L'impotenza sessuale temporanea

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!

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.

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.

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.

"You mighty of this world should be like a mother cat, her eyes and heart working together. When there's no milk, she still finds food for her little ones, her noble heart always on the lookout."

A silver-haired Senegalese businessman decides to take a third wife, but finds himself impotent on his wedding night. He has the "Xala," or the "curse," and seeks traditional healers to cure himself.

As remarked upon by many, there is clearly symbolism at play here, with the Senegalese having gained their independence from France, but still speaking its language and drinking Evian, and more importantly, struggling with corruption under their own rule. In one of the film's more powerful moments, a group of disfigured beggars is rounded up because men in suits think they are "human rubbish" who are "bad for tourism." It's this disregard for common people that is what make those newly in charge of Senegal impotent as leaders, Sembène seems to be saying.

The film is also an interesting window into the culture, especially as it relates to women. The old man insists on polygamy as a part of his "religious heritage," and important to assert in the post-colonial era. We see the mother of the third bride tell her that her "husband is master" and that she must be "available to him at all times" as she strips and prepares her for the consummation of the marriage. As wives number one and two are resigned to the patriarchy and simply vie for their rightful rank and position within it, it's refreshing that the voice of reason is an adult daughter. "A man with two wives is a liar and a hypocrite," she says, "with three, he's even worse." She's a fantastic character and seems to represent something about the need for progress, and I wish we had seen more of her.

The film goes on probably a half hour too long, and suffers with a slow pace. I have to say, its final scene was also very unpleasant, and in a way which seemed unnecessary. Overall, it's a satire worth seeing though.