October is ‘Black History Month’ in the UK. It’s a celebration of the importance of Africa and its peoples and diaspora around the world. The US has a month in February, but in the UK, October became established after an initiative by the late (and very lamented in these parts) Greater London Council in the 1980s. You can find out more at the Black History Month website.
Having noticed the celebrations over the last few years, which now occur not only in London but across the UK, we decided to celebrate the month by focusing on some of the films from Africa, North America and Europe that deal with African culture and diaspora culture. We are compiling lists of interesting films and also intending to review one or two significant titles.
To kick off, we’d like to celebrate the latest film to receive the restoration treatment organised by the Martin Scorsese-backed World Cinema Foundation. This was announced at Cannes in May and a further news item appeared in the Observer today highlighting a screening at the London Film Festival. The film in question is Touki Bouki, directed in Senegal in 1973 by Djibril Diop Mambéty.
Touki Bouki is an important film for several reasons, but most of all because it proved that African filmmakers could make a diverse range of different kinds of films, including those that were seen as ‘avant garde’, but also as youth pictures with a ‘New Wave’ feel. A pair of young lovers attempt to leave Senegal and have adventures presented in an unconventional narrative structure. The pdf downloadable from the World Cinema Foundation website above has a short statement from the great Malian filmmaker Souleymane Cissé:
Djibril left his country with the dream of finding success and solace in Europe. He soon discovered, however, the cruelty of life. While his dream fell apart little by little Djibril found he was unable to leave “Europe”, his host country. That was when returning to Africa became the real dream for him. Ending his days in Africa was a dream he would never fulfill.
Touki Bouki is a prophetic film. Its portrayal of 1973 Senegalese society is not too different from today’s reality. Hundreds of young Africans die every day at the Strait of Gibraltar trying to reach Europe (Melilla and Ceuta). Who has never heard of that before?
All their hardships find their voice in Djibril’s film: the young nomads who think they can cross the desert ocean and find their own lucky star and happiness but are disappointed by the human cruelty they encounter. Touki Bouki is a beautiful, upsetting and unexpected film that makes us question ourselves.
The restoration has involved a digital process to recover the colour range of the original. This is at the 2K international standard and a 35 mm interneg has been produced at the end of the process. The restoration was carried out by Cineteca di Bologna at L’Immagine Ritrovata Laboratory. It sounds wonderful, so if you get the chance, check out the LFF. The film screens at 18.30 on 24 October.
A second film spotted in today’s Observer also deserves mention. Babylon is a British film from 1980 featuring a fantastic cast of young Black British acting talent, many of them also leading musicians. Brinsley Forde, lead singer of Aswad and former child actor plays a reggae DJ with a sound system. He and his crew face plenty of obstacles as they fight a ‘battle of the bands’, not least the racism endemic in London at the time. The music was overseen by Denis Bovell and the cast also includes Trevor Laird and Victor Romero Evans (as well as a host of other British TV regulars). For the last couple of years there has been an Italian DVD available of dubious provenance (not certificated for the UK):
Here is the trailer for the Italian version:
Now there is a new UK DVD from Icon Home Entertainment. In 1980 the film was rated ‘X’, now it is a ’15’.
If the film is not directed or written by a Black filmmaker, does that invalidate its status as a film to be celebrated as part of Black History Month? I don’t think so – my memory is of a film that felt authentic for the streets of London in 1980 and an important assertion of Black British culture. I’m looking forward to watching it again. There’s a useful Guardian plug for the film here, commenting on director Franco Rosso’s pedigree as a filmmaker representing the UK reggae scene on film.