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    3. Black Girl (1966) + Borom Sarret (1969) [Re-UP]

    Black Girl (1966) + Borom Sarret (1969) [Re-UP]

    Posted By: Someonelse
    Date: 28 Mar 2015 18:39:00
    Black Girl (1966) + Borom Sarret (1969) [Re-UP]

    Black Girl (1966) + Borom Sarret (1969)
    DVD5 | ISO | NTSC 4:3 | 55:44 + 18:06 | 4,10 Gb
    Audio: French AC3 @ 192 Kbps | Subtitles: English
    Genre: Drama

    The first major work of Senegalese director Ousmane Sembene, this 1966 film is widely recognized as one of the founding works of African cinema. Diouanne Therese N'Bissine Diop, a young Senegalese woman, is employed as a governess for a French family in the city of Dakar. She soon becomes disillusioned when the family travels to the Riviera, where her comfortable duties as a nanny in a wealthy household are replaced by the drudgery and indignities of a maid. In a series of escalating confrontations with her mistress (Anne-Marie Jelinek), Diouanne is painfully reminded of her racial identity. She is caught in the tension between the French upper-class and post-colonial West Africa and finds herself alienated from both worlds. Along with narration and dialogue in French, this film also shares the sparse tone and visual style of French cinema of its period. Nevertheless, the influence of Sembene's European counterparts does not diminish this subtle but striking examination of racial and cultural prejudice.

    Black Girl - IMDB | Wikipedia
    Borom Sarret - IMDB | Wikipedia
    DVDBeaver | Amazon


    Black Girl (1966) + Borom Sarret (1969) [Re-UP]

    Diouana (Mbissine Thérèse Diop) is a stranger in a strange land. In Dakar, she was a nanny–a job she found fulfilling–but is forced to leave when her employers, Madame (Anne-Marie Jelinek) and Monsieur (Robert Fontaine), relocate to Antibes. The Riviera is lovely, but she is demoted to maid and regularly reminded of her exotic origins–treated as an object and exploited for her "Africanness." Proud and impassive, Diouana rarely speaks, but a running monologue reveals her growing disillusionment. "The kitchen, the bathroom, the bedroom, the living room. That's all I do. That's not what I came to France for!" So Diouana revolts the only way she knows how and stops doing everything for which she was taken from Senegal–cooking, cleaning, etc.

    Black Girl (1966) + Borom Sarret (1969) [Re-UP]

    Based on his short story, in turn inspired by actual events, Black Girl was the first feature from Ousmane Sembène (Faat Kiné), the premier filmmaker of Sub-Saharan Africa. Though shot in a crude new wave style, the 60-minute film (also released in a 70-minute edition), effectively delineates the life of an unseen individual with no means of solace or escape. Interestingly, all parts were dubbed by other actors, contributing to the sense of alienation–even between Madame and Monsieur, who were also happier in Dakar. Black Girl (La Noire de…) is accompanied by Sembène's 1963 debut, Borom Sarret. The 20-minute short offers an insightful look at a day in the life of a Dakar-based horse-cart driver (Ly Abdoulaye) or borom sarrett (from the French bonhomme charret).
    Kathleen C. Fennessy
    Black Girl (1966) + Borom Sarret (1969) [Re-UP]

    Ousmane Sembène, a pioneer of African cinema, first gained international attention with this story of the legacy of colonialism, adapted from the true incident of an African maid's suicide in France. An illiterate in a strange country, Diouanna is at the mercy of her white French employers; while Diouanna's refusal to speak makes her even more inscrutable to her boss, Sembène lends insight into her hopeless situation through her interior monologues and flashbacks to Senegal. Despite technical limitations, Sembène's location shooting pointedly, and poignantly, contrasts the flow of life in Dakar with Diouanna's claustrophobic existence in the French apartment, literalizing her entrapment. Black Girl's worldwide acclaim rendered it the first major work of African cinema, and it established Sembène as the foremost filmmaker in sub-Saharan Africa.
    Lucia Bozzola, Rovi
    Black Girl (1966) + Borom Sarret (1969) [Re-UP]

    In Movies as Politics, Jonathan Rosenbaum makes a case for Senegal writer-director Ousmane Sembene's Black Girl as the symbolic genesis of sub-Saharan African filmmaking, at least to the extent that the authorship belonged to a born and bred African and not a well-meaning European ethnographer like, for instance, the extraordinary Moi, un noir's Jean Rouch. Based on one of his own anti-colonialist stories, Sembene's film begins with the arrival of Diouana, a stylish young black woman, to the French Riviera. Giddy on dreams of attaining true cosmopolitanism, Diouana has accepted a job as a domestic to a diffident married couple. In Senegal, she was a nanny to their children. But once she arrives in France and gets set to sweep floors, scrub bathtubs, and prepare spice-free versions of her homeland cuisine for houseguests (the couple's kids apparently study abroad), she comes to the slow realization that her employees are more like masters and her domestic position is really just paid slavery.

    Black Girl (1966) + Borom Sarret (1969) [Re-UP]

    Though nominally free in the sense that she isn't locked up in her masters' apartment, Diouana's illiteracy and plummeting sense of vocational self-worth quickly lead her into a spiral of depression. She tries to hold onto a sliver of hope, wearing glamorous spike heels while she does her housework and reminding herself repeatedly that soon the kids will come back and her house chores will stop. But Diouana's boss, a malcontent, snippy housewife, demands Diouana remove her flashy footwear (in a clear fit of class vengeance), and the kids' arrival continues to loom in the distance. Diouana's situation is obviously tragic, but Sembene's ability to match his contempt for so-called "decolonization" with a non-judgmental eye toward all his characters defuses any danger of slipping into polemics. Diouana's excitement over her move to France is not, surprisingly, in anticipation of her future paychecks. Instead, her ambitions are downright shallow: she can't wait to use her wages to buy dresses so that she can take pictures of herself living posh and send them to her friends and relatives back home in hope that her success will throw them into paroxysms of jealousy.

    Black Girl (1966) + Borom Sarret (1969) [Re-UP]

    Decolonization in Black Girl is not only a myth, but also a myth that actually strengthens the consumerist caste systems. The frustrated (and unnamed) middle-class housewife, who can't chide her droopy-dog husband to lift an eyebrow, isn't a monster in any unequivocal sense. Her outrage is a byproduct of the expectations that the economic exploitation of France's African imperialism have given her. And when her husband returns to Senegal to pay a guilt-ridden visit to Diouana's estranged relatives, the presumptuousness of his attempts to fix his mistakes by dropping cash is obviously callous, but it's all he knows. The mask-wearing boy who follows him out of town silently suggests the caveat emptor of a culture that the husband's nation tried to buy, but misplaced the receipt.
    Slant Magazine
    Black Girl (1966) + Borom Sarret (1969) [Re-UP]


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