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The theater of African forces, the history of cultural subjugation. Tribal beliefs under siege, not just the European priest and trader in pith helmets but the Muslim Iman with eyes on the throne, the princess (Tabata Ndiaye) is kidnapped in an act of protest. Palatial intrigue makes for parleys under the sun, a striking way to film Sophocles, incidentally (cf. Pasolini's Oedipus Rex). The prince (Mamadou Dioumé) rides to the rescue but the musket that must be reloaded is no match for bow and arrow, the betrothed warrior (Nar Modou) ends up blinded despite wielding a reflecting mirror, the king (Makhourédia Guèye) is recognizably the befuddled patriarch of Mandabi. "When a lizard mocks a turkey, it makes sure that there is a tree nearby." Compressed pageantry and plainspoken fury, the elements of Ousmane Sembène's miniaturist epic. Conversion or exile are the options of a land divided, the easily influenced ruler ("a palm tree that casts no shadow on its roots") is easily replaced. Future ramifications of ancient conflicts are visualized: The priest dreams of opulent rotundas and sacraments, elsewhere American gospel hymns underscore the branding of slaves and the burning of villages. The majestic staff gets a rare close-up in motion, an elaborately static composition erupts with the sudden smashing of jug by sword, all of it is remembered by Kurosawa in Kagemusha. The forced change of faith is depersonalization en masse, the filmmaker himself is among the villagers shorn of their hair and identity. "Is religion worth the life of a man," wonders one of the elders. The extended accumulation of Sembène themes builds to the retribution of the princess like the Borom Sarret punchline, it takes a woman to clean up the messes of men. With Alioune Fall, Moustapha Yade, Matoura Dia, Omar Gueye, Ismaila Diagne, and Ousmane Camara.
--- Fernando F. Croce |