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In a perfect world, the name Ousmane Sembene would be just as familiar as Steven Spielberg or Tom Hanks. Sembene was born in Senegal over 80 years ago and is widely considered the father of African cinema. His debut, the 1966 film Black Girl, is a provocative tale that examines the recently post-colonial world through the eyes of a young African woman. Since then, he has made nine films, few of which have been screened widely in the U.S. But their lack of distribution is in no way a comment on their quality. Camp de Thiaroye, made in 1987, is a blistering portrait of the relationship between French soldiers and their African counterparts in the wake of World War II, while Sembene's masterpiece, Guelwaar (1993), chronicles the dichotomy between the natural and the spiritual through a striking (and humorous) portrait of an African village. Now at the age of 81, Sembene is finally about to receive some of the recognition he so richly deserves. His latest film, Moolaade, premiered to rave reviews at this year's Cannes Film Festival, and many critics, including Roger Ebert, are talking it up for Oscar glory.

The film takes place in a small African village. Six young girls escape from a "purification" ceremony, at which they're supposed to be circumcised. Two flee into the jungle, but four return to the village and beg Colle Ardo Gallo Sy to protect them. She's infamous in the village for not allowing her own daughter to be circumcised, and the four hope she'll do the same for them. Colle is a strong-willed woman, and she takes pity on the girls, invoking the ancient spell of "Moolaade," which offers sanctuary to anyone who asks for it. The village elders, both male and female, are outraged by Colle's actions, but they also respect the Moolaade and refuse to transgress it.

While Camp de Thiaroye was an historical film and Guelwaar seemed timeless, Moolaade is a contemporary work, firmly set in today's world. That doesn't mean this African village is "modern" in the way we use that word. Polygamy is still practiced, and there's a fascinating character who functions as a town crier. But the outside world is also making its presence felt. The first character we meet is a traveling merchant, who brings goods and news from the city. Later, the chief's son returns from Europe full of gifts but also modern ideas. He disagrees with the elders that men should only marry circumcised women.

The distinction between the male and female point of view is significant. For the female leaders, the issue of female circumcision is absolute and central to their self-identity. For the men, it's a "minor domestic" matter. Their primary concern is how Colle has usurped their power. When her husband returns from the fields, they demand that he order his wife to abolish the Moolaade. That's easier said than done, though. In a nicely comic scene, he tries to enforce his will at the same time he's trying to get Colle into his bed. When it becomes apparent the next morning that Colle has no intention of obeying the men, they respond by demanding that the women give up their radios, which the men see as undermining their authority.

For many cosmopolitan viewers, who are used to viewing the global media as intrinsically antithetical to African identity, Moolaade will come as a shock. Here in this African village, the radio is not just entertainment and comfort (the women have trouble sleeping without it), it's also a link to the outside world. Through the radio, the women hear that female circumcision is no longer seen as a religious dictate for Muslim women. They learn that the prices the merchant is offering are too high. And they understand how other societies are structured and that they don't have to blindly follow what their husbands tell them. This leads to a powerful moment when the men try to break Colle's spirit, while the women urge her on in defiance.

The best part of Moolaade is its sense of place. Sembene creates an African village in a microcosm. While his use of non-professional actors creates some awkward moments, his visual style is unparalleled, as he combines the rich colors of the village into a beautiful fabric. Still, I can't help feeling a little disappointed with all of Moolaade's acclaim. It's not that it's a bad film by any means, but it in no way compares with Sembene's earlier work. This one has the cachet of a hot topic and the accessibility of a movie designed to flatter its audience, but that's the problem. I can't imagine anyone being challenged by this work like you are when you see Camp de Thiaroye or Guelwaar. Those movies dealt with African issues, but they also addressed the human condition, exploring issues such as racism, honesty, and faith. Moolaade will send its audience out with a smile on its face, "knowing" that they're the good guys and that the good guys are winning. Still, it would be churlish to complain too much. Sembene is one of the giants of world cinema, and he deserves his moment in the sun. And if you've never seen one of his films, Moolaade is a fine place to start.  

J. Robert Parks   11/27/2004