Xala

Sembene was once again the failing of government in Senegal and even most of Africa. This time after native Africans come to power.

The juxtaposition of regular, hard-working, citizens with the spoiled, corrupt, and prejudice (to their own citizens) government officials packs a heavy message. And unlike most, Sembene simply does not photograph the regular citizens for the simple juxtaposition, he keeps on them, showing you their true problems, and showing you their sacrifice.

All the while, hilarity ensues the corrupt government officials as hijinks after hijinks. The biggest problem being El Hadji's Xala ... he can't get it up for his young third wife.

Truly an interesting, intelligent, and worthwhile cinematic experience. And even if that doesn't seem to to interest you, watch it for the laughter ... there's plenty of it.

Senegal has been freed from the shackles of empire. But the new face of governance continues with greed and corruption just as before. The best line in the film is when the main character, a politician, is told by his daughter: "I don't drink imported water." African leaders are so corrupted by white monopoly capitalists. 'Xala' discusses many important themes that we have discussed in class, particularly the balance between Western practices and "traditional" ones. While this starts from Senegal's official El Hadji's sexual incompetence on his wedding night with his third wife, it plays out throughout the film. He goes to mystic for cure his impotence, through the story of the troubles of El Hadji, the narrative expertly discusses the difficulties of post-independence government. This issue of tradition vs modernity, European vs African ideals was very important during the independence period in Africa (and indeed today). This is expressed by the journey of El Hadji and the more liberal views of his daughter. I was full of awe after enjoying this utterly majestic work of art. Highly recommended!

One of the more famous African films, Xala comes from Senegalese director Ousmane Sembene, who had a well liked film that saw fairly wide release last year called Moolaadé. Moolaadé, for some reason, hasn't been released on DVD yet in the US, and, so far, it doesn't look like there's any imminent release. New Yorker video has provided us with two new DVDs from Sembene, this and Mandabi. Xala tells the story of a corrupt government official, El Hadji, who marries his third wife using pilfered funds. When El Hadji goes to consummate his marriage, he finds out he has been cursed with impotence, a curse known as xala. The historical context is slightly after Senegal's independence is achieved, and there are obvious metaphoric meanings of the impotence. The story and the politics behind it are rather interesting, and if I were the type to judge films solely on their politics I'd call this a good one. Unfortunately, the film moves so ungodly slowly that it is next to impossible to sit through. It runs for slightly over two hours, but has only about half that much material. I might recommend it to those interested in the history or just the region, but the rewards are limited. In short, it's a chore.

Xala is set during Senegal's first days of independence from France, and is about a government official (Leye) who's using some dirty money to marry a third wife. When he attempts to consummate his new marriage to a beautiful-young woman, he finds himself unable to perform. His impotence is known locally as the 'Xala' curse. What ensues is an expertly crafted criticism and skewering of the Senegalese government and bourgeoisie as Leye goes to great lengths to find a cure. Told with comedic wit, Xala is a technically proficient film written by the director and based on his 1973 novel of the same name. The freeze-frame and graphic match from the finale is simply unforgettable. You can really feel the sweltering African heat in every frame. S

The beginning scene of Ousmane Sembene's film Xala is a tragicomic metaphor for the euphoria of the African independence movement, which was followed quickly by the installation of puppet governments controlled by ex-colonial powers. Sembene's courageous and open indictment of profiteering African businessmen and politicians is the backdrop for a moral tale of greed, betrayal, and punishment. I found the storyline gripping, never boring, and I even felt compassion for the victim of the xala despite his obvious shortcomings and former cockiness. While the cautionary tale is didactic in the style of fables and traditional African tales, the viewer apprehends the complexities of life in a climate of pervasive corruption. The characters make their way through a melting pot of African traditions, magic realism, animism, and Islam - all peppered with powerful vestiges from Africa's colonial heritage. Each character tries to survive and thrive in his or her own unique way. Xala provides the viewer with a multitude of perspectives, simultaneously condemning those who sell Africa to her highest bidders, while promoting forgiveness and redemption.