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Judul : 216. Mandabi; movie review
link : 216. Mandabi; movie review

216. Mandabi; movie review

 

 

MANDABI

Cert PG

92 mins

BBFC advice: Contains mild violence, bloody images, infrequent scenes of domestic abuse

I have only been to Africa twice and it was clear that, although we were largely in tourist spots, this was a completely different world to the one we knew.

On a trip to Gambia we were invited into a home in an outback village and saw the primitive conditions in which families lived and children went to school.

These memories of the early 1990s were sparked by Ousmane Sembène's highly-regarded Mandabi which was filmed in the Senegalese capital of Dakar in 1968.

The director gives an insight into his continent with what was apparently the first feature ever made in an African language.

It focuses on Ibrahim (Makhouredia Gueye), a pompous but unemployed man who lives with his two wives (Ynousse N'Diaye and Isseu Niang) and seven children in what can only be described as a shack.

The women are expected to see to his every need despite him providing the square root of nothing.

Yep, this is the world before female emancipation - although we later see that Ibrahim's sister (Thérèse Bas) does not accept playing second fiddle to him.

She is involved in the tale because her son wants his uncle to look after a money order he has sent from Paris.

The 25,000 francs are a potential life-changer when delivered by a nosy postman and grabbed avariciously by the wives.

Indeed, in their minds, they have already spent the money before their husband even arrives home.

As the word is spread among impoverished neighbours and unscrupulous contacts, it becomes clear that the windfall is much more trouble than it's worth.

Initially, it gives Ibrahim the chance to puff his shoulders out but he soon learns that his lack of wiliness with money simply makes him a target.

However, he is desperate not to lose face while being persistently ripped off.

Mandabi reaches deep into Senegalese life and culture and I found myself willing Ibrahim and his wives to have a break from those preying on them.

But Sembène doesn't soft-soap his audience, preferring a thoughtful ending rather than a neat one.

As I watched it at Broadway Cinema in Nottingham, I felt the conclusion was too abrupt but, on reflection, it was just right.

Reasons to watch: A rare glimpse into 1960s Africa

Reasons to avoid: Jolts around a bit too much

Laughs: Smiles not laughs

Jumps: None

Vomit: None

Nudity: Briefly, yes.

Overall rating: 7.5/10

Did you know? Sembène spent his early years as a fisherman. He worked as a bricklayer, plumber, and apprentice mechanic until he was drafted into the French army in 1939. In 1942, during World War II, he joined the Free French forces and landed in France for the first time in 1944. After demobilisation he remained in France, working as a docker in Marseille, and became a militant trade unionist. Sembène taught himself to read and write in French and in 1956 published his first novel, Le Docker noir based on his experiences in Marseille. 

The final word. Ashley Clark, curatorial director of Criterion: "Sembène is such a singular voice, an intellect and a humourist. The simple fact is, if you’re interested in cinema, you should be watching Mandabi.” FT.com

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