In the film, Black Girl (1966) written and directed by Ousmane Sembene describes the story of a young African woman who struggles to work as a servant in France. Critically acclaimed filmmaker Ousmane Sembene, is recognized as the father of African Cinema. Most of his iconic works consist of novels and films such as Le Docker Noir (The Black Docker, 1956), Barom Street (1963), and Moolaade (2004). But, in this particular film, Black Girl, the 65-min. black and white foreign film, centralizes around the impact of French Colonialism on Senegal. This realistic drama displays the pressure on black identity and nationalism through the post-colonial era. In this review, I will address a brief summary and analysis of the film as well as its importance of formal and thematic elements.
The story takes place in France where a young Senegalese woman Diouana leaves her home, Dakar and is invited to serve as a maid for a French white couple. Diouana has always dreamt of France as a place of paradise but in reality, it is not the lifestyle she seems it to be. Believing that she would look after her employer’s children, Monsieur and Madame show no sympathy for Diouana. They view Diouana as a slave and expect her to cook and clean. But there seems to be a misunderstanding that Diouana has the same desires and needs just as her employers. There is no respect for Diouana in this household. She finds herself locked in a prison and at one point states, “France is only the kitchen”. Madame believes that Diouana should be grateful for what is offered to her, such as a home, a bed, etc. But Diouana isn’t even given the opportunity to do what she truly wants. And this is where she regrets taking this job.
Watching this film, I felt culturally invested. This film explores the importance of cultural aspects and how as an audience, we are driven to this stereotypical view. We are presented with these stereotypes through which Diouana experiences with Monsieur and Madame. But, although these characters don’t seem to address their stereotypical views, it is portrayed through a blind manner. An example of this would be how during a dinner sequence, Diouana’s cooking is called out to be “Real Authentic African cooking”. This could also relate to how Madame locks Diouana in her room for her “own safety”. There is no realization of Diouana as a human rather a pawn whose loneliness and innocence is reflected through the color of her skin.
The film itself is beautifully well done. The formal techniques displayed throughout the story is what helps strengthen the film. One of the techniques that Sembene offers is the use of diagetic and non diagetic sound. This is essential throughout the film as main protagonist, Diouana narrates the story. As the viewer, we are told what to think instead of creating our own interpretations of the characters and the story. Sembene chooses to focus more on the feelings of Diouana throughout the film. Because most of what we know from Diouana’s feelings originate from the voice overs. Whether it’s her internal thoughts or ideas, much of what she feels is displayed throughout the story. But, what makes this film a realistic drama are the themes incorporated such as race, gender, and culture. All of these thematic elements play a role in this film, which ultimately creates the tension between the two groups. The black and white aesthetic of the film helps cope with the idea of race and color. I noticed that most of the space seen throughout the film is white. This space defines how isolated our main character is, often placed in the dark and exposed to such whiteness. Sembene exposes the isolation of Diouana through concerns of cultural domination and the subordination of women. His use of storytelling through minimal use of imagery and dialogue creates questions. It almost feels as if we obtain more information through the perspective of Diouana, whom is lonely, is conflicted with whites, and has the inability to speak for herself. The use camera work in the film is what creates realistic values. Sembene manages to capture her journey from Dakar to a place for a woman’s search for work. But, whether it was the close ups or POV shots, this allowed for Sembene to create realism. Some other thematic elements seen throughout the film is colonialism and religion. Both of these themes have been portrayed differently through both cultures, white or black. From Madame and Monsieur’s point of view, colonialism has impacted their idea of African traditions. An example of this could be how the mask in the film is meant to symbolize some sort of hidden message from Dakar rather than decoration. Many constant uses of flashbacks help create a better understanding about the origin of the mask and its relationship towards both groups.
Overall, Ousmane Sembene does an astounding job directing the film, along with the performances of Mbssine Therese Diop and Anne-Marie Jelinek. But the film can be painful and rough to watch at times. I wouldn’t recommend this film to an ordinary audience. I believe that this film could be a great use in African Cinema or a world history class. Personally, one of the films that share similar thematic elements in relation to this film is Get Out (2017). I felt as if both these films carried a great portrayal of innocence through culture. Both protagonists experience a racial conflict which leads them to fall into the misinterpretation of a certain group. It is films like these that engage audiences through realistic thematic elements. I felt as if both of these films build such suspense that it generates questions about the characters. But because Ousmane Sembene manages to create realism through different thematic elements, we are able to see through the narrative of our main character. I would highly recommend Black Girl to certain viewers, such as film or race and ethnic study majors since these kinds of films are heavily important and culturally informative.
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