Ousmane Sembène, known as the Father of African Film, was the son of a fisherman, raised in a tribal context in the Casamance region of Senegal. Fluent in Arabic and French in addition to his own tribal language, Sembène served in the French Army during WWII and worked for years thereafter on the docks in Marseilles, where he underwent a political conversion and began writing. After several acclaimed books, Sembène turned to filmmaking studying at a Soviet school in Moscow. As had his books, Sembène's short films dealt with issues of colonialism, tribal and cultural differences and African identity. His first feature Black Girl (La Noire de..., 1966), the story of a Senegalese maid working in Paris, won the Prix Jean Vigo award for Best Feature Film in 1966. A recurring theme in his work is the fortitude of African women, in the face of the failings of other social and political systems. To the surprise of many, his films present colonial oppression as only one of several forces slowing the progress of African political identity.
After the straightforward social commentary of Black Girl and the divisive decision to make his sophomore feature in his native Wolof language, Sembène's third feature Emitaï (1971) takes on much wider issues, directly confronting bitter events not recorded in French colonial history books. It was filmed in French and Wolof, the tribal language of the Diola people. When WWII broke out, the tribal and religious systems did little to prevent the French from conscripting black troops, many of whom ended up doing support labor, as had Sembène. Black males were often forced into service through brutal means, and then congratulated for volunteering. French officers are shown staking an old man out in the sun, until his service-age son turns himself in.
But things change when the French demand that the village provide rice for the war effort. The ransom is 60 pounds per citizen, or 50 tons in all. To the Diolas, rice must not be surrendered: it is the sacred property of Emitaï, the god of the sky and thunder. The horns, trumpets and cabissas of the Diolas spread the news, and the tribal leaders, led by the wise man Djimeko (Andongo Diabon) retreat to the sacred forest to consult the Bakine.
The Diolas are "fetishists" that solicit direct communication from the gods before making major decisions. While the old men dither in the forest, waiting for a sacred sign, the women openly resist. As punishment they are rounded up and forced to endure the daytime sun. The black troops carrying out the order must themselves stand in the oppressive, unendurable heat. At one point, news comes from afar that Paris has been liberated, but nothing changes for the captive Diolas. The distant war is an abstract concept for the black troops as well. They can't understand how De Gaulle, a two-star general, could succeed Petain, a field Marshall. Posters of 'the great white father' are changed, while a soldier mutters, "This war is fought in offices!"
Under pressure to do something, Djimeko finally orders an attack on the French, with only spears for weapons. The old man blames himself for the disaster that results, convinced that he's erred by acting without a sign from the gods.
Sembène dedicated Emitaï to "all militants of the African cause," but critics reported that the filmmaker includes just as much criticism of the native African social structures: "We collaborated in the slave trade, we must have the courage to admit this. The real courage would be to outline a solution." Well versed in the Soviet-style 'cinema of struggle,' Sembène emphasizes direct truth-telling over finer points of style. Thus, viewers experiencing early African film are sometimes surprised by how little attention is given to the notion of film artistry as defined by the developed film industries. Sembène's continuity and pacing require some adjustment, but the director makes his emotional connection with the audience.
In 1988 Sembène collaborated with director Thierno Faty Sow to make a semi-sequel to Emitaï called Camp de Thiaroye. A conscripted Army sergeant returning to Africa after the war learns hard lessons about what the French have done while he was away fighting in Europe. Sembène continued to alternate between writing books and making films from the African perspective. Made just a few years before his death, the director's widely seen Moolaadé (2004) addresses the issue of female genital mutilation. While celebrating Ousmane Sembène, Roger Ebert noted that his life "parallels in some ways Nelson Mandela's. Neither was born into wealth and privilege, and both achieved greatness."
By Glenn Erickson
