Ousmane Sembene | Senegal | 1968
1969 Lumiere (Lyon), New York
2008 Vancouver, Thessaloniki
2021 (Restored version) Melbourne, Sydney
In Mandabi, from 1968, the Senegalese director Ousmane Sembène ranged widely through private and public settings in the capital city of Dakar to satirize corruption born of misrule. The film is centered on the sixtysomething Ibrahima, the long-unemployed husband of two wives and the father of seven children, who receives a money order from a nephew in Paris. He’s supposed to cash it for the young man’s mother but, lacking the necessary documents, must endure a bureaucratic odyssey of bribery and favoritism to fulfill his duty. Meanwhile, Ibrahima and his wives, who can barely feed their family, rely on the money order to get credit from local merchants as neighbors besiege them for loans and alms, and shady businessmen vie for the deed to their home. Unredressed inequality is reflected in cultural conflict between the Francophone élite, in Euro-style suits, and the Wolof-speaking masses. Sembène looks ruefully yet tenderly at the ruses and wiles of the poor, whose desperate struggles – with the authorities and with one another – distract them from political revolt.
– Richard Brody, New Yorker.
Hearing of the difficulties faced by the BFI and the Cineteca di Bologna as they attempted to digitise the work of the great filmmaker Ousmane Sembene, Martin Scorsese was prompted to action. “It was like the movie was a prisoner,” says Alain Sembene, the director’s son, recalling how the 35mm negatives of Black Girl (La Noire de…, 1966), his father’s seminal 55-minute debut, were being stored by the film laboratory Eclair in France. “It was stuck in bureaucracy because there were documents my father had not signed. We almost gave up. Then Martin Scorsese wrote a letter saying it was a scandal, and boom, it happened.”
I was speaking to Alain Sembene following the premiere of the restoration of his father’s second film Mandabi at the Lumiere Festival in Lyon in 2019. Mandabi – the first feature made in the Wolof language. At last, the film can be fully appreciated as a crucial work by a master director.
That it took Scorsese’s efforts to kickstart the remastering of the director’s work is an indication of the widespread failure to appreciate Sembene. This may seem an odd statement, given how often he is described as ‘the father of African cinema’. Yet underlying this praise is a suggestion that Sembene’s legitimacy rests on where he made films – its time that discussion of Sembene’s work focused on what it is about.
His magnificent 1968 film Mandabi is about the problems that the ageing, unemployed lbrahima (Makhouredia Gueye) faces when he receives a money order from his nephew in Paris. Black Girl – about the struggles of a young Senegalese woman working as a servant in Paris – was Sernbenes first feature, but Mandabi is the film that marks out the themes of his career his anti-capitalist, anti-religious concerns, and his clear-sighted probing of issues of class.
The film may attack colonialism but, importantly, it also attacks those citizens who, once the European powers left the continent, did everything in their power to maintain the status quo. In Senegal, this meant retaining French as the official language, even though most Senegalese only spoke Wolof or Arabic, and taking on elements of bureaucracy to ensure that it was nigh on impossible to climb the social ladder.
For all its weighty implications, the beauty of Mandabi is that it looks and feels so simple. The plot follows lbrahima, an unemployed father of seven, as he tries to cash the money order. He has two wives who dote on him and turn a blind eye to his failings; although life is difficult he is content. That changes when his nephew sends him a money order for 25,000 CFA francs (about $50). The parable then slowly reveals itself — the arrival of capital from France will ruin his life. To start with, Ibrahima cannot understand the letter, written as it is in French. Then the post office refuses to accept the money order because he doesn’t have an identity card — which he cannot get because he doesn’t have a birth certificate. Meanwhile, word gets out about the windfall, and friends, neighbours and religious figures come to him asking for donations and loans, while more educated men set out to swindle Ibrahima. Sembene reinforces his critique of capitalism by appearing in the film himself, sitting at a table beneath a Che Guevara poster.
Born to a family of fishermen in the southern Senegalese region of Casamance in 1923, Sembene moved to France after World War II, where he worked as a docker, becoming active in the unions and embracing Marxist philosophy, before a back injury forced him to rest. He used his time to write poetry and prose; his third novel, God’s Bits of Wood (1960), about the difficulties of being an immigrant in France was a huge hit. Sembene adapted Mandabi from his novella Le Mandat, which was first published in France in 1966, around the time that Black Girl screened at the Cannes Film Festival.
At the First World Festival of Negro Arts, held in Dakar in April 1966, Semibene won a literature prize for Le Mandat and a film prize for Black Girl. Andre Malraux, author and French minister of culture, was a guest of honour, and offered to arrange for France’s Centre national de la cinimatographie to fund his next work. Ironically, given the film’s themes, Sembene took the money and used it, in Mandabi to reveal Europe’s attempts to manage Africa for its own ends – to show that colonialism persists even when the guns have left, in the history told, and in the cultural and economic heritage that the colonial powers left behind.
One of the reasons that Mandabi was the first feature-length film in Wolof was that colonial administrations had banned natives from filmmaking – simply making the film was a political act. Sembene would argue that cinema enabled him to speak to the illiterate citizens that his novels were about.
All the big targets in Mandabi would remain central to Sembene’s work throughout his career. The criticism of religion would feature right up to his ninth and final film, Moolaade (2004), which addresses female genital mutilation. Ceddo (1977) was heavily censored in Senegal, according to rumour because of its religious content.
Semibene composed the score for Mandabi himself, with the music choices reflecting the traditions of African music, rather than the fusions popular in America and Cuba at the time. Every choice in the film is packed with such double meaning. Mandabi poses the question: why are Africans treated as second-class citizens, not just abroad but at home, in their own countries? Its clear-sighted urgency remains undimmed today.
– Kaleem Aflab, Sight and Sound, June 2023.
Remastered in 4K with StudioCanal’s partners at the French postproduction company VDM, scanned from the original 35mm interpositive. The sound too has been remastered from badly damaged archive footage.