examination of the country’s foreign laws and border protection measures.

Another salient element lies in the composition of the police squad known as “the basement”, an unwavering group dedicated to upholding the law. Strikingly, this team comprises exclusively white officers, led by Afrikaner Col Piet Van Zyl (portrayed by Deon Lotz). Colonel Van Zyl, having experienced demotion in the aftermath of the apartheid ban, now finds his once prestigious corner office occupied by a black officer.

Significantly, within the film, all the corrupt police officers are depicted as black, including Brig Nandi Donga (played by Brenda Ngxoli) and other members of the force. This deliberate racial dynamic introduced by Marsh fosters thought-provoking conversations surrounding the intricate interplay between race and power within SA’s law enforcement system, or, at the same time, invites scrutiny regarding Marsh’s own perspective on South African racial dynamics.

It is undoubtedly a daring decision for a white writer to portray black law enforcers as corrupt while casting white counterparts as upholders of justice, thus igniting an exploration of the complexities that surround racial perceptions and biases.

This film offers a socio-political lens through which the living conditions of townships in post-apartheid South Africa are explored. Through outstanding camera angles and composition, townships such as Alexandra and Klipspruit are portrayed in their rawest form. It is unfortunate, however, that the remarkable camera work, visual effects, and the performances of a handful of the cast stand out as the film’s only remarkable elements, while the remaining aspects fall below par or, at best, average.

The character development and storyline significantly thin the plot, almost to the point of its breaking. The Hyena Man is introduced in the opening scene, depicted sitting on a golden throne surrounded by his gun-toting henchmen and his hyena companion.

Although presented on the onset as a formidable antagonist, his presence throughout the film relegates him to a second-rate villain, lacking the prowess bestowed upon him in the opening moments. Regrettably, we receive no substantial backstory about him beyond his exploitation of young boys for gold mining, leaving them for dead. The motivations behind Chilli’s determination to kill him, even at the risk of a life in prison, remain unclear.

Later, we encounter the Hyena Man after his release from prison, working alongside the Gold Gang. A perplexing alliance considering that the Gold Gang is firstly presented as a noble team that opposes corruption, yet they align themselves with a criminal who has exploited children and caused their demise. Another aspect that warrants scrutiny is the underlying reason behind the Gold Gang’s reliance on the Hyena Man. The explanation provided falls short and fails to adequately justify their need for his assistance.

Additionally, the Gold Gang displays an unwarranted level of trust for a long-established syndicate involved in successfully executing major heists. It becomes implausible that they meet Chilli for the first time and swiftly engage in a job with him within hours, particularly after he discloses his identity as having been a police officer. The initial portrayal of the Gold Gang contrasts sharply with their later depiction; they start as ostentatious individuals extravagantly distributing money in a club, but suddenly they transform into a tight-knit family residing in a warehouse, driven by a concern for the less fortunate? And not forgetting the overacting Brigadier routinely divulging intricate details of her corrupt plans at every opportunity, demonstrating a lack of subtlety in the character's portrayal.

One notable scene depicts the initial robbery, where the Gold Gang, along with Chilli, targets a jewelry store at the Jozi Mall. Curiously, they encounter only one security guard, whom they bribe, without a single other security personnel in sight throughout the entire mall.

This oversimplified depiction is emblematic of the flawed nature of the scene, which resembles the final scene where Brigadier discovers the keys to the truck carrying the gold conveniently placed in the sun visor. The implausibility of leaving keys to a getaway vehicle in such a conspicuous location undermines the credibility of the sequence. Moreover, the Lesotho accents portrayed by the Gold Gang members are cringe-worthy at best, and numerous inaccuracies in the subtitles further detract from the overall experience.

It appears that Marsh forcefully grasped the narrative by its neck, thrusting it into a coining press, and activated the machine. Despite these unnecessary oversights, iNumber Number undoubtedly merits viewing, as it delivers an engaging and entertaining experience throughout its duration of one hour and fifty-three minutes.