Xala

Films like American Beauty are sharp, but Xala's theatrical style and unrelenting debasement of Senegalese society is worthy of far more Oscars than the frankly over-rated A.B.

Without the distraction of stars and tricky camera work, Xala is straight to the point, and makes no attempt to beautify or wax lyrical about their country in the midst of corruption and lies.

I recommend this film to someone with an open mind and a love of pure cinema.

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.

"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.

It was in 1963 that seeds of filmmaking were sown in Ousmane Sembène's mind when he finished a short course on cinema in Moscow. For a long time his contribution to the field of art and culture was known through his films. However, it must be noted that his contribution to the field of literature has been equally outstanding. Senegalse film "Xala" is based on one of his own books. Watching this film, one is constantly drawn to the conclusion that justice has been done to both works of art. As a director, Sembène made full use of all minor as well as major incidents described in his book to depict a nation where some corrupt as well as influential politicians are shown to make merry while ignoring the plight of ordinary, poor Senegalese people who find it difficult to come out of 'vicious circle' of poverty. Apart from his scathing assault on rampant corruption which unnerved Senegalese people immediately after their country's independence from France, Sembène directed all his anger at two principal scourges : cultural alienation and economic impotence. Although "Xala" has been classified as a comedy by many film critics, its political message cannot be overlooked. It is the reading of this message which would enable us to comprehend why the fortunes of some African countries were used by their leaders to further their own cause.