A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Sunday, September 28, 2025

Muna Moto (Jean-Pierre Dikongué-Pipa, 1975)

Arlette Din Bell in Muna Moto

Cast: Philippe Abia, Arlette Din Bell, Samuel Baongla, Catherine Biboum, David Endene, Gisèle Dikongué-Pipa. Screenplay: Jean-Pierre Dikongué-Pipa. Cinematography: J.P. Delazay, J.L. Leon. Film editing: Andrée Davanture, Dominque Saint-Cyr, Jules Takam. Music: A.G.A.'Styl, Georges Anderson. 

Muna Moto, also known as The Child of Another, takes place in a village in Cameroon, where young Ngando (Philippe Abia) and Ndomé (Arlette Din Bell) have fallen in love. Ngando, however, can't afford the dowry Ndomé's father demands, so his rich uncle decides to take her as his fifth wife -- none of his other four wives have produced the child he wants. To forestall the uncle's plans, Ngando gets Ndomé pregnant, but the uncle is undeterred and takes her for his wife anyway and raises the child as his own. Ngando's struggle to claim his daughter and to reunite with Ndomé is the driving force of a film about the heavy hand of tradition, a universal theme in a setting unfamiliar to most of us. Director Jean-Pierre Dikongué makes the most of that setting, a place where nature and human beings tenuously co-exist. 

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