Le mandat

Mandabi was a 1968 Senegalese film that depicted Croouption and Oligarchy in the country. Director Ousmane Sembène made this movie to tell the story of life in Senegal in the late 1960s, and the film was like a Thai Society of all time.

Ousmane Sembene's Mandabi traces the descent of a poor Senegalese Muslim who, upon trying to cash a money-order at his village post office, somehow finds himself pitted against overwhelming bureaucratic and societal forces. The protagonist, Ibrahim (Makhouredia Gueye, unassuming and comically dignified), is a lazy and vain but fundamentally decent man, an illiterate villager whose unexpected windfall becomes the catalyst of his downfall - the means by which this simple, more-or-less honest, foible-ridden individual comes face-to-face with the indifference, the corruption of the modern world. His story takes on the quality of a fable, a slight, at times comic one. Sembene, an observer of human nature, keeps his characters at arms-length, and by watching them carefully from this middle-distance is able to convey their basic equality as creatures trying to survive in a confusing, unfair world. It also happens that this mid-range staging is perfect for creating a deliberate, unobtrusive sense of comedy, of human folly gently revealed. The film is, at the same time, a window upon the culture of post-colonial Senegal, a world that seems poised uneasily between tradition (village life; Islam) and modernity (bureaucracy; crime; money-grubbing). There's no question that Sembene is on the side of the little people - he may chide Ibrahim for letting his wives run his life, for being irresponsible with money (he borrows on the money-order before it's cashed), but he also applauds him for his doggedness and faith, the things that poor people always have to lean on. A modest film but a wise one (despite a slightly forced denouement).

En francais and wolof! And made in senegal. Mister dieng has received a money order from his nephew, who has found work in paris. But nothing is easy, even in senegal, in 1968. Dieng will have to jump through many hoops if he wants to cash that money order. He's generous to his neighbors, but his wives cuss him out, since they may not even have food for their own kids tomorrow! As expected, it all moves a bit slowly, but it was quite interesting to see life in a small village from the 1960s. Good to see not much has changed in fifty years.. it's just as hard to get things done now as it was back then! This goes along like a senegalese episode of seinfeld.. how one small errand can fill up an entire day. Or two. Or nine. And the rich still get richer, while the poor get poorer. It's good stuff, for those with the patience for it... written and directed by ousmane sembene.

A Senegal tale of societal male dominance & how money changes people. Our lead character to his wives as they tend to his every comfort, "I am the husband, only I decide what to do." "Good wives consult their husband before making any decisions." Again, another example of female status/value somewhere below that of cattle.

Too often found in Islamic or poorly educated populations.

This is partially a response to the above review by Irene Schneider. Mandabi is the second feature length film of Senegalese born director Usmán Sembén. he was also a well respected writer and The Money Order (English translation) is an adaptation of his own book. Capturing the corruption eminent in post colonial Africa by following a proud man who tries to cash a money order sent by a relative working in Paris, France. This newly arrived money turns all those around him, including the lead character into to be kindly a pack of wolves, determined to pick him for all he's got. Except he hasn't even cashed the money order yet. Slow and observant with a charming rhythmic score that engulfs the viewer, it watches a society slowly eating itself because of poverty and selfishness and no one is spared in Usmán Sembén's lament against greed and avarice. A beautifully recapped montage saves what might have been a slightly didactic if not hopeful ending. To note, as opposed to the above comment, there is nothing simple about the movie and it is as prescient today as back then and is no history lesson. To be enjoyed by all those who enjoy the movies of Satyajit Ray because the film making style is very similar to his. ** Use of Usmán Sembén as opposed to Ousmane Sembene is because the director is credited as that in the movie and it seems to be the correct rendition of the name.