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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Showing posts with label Soleil Ô. Show all posts
Showing posts with label Soleil Ô. Show all posts

Monday, August 18, 2025

Soleil Ô (Med Hondo, 1970)

Robert Liensol in Soleil Ô

Cast: Robert Liensol, Théo Légitimus, Gabriel Glissand, Bernard Fresson, Yane Barry, Greg Germain, Armand Meffre, Med Hondo (voice). Screenplay: Med Hondo. Cinematography: François Catonné, Jean-Claude Rahaga. Production design: Med Hondo. Film editing: Michèle Catonné, Clément Menuet. Music: George Anderson. 

Because it caused our civil war and continues to blight our public discourse and public policy, we Americans tend to think of racism as a problem somehow peculiar to us. Of course it isn't, and Med Hondo's Soleil Ô is a scathing, satiric demonstration of that painful fact. It depicts the experiences of a young African man (Robert Liensol) as he immigrates to France, where he encounters racism in a variety of forms, from discrimination in employment to sexual humiliation when he fails to live up to the myth of Black male potency. Creating a collage with various techniques, including animation, sometimes taking a neorealist approach and sometimes resorting to surrealism, Hondo indicts colonialism as well as racism almost to the point of exhausting the viewer. But then sometimes we viewers need to be exhausted for our own good.