crlsimon

Jean Rouch signs another work on Africa and in particular to the people of the Niger region, to which he is particularly found of, and to whom he will dedicate most of his works: Les maitrre fous, Moi un noir, la bataille du grand fleuve and so on.

This documentary is filmed in a very classic manner: an off-field voice comments the Moro Naba – Emperor of the Mossi people, also called the sun king – funeral and then crowning. The ceremony itself is extremely interesting for two main reasons: the first obvious one is the ceremony itself, with its complicated rituals and symbolism, that includes the funeral of the dead emperor, the submission of notables, the choice of a new emperor and his "limbo", that include chasing the sun during the course of the day and not being allowed to wear the Emperor's clothes until dusk. The second reason that makes this movie interesting is that it was filmed in 1958, and it is therefore also a documentary about Mossi people at that time (even if the Moro Naba ceremony still takes place today), considering also how little documentation we have on Africa during that period. That is also, of course, its turn-off. If you're expecting to see a movie about Africa, you have to consider how much as changed.

Jean Rouch well depicts the dichotomy between a hollow white men's world and a strongly communial black men world. The mass to commemorate the dead Moro Naba, the newly vested Moro Naba's visit to colonial powers and his ride in a fancy car along with whites, are all briefs and senseless parenthesis in the long day that will mark the crowning of the Moro Naba.

Just to start with, Accattone was not filmed in Naples but in Rome. Someone might have brought to that understanding by some Neapolitans gangsters that appear at some point in the movie As for the "ruins" that scatter the landscape, they are mostly buildings that will soon replace the barracks such as the one in which Accattone lives, or the Acquedotto Felice, an ancient Roman aqueduct that runs close to Prenestina and Casilina, two Roman suburbs, that you can see in Mamma Roma as well. Franco Citti, the character of Accattone, perfectly embodies the roman lumpenproletariat of the time: idle, fatalistic and desperate. Pasolini met Franco's brother Sergio, a plasterer, hanging around Cinecittà in 1951. He introduced him to his brother Franco that became Pasolini's dialectical adviser for Accattone, Mamma Roma and his book "Ragazzi di vita"; his "living vocabulary" as he called him. Indeed, Pasolini interests for dialects and slangs (Roman is not really a dialect anymore but a slang) was not disappointed. The dialogues between the characters are full of fantasy: rude and in some way reminiscent of their peasant past. A must see if you're interested in Neorealism and in the "ways of the underworld lumpenproletariat". Someone connected this movie with Bunuel's "Los Olvidados". I definitely agree.