Twist à Popenguine

Ca Twiste a Popenguine is directed by Moussa Sene Absa. The film was directed in Senegal in 1993. The genre in the film is comedy. The main characters in the movie are just locals from Senegal where the movie was filmed. The major character is Baac whom the story is told by. In addition, the Ins and Kings are main groups in the film. The film takes place weeks before Christmas in a small seaside town in Senegal in 1964. The entire movie is based around the teenagers where they go to school, work, and try to put together a party. During the school the teens are forbidden to talk in Wolof (their main language) because in this era French is what is being taught and forced. Baac is the main story teller of the film where he takes love letters and runs other errands for the older teens. During the film the Ins whom have the ladies want to throw a surprise party, but have no record player. In the end when everything is going good they get into trouble by the older tradition that still follow the old African culture. The message Moussa Sene Absa is trying to push is the coming of age. The point of the story is to show the coming-of-age through the use of the teenagers in the village. For instance, the story shows two different African cultures through the old generation who follow the traditional and the young teens that follow the new era. He wants to show how the future is in the teens hands. In addition, why beat someone for being different for that is why we have diversity and what keeps the world unique. I would recommend this film for someone interested in Senegal or the non-western point of view. However, I would not recommend it if you do not like captions because the entire movie is in captions.

The embers of European imperialism have yet to cool in much of Africa, but in the seaside post-French-colonial village of Poponguine, Senegal, the effects of cultural colonization were as soft as candlelight and as animated as James Brown. That is the image that Moussa Sene Absa created in the 1993 film Ça Twiste à Poponguine, his celebration of the time when his home, a traditional African village in the 1960's, underwent integration of American and French cultural influences. Absa remembers that time through the character Bacc, a young native, who without a mother or father, is raised by a community of growing pluralism. Bacc's notable daily activities consist of going to school where the children learn French from M. Benoit (sent from France to continue French integration), and running errands for older kids in a street-wise hustler fashion, bearing his personal interests above the rest. The plot focuses on rival teen cliques during the Christmas season of 1964: the Kings, who own the town's only record player, but had no girls; and the Inseparables or `Ins', who had no record player, but had girls - `and that was key,' notes Bacc. Each group hoped to attain what the other had, and Bacc plays each group in order to forward his own causes, unexpectedly resulting in a raucous between the gangs, and the conflagration of one gang's hangout. But with no serious injuries, the events that transpire lead to a greater unity in the community and a generally feel-good movie that deals lightly but appropriately with the issues of cultural colonization.

Absa gracefully touches on difficult issues, like Africa's forgotten identity and European-American view of Africa through Social Darwinism, by proportioning the seriousness of those issues to their effects on the daily lives of characters in the movie. Dame Castiloor, the village's mother-of-all, a Vodun practitioner, a symbol of both traditional culture and the maternal role, talks to Bacc about his education. Although he is learned in French history, the Dame encourages him to revive the history of Africa. On a previous night, kids gather to hear the Dame tell a fairy tale about the tiny dwarf with a gourd full of gold. The dwarf blocks the road from passers-by, challenging them to fight. The Dame asks why, and Bacc answers that if a knight could defeat him he would become the richest of all, but if he loses he will be cursed and remain poor and blind, wifeless and childless. 'The losers will have no control over the future of their world,' it seems to say, in one of the most cryptic (and most memorable) scenes of the film.

One difficult scene to bear is one which Benoit, inebriated, concludes that if Africa colonized Europe, Europe would have lost all culture. Benoit, in his state of drunkenness does not represent his own true beliefs, but the general colonial attitude; in his lucid moments, he is merely another displaced person in search of his own place in the world, as shown in a dialogue between him and a Muslim notable, spoken in Woloff. Benoit's desire to leave Poponguine continues to grow as he feels more and more an outsider, despite different figures of authority in the village who wish him to stay; when he is finally integrated into the village, it is not by the pontifications and prayers of religious figures Perè Joseph or El Hadj Gora, but by the singing of Dame Castiloor and the children. Although the issues may seem somewhat coarse in writing, Absa puts them in action without forcing the idea through extreme camerawork or manipulation of the characters; the ideas flow naturally through the story and the characters' symbolic meaning, so that the average viewer will not be put off by the issues, and the less-than-average viewer may not even perceive many of them (the sign that reads "Popenguine").

There are uncountable moments of nearly imperceptible pokes and prods at the current state of affairs in Poponguine, one being the joke mentioned in the previous paragraph. The man who approaches Benoit talks of a `beautiful black boy' his wife just gave birth to, which must not be Benoit's child, he jokes. Even as a joke, it can imply that in the traditional group-oriented African village, a child's father is every man in the village; men can take multiple wives in accordance with local Islamic practice. The ideas held by such notables are held in contrast to the ideas of the teens. For example, Sylvie Vartan and Johnny Hallyday of the `Ins' group have a relationship based on romance and monogamy, which annoys Otis Redding of the `Kings' because as the cousin of Otis, Sylvie should be promised to him in the traditional manner. This shows the shift from dominant Islam to Christianity possible in the upcoming generation, but like many ideas presented in the movie, the viewer has the freedom to make those connections and inferences.

The freedom that the viewer has to make connections and inferences, and think more deeply about the issues of the movie is what makes Moussa Sene Absa's Ça Twiste à Poponguine more enjoyable than American mainstays of the socio-cultural genre. The camerawork is tastefully understated and carefully considered, as is the editing. Never does a scene seem to drag on, and the scenes that are building to something are spiced with a dashes of humor, such as the scene at Ginette's when one of the young adults is talking about sexual encounters with a drowsy woman to Benoit, whose worsening condition as a lonely drinker is being presented in this scene. The subtlety of so many issues and ideas makes this movie a joy to watch, its worry-free presentation allows one to watch again in order to pick up on subtle implications and decipher the symbolic meaning of characters. Altogether a cheerful tribute to his childhood home, Absa's Ça Twiste à Poponguine will lighten the heart as you witness a movie that itself symbolizes the relatively smooth cultural transition of Poponguine.

In the film, Ca twiste a Popenguine, which is an early 90's depiction of a community struggling to find their own sense of culture and it is also directed by Moussa Sene Absa. The main cultures that are addressed in the film are; American, British, French and Wolof. The adults in the film are the ones that address the issue of French and Wolof cultures, and the children feud between American and British. They are so confused that they begin to do everything they can to mimic the aforementioned cultures. Including changing their given names to those of popular rock and roll and pop artists like Otis Reading.

Given this background information on the film, you now note the film's strengths and weaknesses. I felt for an African film it transitioned fairly nicely and was no to difficult to follow (Aside from the sub-titles.) Also I understand that these are not paid actors, but rather the actual community of Popenguine who faces the issues of the film in daily everyday life. But even though the characters were played by regular people it wasn't a documentary like you may think. I thought that information was a tremendous strength for the director along with his ability to use music as a central theme which acts sort of like another member of the cast in telling the story.

Weaknesses on the otherhand, were slim in my opinion. One of the main things that I may note as a weakness is not the directors fault but still a weakness nonetheless. And that is the difficulty to relate to the characters. My recommendation for this film would have to be extended to those who feel like they may not know their real culture. In conclusion, the movie addresses very important issues that any American should feel compelled to watch.

Ca Twiste a Popenguine allows its' viewers to take a somewhat raw glimpse into the conflict between generations, caused by the colonization of one's country. Moussa Sene Absa (director and writer) does not convey a clear pro or con stance on the changing culture of Senegal, but does provide a rather complete look at both sides of the issue. He provides this raw look through his characters and their interactions with one another, the setting (Poponguine, Senegal), and time frame (1960's) of the film.

Ca Twiste a Popenguine is a movie best suited for one with some background information about Senegal or Africa in general. An uniformed (or entertainment-seeking) viewer would most likely miss the messages being sent by Absa; However, he does include many humorous perceptions of the American culture throughout the movie to keep the attention of the uniformed!

Ca Twiste a Popongunie brings to light several issues with the culture change that is taking place not only in Popongunie but in Africa as a whole. The director does a very good job of showing African culture without bringing any western influences or ideas into the actual filming and making of the movie. He does a very good job of showing how western culture is effecting the youth in the village. For example how the kids in the gang have a party and play music and one of the village elders hearing the music walks in to find people dancing. The village elder cuts the music and the boys who through the party were punished. Many of the children's parents were said to be "lost in the city". He refers to western cities and the mothers choose to go there and not come back because they liked the western culture better. The director shows the English teacher when he is drunk and is speaking very harshly about Poponguine, he insults the community greatly. The people of the town to not take any offense to what he says, he shows this in the movie and how the people care for him and try to make him more comfortable. He shows the kindness of the people of Poponguine very well. For the most part the movie was very easy to watch and understand. I did at times question how well the French was translated into English. There were however a few times during the movie that were hard to watch and agree with being from the western culture. In one scene the French teacher made it a rule that the students were not allowed to speak Wollif in the class, only French was to be spoken. One boy in the class broke the rule and the teacher made a younger boy take a decent sized stick and spank him 4 or 5 times. Corporal punishment to be used in that type of situation is looked down upon in most western cultures. As a viewer of the film I would recommend it to any one who is studying Africa and how western civilization and colonization has affected Africa. This is not a film to watch as entertainment it will be best used for educational purposes.