Directed by Ousmane Sembene. With Thierno Leye, Myriam Niang, Seune Samb , Fatim Diagne. A corrupt politician is cursed with impotence on the night of his. into English in , Xala is the story of El Hadji Kader Ousmane Sembène is the author of several novels and short stories, including Tribal Scars as well as. The Xala Community Note includes chapter-by-chapter summary and analysis, character list, theme list, historical context, author by Ousmane Sembène.
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Part-allegory, and several parts social critique, addressing both polygamy and its effects on families, as well as the corruption of the rising business class after independence, Xala hits its targets reasonable well, but is not a particularly well-told story; an often awkward translation see just the quotes in this review doesn’t help either. The next morning, a beggar comes to El Hadji’s door.
Sembene Ousmane – Xala, the movie | Baba Jallow –
The work also provides a vast arena in which to discuss the novel’s themes ousmand motives. In the town, since the families are scattered, the children have little contact with their father. He already has two wives and eleven children between thembut these wives had lost the “savour of fresh fruit” that young N’Gone offers, and she’s a temptation he can’t resist.
This section needs expansion. On the wedding night he discovers that he is incapable of consummating the marriage; he has become impotent.
In Ousmane’s novel, El Hadji’s status as a member of the economic elite, as well as his manhood, are put into question.
A scholarship from the Soviet Union inwhen he was nearly 40, led him to study with Donskoy and Gerasimov, and Xala, in particular, was a direct result of both their teaching and his populist motives.
The final scene of the novel. But Xala, made for ordinary Africans and seen by them en masse, is his most successful critique of his own society. Often, it appears as if El Hadji simply plays the role of economic provider for his three families, enjoying neither the love nor companionship of his wives and children.
His efforts to cure himself lead him ever further towards ruin.
Everything seems in working order, but then it isn’t, and the sembwne is clear: In effect, he had three villas and three wives, but where was his real home? This page was last edited on 31 Augustat El Hadji’s business group, as he recognizes himself, is corrupt.
The film satirizes the corruption in African post-independence governments; El Hadji’s impotence symbolizes the failure of such governments to be useful at all. But when he finally gets the point and addresses the chamber of commerce in that language instead of French, he ousmxne accused of being “racist, sectarian and reactionary”.
El Hadji’s second wife, Oumi N’Doye, employs powerful skills of persuasion oumane mental torture to exact what she wants from her husband. He knows that it works as a social system in which he and his business partners profit from the poor, but El Hadji also realizes that there is a Colonial empire profiting off of his group. One can, therefore, examine the folk elements of Xala without fear of consigning yet another expression of African creativity to the museum of primitive art.
The mother has to look after the children’s education, so academic achievement is often poor. El Hadji’s conversations with his wives are marked by superficiality and distance.
He had nowhere a corner of his own into which he could withdraw and be alone.
Here is a man straddling two cultures: Despite a front of wealth and stability, El Hadji’s economic status crumbles to dust before our eyes. His colleagues pounce on his misfortune and vote him out of their business group. He believes himself untouchable, refusing the superstitions of his culture until the curse of the xala is placed upon him.
The narrative in the film version, more tightly focused on the moral corruption of the srmbene, is more successful. Your wives make the decisions, wear the trousers in your house, don’t they?
Ousmane Sembene: Xala | Features | Film
The beggar is accompanied by other diseased beggars who pillage the villa. He’s the same beggar who has haunted El Hadji’s office building for several years.
Muslim women are often envisioned as playing the role of humble servant to a dominating male figure. At one point, after his virility is restored, El Hadji is startled when his driver asks him to which villa he would like to xembene.
Cinematographic conventions disrupt him; psychological nuances escape him; rapid images submerge him. He believes himself to have been cursed with xala pronounced “hala” a condition which leaves him impotent. You can help by adding to it. Scholar Aaron Mushengyezi writes: When El Hadji loses his money, he loses his wives along with it.
He has not made many films, but at least two of them, Xala and Ceddo, deserve to be counted among the best. El Hadji’s affliction, Xala or impotencesymbolizes his lack of power in both the economic and social world. Rama and her friends’ “No French” Rule.
Ousmane Sembene: Xala
At the end of Se,benehowever, the religious and economic structures upon which El Hadji has built his life, are shown to be flawed. Why don’t you come and see us? Only his daughter Rama attempts to engage in sembfne conversation and soul-searching with her father, and is rebuffed on two occasions: El Hadji Abdou Kader Beye was what one might call a synthesis of two cultures: Sembene, a distinguished novelist, forsook books for the cinema largely because, as a Marxist, he wanted to reach beyond the French and African elite he despised.
El Hadji represents, experiences, and eventually articulates the impotence of his class” Gugler During one encounter she baits him, “You’re afraid of women!