{"id":12131,"date":"2010-08-13T11:42:53","date_gmt":"2010-08-13T18:42:53","guid":{"rendered":"http:\/\/filmfanatic.org\/?p=12131"},"modified":"2020-12-22T00:22:59","modified_gmt":"2020-12-22T07:22:59","slug":"xala-1975","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=12131","title":{"rendered":"Xala (1975)"},"content":{"rendered":"<p><strong>&#8220;Make me a man again &#8212; I&#8217;ll pay whatever you want.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Poster2-1.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Poster2-1-210x300.png\" alt=\"\" width=\"210\" height=\"300\" class=\"alignleft size-medium wp-image-58987\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Poster2-1-210x300.png 210w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Poster2-1-90x128.png 90w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Poster2-1-189x270.png 189w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Poster2-1.png 607w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nIn post-colonial Senegal, a corrupt businessman (Thierno Leye) attempts to marry a third wife (Dieynaba Niang), but finds that his ability to consummate the marriage has been foiled by a &#8220;xala&#8221; (curse).\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>Africa<\/li>\n<li>Corruption<\/li>\n<li>Downward Spiral<\/li>\n<li>Marital Problems<\/li>\n<li>Satires and Spoofs<\/li>\n<\/ul>\n<p><strong>Review: <\/strong><br \/>\nIn his fourth feature film, Senegalese director Ousmane Sembene continued his cynical exploration of corruption in post-colonial Africa &#8212; this time with more of an overt satirical edge than ever. As in his earlier film <a href=\"http:\/\/filmfanatic.org\/?p=12022\"><em>Mandabi <\/em>(1968)<\/a>, the central protagonist in <em>Xala<\/em> (Thierno Leye) finds himself caught in a nightmarish situation &#8212; yet while <em>Mandabi<\/em>&#8216;s Ibrahim was hapless and illiterate (a victim of social changes beyond his control), Leye&#8217;s wealthy &#8220;El Hadji&#8221; arguably sparks his own downfall through explicit greed. In the film&#8217;s comical opening sequence, El Hadji sits around a table with a host of other powerful black men, accepting briefcases full of cash from white men in suits (clearly representing the country&#8217;s lingering vestiges of colonial power and influence). <\/p>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Briefcases.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Briefcases-1024x573.png\" alt=\"\" width=\"640\" height=\"358\" class=\"alignnone size-large wp-image-58988\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Briefcases-1024x573.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Briefcases-300x168.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Briefcases-128x72.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Briefcases-768x430.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Briefcases-1536x859.png 1536w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Briefcases-483x270.png 483w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Briefcases.png 1589w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>El Hadji uses this money to help purchase a third wife &#8212; the young and beautiful Dieynaba Niang &#8212; in order to propel his own prestige: <\/p>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife-1024x568.png\" alt=\"\" width=\"640\" height=\"355\" class=\"alignnone size-large wp-image-58989\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife-1024x568.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife-300x166.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife-128x71.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife-768x426.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife-1536x852.png 1536w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife-487x270.png 487w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife-1038x576.png 1038w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-New-Wife.png 1577w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>ignoring the fact that this makes both his university-age daughter (Miriam Niang) by his first wife (Seune Samb), and his jealous second wife (Younouss Seye), deeply unhappy. <\/p>\n<p>Once El Hadji attempts to consummate his marriage &#8212; and finds himself strangely unable to do so &#8212; his downward spiral is set in motion. He engages the services of medicine men:<\/p>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3-1024x570.png\" alt=\"\" width=\"640\" height=\"356\" class=\"alignnone size-large wp-image-58992\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3-1024x570.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3-300x167.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3-128x71.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3-768x427.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3-1536x855.png 1536w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3-485x270.png 485w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3-1038x576.png 1038w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal3.png 1605w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>and struggles to maintain dignity in the face of impressively widespread social knowledge about his dilemma. It&#8217;s clear to El Hadji that his problems aren&#8217;t his own, but rather the result of a curse (xala) &#8212; and while he believes this curse has been placed by one of his other wives, the cause for blame remains a central mystery of the film. Unfortunately, Sembene&#8217;s narrative (based on his own novel) veers off course at times, shifting to lengthy and seemingly inexplicable sequences (later explained) involving a band of disabled men who at one point gather to drink sweetened condensed milk (!).<\/p>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Condensed-Milk.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Condensed-Milk-1024x555.png\" alt=\"\" width=\"640\" height=\"347\" class=\"alignnone size-large wp-image-58991\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Condensed-Milk-1024x555.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Condensed-Milk-300x163.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Condensed-Milk-128x69.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Condensed-Milk-768x416.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Condensed-Milk-1536x832.png 1536w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Condensed-Milk-498x270.png 498w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Condensed-Milk.png 1589w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>From what I&#8217;ve read, this confusion may be the result of drastic editing that was done without Sembene&#8217;s consent. In addition &#8212; as in all Sembene&#8217;s films &#8212; the performances by the majority of the actors are decidedly amateurish. Regardless, there&#8217;s enough sting and bite in <em>Xala<\/em> to make it worthy viewing for all film fanatics who are genuinely interested in world cinema.<\/p>\n<p><strong>Note:<\/strong> Sembene&#8217;s other acclaimed film made before the publication of Peary&#8217;s book in 1986 &#8212; <em>Ceddo<\/em> (1977), the only Sembene title listed in <a href=\"http:\/\/filmfanatic.org\/?page_id=1458\"><em>1,001 Movies You Must See Before You Die<\/em><\/a>  &#8212; is strangely missing; I intend to watch it shortly and verify whether it merits inclusion on this website as a Missing Title. Also be sure to check out Sembene&#8217;s final film, <a href=\"http:\/\/www.imdb.com\/title\/tt0416991\/\"><em>Moolaade<\/em> (2004)<\/a>, made before his death in 2007 &#8212; it&#8217;s most definitely must-see viewing. <\/p>\n<p><strong>Redeeming Qualities and Moments: <\/strong><\/p>\n<ul>\n<li>Yet another fascinating perspective by Sembene of life in post-colonial Senegal<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal-1024x561.png\" alt=\"\" width=\"640\" height=\"351\" class=\"alignnone size-large wp-image-58990\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal-1024x561.png 1024w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal-300x164.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal-128x70.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal-768x420.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal-1536x841.png 1536w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal-493x270.png 493w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2010\/08\/Xala-Senegal.png 1591w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a>\n<\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nYes, as one of Sembene&#8217;s most acclaimed films. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary&#8217;s book. <\/p>\n<p><strong>Categories<\/strong><\/p>\n<ul>\n<li>Foreign Gem<\/li>\n<li>Important Director<\/li>\n<\/ul>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/www.imdb.com\/title\/tt0073915\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/www.nytimes.com\/1975\/10\/01\/archives\/film-festival-cutting-radiant-xala.html\">NY Times Original Review<\/a><\/li>\n<li><a href=\"http:\/\/www.slantmagazine.com\/film\/review\/xala\/400\">Slant Magazine Review (SPOILER ALERT)<\/a><\/li>\n<li><a href=\"http:\/\/www.timeout.com\/film\/reviews\/78368\/xala.html\">Time Out Capsule Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Make me a man again &#8212; I&#8217;ll pay whatever you want.&#8221; Synopsis: In post-colonial Senegal, a corrupt businessman (Thierno Leye) attempts to marry a third wife (Dieynaba Niang), but finds that his ability to consummate the marriage has been foiled by a &#8220;xala&#8221; (curse). Genres, Themes, Actors, and Directors: Africa Corruption Downward Spiral Marital Problems Satires and Spoofs Review: In his fourth feature film, Senegalese director Ousmane Sembene continued his cynical exploration of corruption in post-colonial Africa &#8212; this time&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=12131\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-12131","post","type-post","status-publish","format-standard","hentry","category-reviews"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/12131","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12131"}],"version-history":[{"count":4,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/12131\/revisions"}],"predecessor-version":[{"id":58994,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/12131\/revisions\/58994"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12131"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12131"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12131"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}