Set in Cape Town, “The Umbrella Men” starts off with the death of an upstanding citizen in the community, the owner of one its popular nightclubs, the Goema Club. His son, Jerome (Jacques De Silva), returns home from Johannesburg to bury his father. While in town, Jerome’s childhood friend, Morty (Keenan Arrison), is released from prison.
Jerome also learns from his Aunty Val (June van Merch) that his father wanted him to inherit the Goema Club, which would give him a reason to stay. However, a rival troupe leader, Tariq (Abduragman Adams), who used to be in business with his dad before a betrayal, wants the club for his own. To top that all off, Jerome learns from the bank that his father was in debt for over one million ZAR.
Jerome’s best solution is to plan a heist at the local bank, using the upcoming annual festival, the Cape Town Minstrel Carnival, as cover.
Hitting the Right Comedy/Crime Notes
“The Umbrella Men” hits the usual, comfortable beats as it gets the heist band together, as they plan for the majority of the film, easing some jazz and strong music throughout the screenplay. One of the most entertaining story threads within the film is Jerome romancing bank worker Keisha (Shamilla Miller). There’s a lot of entertainment and charm in this relationship, and the heist planning is more serious. Interestingly as well, more of the conflict comes within this relationship as the plan develops, rather than more expected conflict between Jerome and Mortimer as they plan the heist.
Jerome and Mortimer have a mutual understanding that Morty does not want to return to prison within two weeks of his release; however, the film plays it for comedy rather than conflict. Much of the conflict, evidently, comes from Tariq who wants the club. He’s a sleazy villain, one who mostly shows up to raise concerns of when he’ll be getting the club or suggesting that the Umbrella Men are up to no good.
A scene from “The Umbrella Men.” (Photo courtesy of TIFF).
The heist itself is a main highlight of the film when it happens late into the third act, filled with surprising action—especially for a film where there’s very little violence in the first two-thirds. The script is written by Phillip Roberts and director John Barker, and the heist is set up as using the carnival as cover because everyone will be there. It’s a perfect plan, but the actual heist and carnival feel too separate. As they’re doing the heist, everyone’s still waiting for the carnival to start and they’re getting their costumes ready.
Some Problems, but Still an Exhilarating Third Act
There’s not a strong enough deadline or emphasis on completing the heist and getting back to the carnival before a certain time; and quicker editing in the third act would have helped emphasize that. Instead, the ambition of a heist during a huge festival feels understated. We’re mostly with the heist team, and only see a scene or two of their partner(s) bringing the rest of the band to their post at the front of the festival.
The film still holds excitement here, and the costumes at the festival look like a lot of care went into them for this film. As well, the charm of the cast helps maintain our interest throughout, including this still exciting third act.
“The Umbrella Men” is part of our continuing coverage of the 2022 Toronto International Film Festival.
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