Toubab Bi

Africa and France share a close, mutually beneficial relationship in the field of cinema. Senegalse director Moussa Touré is considered one of its important links. He has made films which have a lot to do with Senegal as well as France as he has cast French actors too in his films in order to get closer to African realities. For this artistic gesture, he has also been offered roles in some French films. Among his important films, one can cite films such as TGV and La Pirogue. However, despite its inherent strengths and noble intentions "Toubab Bi" remains under developed due to its all imposing exclusive focus on the lives of African immigrants in Paris. One might be led to think that there are no opportunities for native Africans in Senegal. Touré questions a highly pertinent questions- why does a friend leave another friend ? As a director, he is faithful towards villagers who have to leave Senegal in search of a job. The best part of the film is about excellent vignettes of the lives of African expatriates in Paris. Most viewers would identify this film as the return of the prodigal son. It is true that Toubab Bi has managed to get some awards at various film festivals, it remains a minor work as it does not have convincing answers to issues and problems depicted in the film. Lastly, this film provides a meaningful commentary about everything related to 'tradition versus modernity'.

My review was written in April 1993 after a Lincoln Center screening in Manhattan.

"Toubab Bi" (an untranslatable title) is a very entertaining fish out of water story that marks the arrival of a talented new director from Dakar, Moussa Toure. It's worth a look-see for American distribution.

One of the most accessible films in the Lincoln Center African cinema series, "Toubab Bi" has entry points to fans of French cinema as well, recalling the well-made (though never released domestically) "Black mic-mac" in giving a glimpse of the African subculture of Paris.

Handsome Oumar Dio9p Makena toplines as Soriba Samb, an aspiring filmmaker who's headed to Paris from Dakar for an internship. At the airport he's saddled with a 5-year-old boy, a distant relative, whose dd Issa split for Paris seven years ago.

Flashbacks reveal that Soriba and Issa grew up together, so o9ur hero becomes obsessed with finding his old pal. In the meantime, director Moure (who himself apprenticed in France with Bertrand Tavernier and Francois Truffaut) with a light comic touch details Soriba's encounter with an assortment of quirky Parisians. Throughout, the director is even-handed in his avoidance of stereotypes and his sympathetic treatment of both African and French characters.

He finally discovers Issa successful as a pimp and vendor of porno videos and magazines Undeterred, Soriba works to fulfill his promise to Issa's mom and tribal spells (including animal sacrifice) are conjured to aid the process of getting Issa to return.

Apart from one confusing scene when Soriba sends the boy away (he is literally written out of the picture), the story is consistently interesting and well-acted. Lead thesp Makena with his excessive politeness and warm manner is a genuine find. French leading lady Helene Laplower, with whom he has an interracial romance, is affecting and natural as well.

Film is differentiated from Western efforts in this genre by its emphasis on superstition, leading to a clever nding that makes the mystical content ambiguous. Technical credits are first-class, especially Alain Choquart's photography.