The Touki Bouki Film presents varied thematic concerns and inherent tensions. These are important in many ways. Particularly, they help in comical presentation of the African and Western culture.
The film captivates the viewers in a progressive manner. This potential captivation is realized right from the beginning to the end of the film. It is amazing how the African based movie has the capacity to create a very captivating atmosphere to all its viewers (Armes 11). The story line rests on the episodes between the two young lovers. Mory and Anta are the main actors in the film.
These lovers yearn to move to a western country, France. This ambition is developed after meeting in Senegal. A series of events follow as the lovers fight their way to move out of Senegal to France. The motorbike forms the main carriage as they ride to different places in search for the money to pay for their transport to France. This discussion highlights and examines four thematic issues prevalent in the film.
A critical analysis of the movie reveals that love remains the most overriding theme. The Touki Bouki Film presents and emphasizes on the issue of love. Strong love is not swayed by prevailing negative conditions. The movie director endeavors to indicate that love is the highest epitome of possibilities.
It is indeed notable that despite the lack of most basic needs, Amory and Anta still struggle. The two lovers have used various strategies to obtain their transport to France. They provide support for one another in this course (Haen 56). This is both emotional and physical in nature. The love between the two people makes them more ambitious and visionary. They are able to tread each day with passion and ambition despite the inherent tension.
The male lover even risks coning a white man some amount of cash. This is meant for transport to their elusive land. As seen in the movie, the actions geared towards portraying a sense of inherent tension. The film espouses the fact that sometimes love may compel individuals or subjects to engage in immoral acts (Armes 34).
Love coupled with ambition and desire must be very dangerous within most societies. As evident in the Touki Bouki Film, this observation remains vivid and true regardless of the circumstances that the lovers might find themselves in. The general observation is that love helps to burry all generational gaps and stereotypes. Some of these have long deprived certain regions within the globe.
The movie also presents a sense of wit and acuity. There is a progressive examination of the normal ambivalence of the main subjects. This is towards the imperial and colonial mind set. These themes are developed and defended in the film through the application of hidden comic and satire.
The other foreign subjects displayed in the movie present different notions. For instance, there are cultural and behavioral practices that seem unique but very acceptable within the land of Senegal. The satirical and sarcastic mood in the movie tends to alleviate significant percentage of colonial dominion (Armes 55). This is applicable within all African settings. The traditional cultures have formed the main interest in the film. There is a dominant theme of expected change, transformation and acceptance within the western societies.
The film has developed an interesting masterpiece aimed to elicit critical viewpoints within the typical African and western society. The Touki Bouki Film helps to bridge the traditional or native lifestyle with the contemporary practices (Haen 72). There is an eminent theme of equality in the movie.
This is achieved with a character that bridges the gap existing in the western and African cultural orientations. The native population has been used in the movie for specific purposes. The main objective is to communicate the fact that this category of the population has the appropriate technological knowledge. The film remains deeply connected to the traditional practices of the populations or societies involve.
There is an element of comparison between these cultures. Generally, the inherent tensions emerge in the process of comparison of these cultures. Normal stereotypes are disapproved (Haen 102). Evidently, the native societies are able to perform tasks that require high or advanced technological knowledge.
The theme of imperialism and feeling of alienation is also developed in the Touki Bouki Film. This aspect is established in a very programmatic manner. Therefore, it requires an ideal level of criticality and analysis. A review of some print sources on the movie reveals the presence of several critics on the use of imperialism in the Touki Bouki Film.
There are very important social themes evident from the Touki Bouki Film. For instance, most issues regarding the status quo of the society are negotiated by a specific age category. The category refers to the Senegalese youthful generation.
This is a critical thematic concern. It elucidates on the role of the younger generation in the maintenance of social order. The film displays the fact that the negotiation is a vital undertaking within the Senegalese society. The use of a motorbike presents a clear conception of the theme of courage. Apart from this, it also indicates some sense of dedication and resiliency.
Observably, the main characters display a great deal of resiliency and commitment to their goal (Haen 115). This is despite their hardship situation. These highlighted thematic concerns have poignant roles in the development of the general mood of the film. Perhaps, this remains as one of the greatest ambition and motivation of the developer. Most episodes in the film remind the audience of the ambience and richness of the African culture. The use of the bull’s horn is figurative.
The use of the horn denotes the rich cattle rearing and pastoralist tradition of most communities in Senegal. There are important scenes that remind the native of the inherent tensions associated with their cultures. Perhaps, this might be the reason why the two lovers are determined to move out of the country to Paris. They perceive life in Paris as elusive, soft and more enjoyable. This is comparable to the one at home. In this context, the Touki Bouki Film displays an element of neocolonialism and imperialism (Armes 92).
It is vital to indicate that this notion has been widely criticized by a plethora of scholars in Africa. However, the scriptwriter is keen and particular on his intended theme for the movie. An in depth examination of the Touki Bouki Film reveals an array of thematic concerns. Nonetheless, these might depend on the perception of the audience and critics. There is need for more critical review of such important movies. The process helps to uncover fundamental issues concerning specific lifestyles within different communities.
Works Cited
Armes, Roy. African Filmmaking: North and South of the Sahara. Bloomington: Indiana Univ. Press, 2006. Print.
Haen, Theo. Colonizer and Colonized: Leiden 16-22 August 1997. Amsterdam: Rodopi, 2000. Print.