Caution-Minor Spoilers ahead: John Avildsen could be considered the most interesting director of his generation if only for the huge range of quality among his films and the fact these differences seem to have little correlation with his level of experience. His best films include Joe (one of his first efforts),Rocky (several years later),and this film (late in his career). Mixed in between these high points are some moderate successes (Lean on Me and Save the Tiger) and some total dogs (Neighbors, The Karate Kid, WW and the Dixie Dance Kings, and Rocky V). It is hard to believe that it was same person, you either have to credit Avildsen with the 'courage' to take on even the most hopeless of scripts or with such financial desperation that he had to take anything that came his way.

With Avildsen the 'courage' angle (willing to attempt something without fear of failure and able to bounce back after failure) is the more likely, since courage is the recurring theme of most of his films: the solitary individual pitted against the oppressive and dehumanizing forces of the 'status quo'.

This is certainly true of 'The Power of One'. Bryce Courteney's book had that same theme and the film adaptation preserved it. Critics of the adaptation (and lovers of the book) complain that this is about the only thing that Avildsen preserved. While they are technically correct, their complaints are rather silly because the book(s) were basically un-filmable (at least commercially) and film is a different medium making comparison illogical anyway. While all adaptations contain many elements of a story, there will be omissions and changes-particularly with a novel like Courteney's. Those who complain that this adaptation was incomplete and inaccurate probably complained that 'Clueless' was an inaccurate adaptation of Jane Austin's 'Emma'. The point is that a movie is a movie and a book is a book. Actually this film was a blending of Courteney's story with Stephen Covey's 'The 7 Habits of Highly Effective People' with the main character having to move from dependence to independence (private victory) before he can become effectively interdependent (public victory) and influence others. As someone said earlier, 'The Power Of One', despite ending with a statement proposing a bland union of absolute conviction, is not expansive but rather interior in its meaning. And this is indeed the paradox of art, when experiencing something the details are rapidly subsumed (as in subjective).

This is a more political story than the novel but the political elements are superficial and simplistic. And the premise of a white boy leading a whole race of people to their salvation is a bit over the top, an unnecessary and forced way of extending Courteney's individual inner power to a collective unity. But such is the nature of film, where pacing considerations and time constraints make reliance on stereotypes necessary to economically convey a message. And in a sweeping historical story like this there is no way to provide a great deal of depth to the characters. But Avildsen does a good job with his main character, a consistent style of frequent reaction shots of PK remind the viewer that the film is entirely his point-of-view and his impressions as he grows up. The solitary individual pitted against an oppressive power structure, his 'power of one' being an ability to experience personal tragedy/inhumanity and yet retain his humanness, as a child he learns to not let fear restrict the experience of living.

What makes the film good is that while Avildsen's political message is heavy-handed and stereotyped, he makes good use of the time this buys him for other story elements. Some have asked why Fay Masterson's 'Maria' character was added to the screenplay (Maria was not in Courteney's novel). This was a special subtle touch by Avildsen. Masterson is as perfect looking as Nicole Kidman but somehow much more real. Two of the best visual scenes in the film revolve around her character. The first is PK's initial glimpse of Maria in the audience at his championship fight (homage to Rocky's search for Adrian in the crowd). It is visually amazing-Masterson has an angelic glow in this shot which makes PK's instant enthrallment and improbable pursuit seem quite believable. And Masterson handles the subtle acting requirements of this difficult role extremely well, representing those Afrikaners who were able to overcome their childhood indoctrination, see their racist institutions for what they were, and work for change. The other key scene is Maria's funeral where Avildsen shows her father's sudden grasp of what a special person she was, and special for the very qualities he tried to suppress in her while she was still alive. This scene could have been clumsy and silly but Avildsen stages it with such subtlety that we accept that her father has been inspired to work for reform. Film is such a powerful medium because when done correctly it can visually tell a story in a few seconds more convincingly than in a hundred pages of text.

Bottom line this is not a perfect movie nor is it an accurate adaptation of the book. It is a very entertaining film more 'inspired' by the book than adapted from it. It has great visuals of the veldt and has wonderful African music. The historical subject is worth telling and the individual themes of justice, hope, and courage offer a very positive message. 7 out of 10

When Stephen Dorff's character of PK sees the African child reading from the U.S. Declaration of Independence about that all men are created equal, he knew he'd started something. Literacy is always the key to freedom and accessibility to read everything is the second step. The southerners in the slave holding part of the USA knew that well. It was a crime back in the day to teach a black slave to read. In our own country Frederick Douglass knew that well and he counted his education as a first step for freedom for his people.

What I liked about The Power of One is that it goes into the history of the Union of South Africa as seen not from a historian, but from the point of view of a growing boy who was of English parentage. The young man who grew up to be Stephen Dorff because he's orphaned as a child has to go to a school for Afrikaans children. Their resentment of English encroachment and victory in the Boer War runs deep. Their ministers in the Dutch Reformed Church preach a brand of Christianity that can now only be found in the USA among white supremacist fringe groups. It wasn't so long ago it was more in the mainstream here, let alone in South Africa.

Dorff identifies with the blacks because he's an oppressed minority as well. The film takes us through the late twenties. thirties, and forties in South African history. The year 1948 is a critical one as shown here. The coalition building of Jan Christian Smuts came to an end as his South African Party was voted out of office and the white supremacist Nationalist Party of Daniel Malan was voted in. What was informal before became established law at that point. Of course even then a lot of people of good will in all races living there opposed that policy. It remained in affect until Nelson Mandela was elected president.

Young people are shown as the engineers of change in South Africa. Dorff, his friend Dominic Walker, his African boxing rival Alois Moyo and even Fay Masterson whose father is high up in the Nationalist Party are the opponents. All of them give fine performances.

The two most well known names in the cast are Sir John Gielgud as Dorff's English headmaster and Morgan Freeman the African who teaches him to box. The first half of the film is a flashback as Dorff's is reciting an autobiographical essay for class which we don't realize until the classroom is shown. He learned to box to combat the unceasing bullying he took from the Afrikaans kids. Freeman gives a wonderful performance and the coda to it was supplied by Dorff when he says that the Afrikaans policeman who beat Freeman to death was later found strung up in an isolated area.

One of the kids who bullies Dorff grows up to be Daniel Craig who also becomes a policeman who now have powers greater than they had before. Their confrontation in the end is something to see. As a kid Craig idolized Hitler and as an adult we see how he put those ideas into practice. It's a truly malevolent portrayal of hate, you could tell Mr. Craig had a good career ahead of him.

As did Stephen Dorff. He's got a great ear for dialect, right in the tradition of Robert Mitchum. Hard to believe he's an American.

For a great picture of South Africa turning a dark corner in its history, I highly recommend The Power of One.

It's 1930 and PK is born 3 weeks after the death of his father. His mother struggles to maintain the farm. The penniless English boy is sent to an Afrikaans school. As the only English in school, he is brutally bullied by the Nazi loving Afrikaan boys. His mother dies and he is befriended by his grandfather's friend German exile Professor von Vollensteen 'Doc' (Armin Mueller-Stahl). When war breaks out, Doc is arrested as an illegal German despite the fact that the Nazis have killed all of his family. While spending most of his days in prison with Doc, he is taught boxing by Geel Piet (Morgan Freeman) and witnesses the cruelty against the prisoners. Geel Piet calls him the Rainmaker, the prophesied one who brings unity to all of the tribes. After the war, Doc goes home to Germany. PK (Stephen Dorff) goes to an English private school run by headmaster St. John (John Gielgud) where he falls for Maria whose father Professor Daniel Marais is a leading politician of the Nationalist Party of South Africa.

Director John G. Avildsen does a reasonable job. The first half is a great movie. PK as a kid in the school and in prison is very compelling. I like the narration which gives it a feel of a fable. The prison actually makes PK a myth. The second half loses some of that sense. The second half is complicated by a romance and an unnecessary return of a character from the school. The combination makes the movie smaller while trying to take on such big issues. The boxing scenes aren't the best either. There are some of the best actors of all times at work here. Daniel Craig makes his debut. It's set up for it to be a great movie but turns into something less.