Tools of Characterization

Characterization in Out of Africa

Social Status

Let's face it: the early 20th century was not such a great time to be a woman.

And don't think that all those stuffy old men, whether in Denmark or Africa, don't let Karen know it. She moves to Africa in part to get away from all of that, but it's waiting for her when she arrives (though admittedly, it's easier to shake off). In Denmark, she hangs with an aristocratic, wealthy crowd; if you're a Friend of Karen, you're educated, maybe titled, and don't have to worry where your next meal is coming from.

Those social divides don't disappear in Africa; if anything, they're more pronounced. If you're European, you're a colonial master; if you're an African, you're a servant. Karen may be a benevolent msabu, but she's a msabu nevertheless, and she's adept at calling the shots and being the boss. The Danes and Brits hang out at fancy clubs and have dragged their social class culture with them in the form of china, linens, and crystal.

Even Denys, who, with his American accent (he's actually a Brit), seems to lack social class consciousness, still can't put class distinctions behind him. He's somewhat shocked that his friend Berkeley has a relationship with an African woman, and he can be dismissive at times of the servants.

All this was status quo in colonial Africa in Karen's day. Once the native tribes decided that maybe they should have some say in how their lives were run—and maybe even have national independence—the Europeans got out. Living as equals was just not an option.

Speech and Dialogue

Karen states her needs fairly directly. Bror is dismissive and blasé. Denys packs a lot of meaning into a few calm words.

If you listen to the characters, they'll tell you who they are—complete with Karen's voice-over to let us in on the thoughts nobody else can hear.

Dialogue is one of the staples of characterization, and thanks to an Oscar-winning screenplay, we have some very choice bits in this movie.

Actions

Denys can't commit, so he goes wandering off into the bush periodically. Bror is entitled and irresponsible, so he sleeps around a lot (off-screen, thankfully). And Karen does her best to shift gears when her plans get derailed (sometimes by either or both of the boys) and find a way through.

What you do defines you, and for a generally quiet film, the characters here end up doing a whole lot that shows us exactly what their qualities are.

Occupation

Denys is a hunter. Farah is a plantation manager. Karen shifts gears between occupations in order to better roll with the punches.

Every character here has a calling which helps them express their soul. Karen's shifts come amid the world's efforts to tell her what she can't be, and her responses come to define her.

Clothing

Karen shows up in Africa wearing clothes that aren't appropriate, but soon adapts and gets with the program. Denys's clothes are always very practical and hunter-like. The locals dress in traditional Kenyan garb, while the Europeans wear a lot of lightweight khakis.

As usual, clothes make the man (or woman, in this case), and you can tell a lot about who we're looking at just the way they're dressed.