Magical Realism in Camus’ Black Orpheus and Zakes Mda’s Ways of Dying

Magical Realism in Camus’ Black Orpheus and Zakes Mda’s Ways of Dying

Myth and reality have gone hand in hand in every culture since the beginnings of time because mixing the two is an effective method of teaching values and morals– the modern term for this is “magical realism.” Because all cultures have mythical representations of life and death and love, the magical realism used in both Marcel Camus’ Black Orpheus and Zakes Mda’s Ways of Dying is effective because, while it is specifically aimed towards either the Brazilian and South African cultures, it can be interpreted by any culture at all because of the universal themes it emphasizes. Mixing magical realism with realistic forms of expression allows a story to be rooted in and yet above humanity. This enables the reader to aspire to the precedents set by the characters while at the same time not feeling that they are entirely out of reach. Dealing with cultural issues through magical realism adds a dreamlike quality to the violence, corruption, and poverty, making it more palatable than bald honesty but at the same time adding a touch of familiarity through the common subjects of love, life, and death– the three topics broached by Black Orpheus and Ways of Dying. These cultural themes are approached differently in each but both Camus and Mda address the cultural issues of Brazil and South Africa through the use of magical realism.

Black Orpheus is multi cultural before the story even begins, as it is directed by a Frenchman and set in Rio de Janeiro, Brazil– this adds a certain depth to the film that is accentuated greatly by the mix of culture, myth, and reality that is found within the movie itself. By mixing Greek myth, Brazilian custom, and many religions...

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... again. Black Orpheus blends Greek and Brazilian culture with a dash of French direction in order to bring the cultural and economic problems of the Rio de Janeiro shanty towns to the global population. Marcel Camus allows people of all cultures to understand the anguish and love that Orpheus and Eurydice endure because these themes are completely universal and span the globe. Similarly, Zakes Mda’s characters Noria and Toloki shine a ray of hope through the miasma of violence that surrounds the South African culture. Mda mixes the man with the myth and uses the same universalness of life and death to transform his characters into cultural icons rather than simple humans. Every culture’s “ways of dying are [their] ways of living,” and the global themes of love and death and life will continue to invoke feelings of reverence for life, culture, and identity. (Mda, 98)