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 | Moolaade Director: Ousmane Sembene Rated: M Palace Nova Now in his eighties, Ousmene Sembene is the grandfather of African cinema, a pioneer who wrote and directed his first movie in the early 'sixties and who has continued to make significant movies steadily (if not frequently) ever since. Virtually all of Membene's movies have been allegorical tales, focusing particularly on the neo-colonial African malaise, and 'Moolaade' is no exception. Using the controversial subject of female genital mutilation in a small village in Burkina Fasso, Membene constructs an allegory on Africa circa 2003, struggling to blend palatably tribal traditions, Islam, colonialism, Westernism, capitalism, globalization and even feminism. Colle Ardo Gallo Sy (Fatoumate Coulibaly) is the film's protagonist. When four girls who have fled a genital mutilation ("purification") ceremony seek the sanctuary of her family's compound, Colle agrees without hesitation. Colle herself was butchered as a child, lost two children at birth as a result, and has refused to have her own adult daughter Amsatou (Salimata Traore) purified. In order to save the girls, Colle places a rope at the entrance to the compound and declares a 'Moolaade' (protection). Those who break it will face the wrath of the traditional preIslamic Yoruba spirits. According to legend, an anthill in the middle of the village is all that is left of the last man who defied a Moolaade. As she has declared the protection, only Colle can utter the words that will break it. Membene's use of metaphor is overt, but undeniably powerful. The village has an Islamic mosque, but the spire is an ostrich egg. The mosque adjoins the anthill (tribal mysticism) and the confiscated women's radios (Westernism). The local trader, Mercenaire's stall (capitalism) is nearby and the ironically named Mercenaire shamelessly overcharges the villagers for his wares (globalization). While the subject matter might seem dour, Membene interposes plenty of humour to relieve the tension, mostly at the expense of the old men, their prejudices and hypocrisy. The performances are not Actors Studio quality, but nevertheless charming; and Coulibaly is a terrific heroine - virtually an African Joan of Arc. Membene clearly sides with the women and the brazenly symbolic ending featuring the ostrich egg is upbeat, but cautious- not the Hollywood saccharine we get fed at the Megaplexes. It's as if Membene is saying that any change - even imperative change - comes at a cost. 'Moolaade' is a triumph, the best movie I've seen this year. If it turns out to be Membene's swansong, a director couldn't ask for a grander farewell.  | |
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