Mandabi — a post-colonial tale of seeping individualism

Dieng sits, wallowing in debt whilst he loses a necklace as collateral (Source: STUDIOCANAL)

The 1960s were as turbulent as a violently rotating washing cycle for most African nations, with the arrival of independence introducing a period of political instability. Colonial presence within these countries meant an increased drive toward capitalism, backed by the likes of UK, Belgium, France, Soviet Union and USA, who had a vested interest in African nations (exclusively for its mineral wealth). At the height of the Cold War and irrational fear of communism, McCarthyism meant socialist leaders within African countries were often ousted by military coup d’état’s that were supported by larger nations. Leaders of capitalist governments who gained or assumed power too encouraged a culture of corruption, greed, and individualism, with very little interest in the welfare of their people.

Ousmane Sembène, credited as the father of African cinema, was one of the very first to be vocal about the Africa he saw changing before his eyes in the film world — importantly from the perspective of an African. Mandabi is tactful in its exploration of Senegal’s political, social, and economic transformation through their colonial era, and its inevitable clash with a more traditional way of existing. Courtesy of STUDIOCANAL, Mandabi has been restored in stunning 4K reigniting the conversation Sembene sought with its release in 1968, now into the consciousness of a younger generation. Mandabi will be available in cinemas on 11th June and on Blu-Ray/DVD on June 28th 2021.

Mandabi follows Dieng, a man with two wives living in a Shanti town on the outskirts of Dakar. He is sent a “money order” (cheque) of 25,000 Francs by his nephew who is working in Paris forming the catalyst that drives the chaotic plot forward. Living a relatively simplistic life prior, Dieng is set to encounter numerous forms of beaurocracy when he attempts to cash the money order, and withdraw the funds that incidentally are not all his. Not in possession of ID or a passport, Dieng is perplexed by the forms of data now required of him to gain access to the money sent by his nephew– a man who does not even know his own date of birth. He is from an era where such personal documentation as proof of identity was not imperative in life, and soon viewers begin to discover just how out of touch Dieng is. Such contrasts are evident through plot setting and mise-en-scene when Dieng’s home environment is observed — the slow, lethargic walkers and marram streets in comparison to the bustling, fast-paced, horn-honking metropolis of Dakar. For Dieng, Dakar may be just a bus ride away but it is a million miles away from the society he calls home.

Dieng borrowing rice from his local shopkeeper, with ramifications to follow (Source: STUDIOCANAL)

The narrative is then driven by Dieng frantically trying to gather the necessary information to cash the money order in time before it is sent back to his nephew in Paris. In amongst his desperation to cash the cheque, many offer to come to his aid, which he naively accepts. However, he is ignorant to the notion that free assistance is now a thing of the past, with many viewing knowledge and connections to people of influence as a valuable commodity. Dieng’s traditional dress alone, in comparison to city workers in suits, is sufficient to leave him vulnerable to con artists and opportunists alike, lying in wait to capitalise on Dieng’s predicament.

Ousmane Sembène’s depiction of Dieng sits between the realms of slapstick and satirical. There is every possibility that upon its release, Dieng may have been received somewhat differently as now capitalism is a political theory most are accustomed to. Though comedic aspects exist in Dieng’s persona, his ignorance is indicative of changing social conditions that mean his lack of stable footing in the city is contrasted by a confident strut within his rural home. He is jobless, and food is not readily available — though when he does eat, he eats very well owing to the social structure within his own home. Intertwined is the complex nature of the traditionalist, community-based society of which Dieng knows, and therefore he is expected to contribute to the community regardless of personal welfare. When his wife, Aram, informs him a beggar is outside asking for food or when a member of the community asks for rice, Dieng does not hesitate to provide though they have dwindling supplies and a family of seven children to feed. The prospect of social alienation is perhaps as equal a fear as hunger itself. An argument between Aram and Meti ensues in which Aram says “If you try to help nine poor people, you’ll soon become the tenth”. The inevitable conundrums of social change begin to affect the family home and the focus naturally begins to shift more toward the protection of self. A taster of what’s to come.

Outskirts of Dakar (Source: STUDIOCANAL)

Mandabi is a story of incredible depth and one vital of its time. Ousmane Sembène was known to select actors who are not professionally trained, but instead from the culture and region he wants to portray therefore commanding authentic truth in his stories. Furthermore, the choice of using Wolof as the language of dialogue in Mandabi as opposed to French is a revolt against Senegal’s colonial past. One of the earliest forms of the “For Us, By Us” philosophy, Sembène was well aware that most Senegalese did not understand French at the time. The use of Wolof is Sembene championing his own people and culture — it is indeed a political act.

Crisp cinematography with colours viscerally rich in tone ensures Mandabi is apt for modern-day cinema lovers, providing a film that commands dexterity both in terms of character complexity, and its ability to narrate the post-colonial human condition. The footage of Dakar in the late 1960s is awe-inspiring, a bustling, functioning city of character that is brought to life through vibrant motion pictures. To come across footage of African cities is extremely rare, and 4K is a treat amongst treats. Though colonialism is often spoken about as if it were aeons ago, Mandabi is a case in point, examining the impacts of imperialism and mutant form neo-colonialism that is arguably less insipid but equally as destructive to African countries.

Dieng pleads with Mbaye to return the money order (Source: STUDIOCANAL)

Despite optimism at dawn, Mandabi descends into pitiful cynicism which is arguably indicative of Sembène’s outlook on post-colonial Africa. That being said, it has become increasingly clear over time the impact corruption and self-serving greed has had on African nations. Individualism has not only seeped amongst millions at ground level, but right to the very top — so much so, now becoming a member of parliament is often sought for monetary and status gain rather than the desire to improve a country. In my native Uganda, the result is a public sector that suffers from neglect, little to no investment, and no duty of care. I suppose Sembene had a watchful eye on the future. He knew the path many African countries had beset themselves was dangerous and would lead to inevitable societal clashes amongst the classes. Mandabi is therefore as relevant today as it was in 1968, bearing a legacy that is endlessly contemporary and not in parables relegated to the past, discussed in proverbs by a generation of yesteryear. Dieng finds himself caught within the grasp of change, swallowed in such velocity that his only form of “redemption” is to become just as corrupt as the rest — this sounds all too familiar.