Set in contemporary South Africa in the squatter town of Soweto and a middle-class gated suburb of Jo-berg. The film is told from the main character, Tsotsi’s (Presley Chweneyagae), point of view. ‘Tsotsi’ means young gangster, or thug, a moniker that defines his identity. He is a lost boy beating his own drum. A teenage gang leader who goes too far, he’s hard, mean and out of control. He doesn’t value life and has forgotten who he is. Until he carjacks a woman, shoots her in the stomach, and accidentally kidnaps her three month old baby.

Some inner need stirs within Tsotsi and he forges a bond with the infant whom he carries around in a paper carrier bag, unable to abandon it. From here his humanity begins to unfold. He attempts to care for the stolen child and his life changes. His own troubled memories of childhood return, and a seam of tension flexes continuously. Can this really turn out well for Tsotsi?

The screenplay, adapted and directed by Gavin Hood is based on South African playwright Athol Fugard’s novel of the same name. A straightforward story, it takes place over six days, relying on the actions and interactions of the characters for its strength. But I couldn’t help but think a real Tsotsi would dump the infant by the roadside, leaving its survival to fate. In the film, however, there’s no motivation behind the action to save the infant. Making this a simplistic plot device for the purpose of Tsotsi’s redemption, this sentimental act undermines his character, a fault of the writing, not the acting.

The flashback scenes further illustrate the weak and overly simplistic plot. Tsotsi is around eight or nine years old, his mother dying, presumably from Aids, and his alcoholic father breaks his pet dogs back (off screen) provoking Tsotsi to run away. Clichés abound. Not least the giant billboards proclaiming everyone is affected by Aids. The latter might have some truth, but this is not a social documentary. As visual plot devices the flashbacks and billboards lack subtly and are overly contrived.

Its success lays in its honest portrayal of gritty township life and culture. In this the film truly excels. The sense of place is energising and shows a South Africa many will be unfamiliar with. For this alone it is worth watching. Adding to the flavour is the dialogue spoken in Township slang - Tsotsitaal – a mix of Zulu, Xhosa, Sotho, and other local languages. It is subtitled, but in using the ghetto patois the film becomes more authentic, rooting its story to people and place. Occasionally you hear English sentences in the mix.

Upping the tempo is a soundtrack in “Kwaito” a genre that grew out of post-apartheid South Africa in the townships. Like the local patois, it too has a strong urban identity with rhythms to match. Throughout the film a number of superb hip-hop tracks by South African artist Zola, who also plays the gangster ‘Fela’, beat combatively in Tsotsitaal. The uplifting voice of Vusi Mahlasela over choirs is often heard too. Fine performances from Kenneth Nkosi ‘Aap’ and Thembi Nyadeni ‘Soekie’ also leave you wanting more.

‘Tsotsi’ is no masterpiece, but the urban spirit of South Africa breathes hotly in this tale of humanity.