Bande-son pour un coup d'État

SOUNDTRACK TO A COUP D'ETAT (2024) Nominated for Best Documentary Feature. Johan Grimonprez' dynamic, densely layered Documentary is ostensibly about the Coup in the Republic of Congo in 1960 which dethroned Patrice Lumumba, but it extends further into the cultural and long-term political instability in the region.

Grimonprez blends Jazz and Blues with readings from several works on the subject as well as a generous amount newsreel footage to provide the 'Soundtrack'. It is the music which provides the ebb and flow of the film by the likes of Nina Simone, Louis Armstrong, Dizzy Gillespie, Abbey Lincoln, Duke Ellington, John Coltrane, Charles Mingus and Ornette Coleman. Max Roach's impassioned drumming is its blistering heartbeat. The graphics of the title card and on the posters evoke the style of Jazz and Blues records of that era.

Grimonprez' work is rigorously sourced with on screen annotations and references. Sometimes, it's all a bit too fast and furious to take it all in, but this is a highly engaging Doc which is riveting for its full 150 minutes. Many of the musicians were in the forefront of exposing the U. S. government's involvement in the overthrow. The Soviet Union's Nikita Khrushchev of all persons comes off as one of independent Congo's greatest defenders (of course, with major ulterior motives of his own). The clips of his colorful U. N. antics are given significantly better context here than usual. In addition to the CIA, the usually thought of as peaceful nation of Belgium stands as the villains of the piece.

SOUNDTRACK OF A COUP D'ETAT dares to be 'entertaining', but it's never less than thoughtful, thorough and provocative. A sterling Documentary.

Two and a half hours an not a moment of boredom. The story (or stories) it tells are amazing, the punches to the gut are well-spaced out, like a boxer wearing down his/her opponent until the final KO. Maybe the best music documentary ever? Certainly one of the most substantial. May only regret is not having time to note down all the books whose titles flashed up on screen in accompaniment of the many quotations, like on-screen footnotes. All in all, a wonderful film which unfortunatley I will never forget.

That was the review, but more words are required. This was at the San Sebastian International Festival. Big screen is beswt, I reckon, because it will force you to concentrate.

Thanks to all concerned in the making of this film.

During my life on the European continent, in a wealthy country that has benefitted enormously through the ages by suppressing other cultures, the stories of peoples enduring this suppression have been supressed enough that a story of this magnitude can suddenly struck you into silence.

A breathtaking musical journey depicting the rise and fall of the first Premier of Congo, Mr. Patrice Lumumba, showing the atrocities that the powers that be had to commit to steer history into a different direction.

I would like to implore anyone who hasn't seen this, to view this at your own peril, because this powerful documentary can blow your mind.

It's a documentary on the birth of the Republic of Congo and the assassination of its first prime minister, Patrice Lumumba. The approach incorporates much film footage from about 1950 to the early 1960s, juxtaposing the music and comments of leading jazz musicians of the era with contemporary news footage. Particular emphasis is placed on the various political machinations at the United Nations by Nikita Khrushchev, Dwight Eisenhower, Adlai Stevenson, and other world leaders, including Fidel Castro and Malcolm X.

At some levels, "Soundtrack to a Coup d'Etat" is an intelligent and brilliant work with an incredible musical score. However, it takes too long to make the fundamental connection between the American jazz musicians and Patrice Lumumba. When it finally does, it's highly effective, but a half hour could easily have been edited from the final production.

This smart, sophisticated documentary traces the improbably rise to power and eventual CIA-led assassination of Patrice Lumumba, the first prime minister of the Democratic Republic of Congo, who was elected in May 1960, shortly before his country gained its independence from Belgium. Congo, a country rich with natural resources that were vital, among other things, to Western countries' weapons of war, had been colonized by Belgium since the late 19th century. This sad tale is the sadly predictable part of the story. Grimonprez puts these events in the context of the U. S. own black empowerment movement. Perhaps as sad as the political aspects, the way the US government uses and discards black artists is also sad. The film is patched together with the style and rhythm of bebop jazz artists interspersed throughout the documentary. The film is generally an entertaining and effective direction of colonialism. But it does have flaws. It's too long, apparently paired down from an even longer film. And while the film is right to include Khrushchev and Castro because they attracted both African leaders and African American's inligenciA. But the failure to put these figures without even hinting at their own hypocrisy undercuts the moral weight of the film. Yet the film is still well worth watching for its wide-ranging take on Western colonialism and innovative structure.