‘The Happy Valley’: Temporalized Spatiality in Michael Radford’s White Mischief (1987)

Abstract

Contemporary times mark a fundamental shift in our sense and experience of the world. The postmodern condition — as remarked by Fredric Jameson (1991) and Jean-Francois Lyotard (1979), among others — calls for new conceptions of lived reality. Nevertheless, profound uneasiness with notions of space and time is not only a postmodernist obsession. Modernist cinema, on account of its aesthetic self-reflexivity, also grapples with ways of inscribing spatiality and temporality. The 1980s saw a resurgence of European heritage films, reminiscent of interwar years of empire (early 1920s–late 1930s), produced in Kenya. Out of Africa (dir. Sydney Pollack, 1985), White Mischief (dir. Michael Radford, 1987), and The Kitchen Toto (dir. Harry Hook, 1988) became global audience staples. Not only do these films perpetuate Western viewers’ ‘master-race’ instincts; they also reproduce ‘cult images’ of an ‘exotic’ African locale. This paper phenomenologically reflects on White Mischief’s nostalgic reconstruction of a colonial settler village, the Happy Valley, and its ultra-privileged white hedonists. It explores how materiality of physical space can aid re-inscription of time and vice versa. Turning the colonial gaze upon itself, in critical self-reflection, my analysis foregrounds profound ruptures, discontinuities and contradictions in the historical fact and experience of European colonialism in Africa.