The production of Yeelen in 1987 still stands as a landmark event in the history of film making on the African continent. Africa lags further behind than any other major region of the world in producing cinematic works able to command international attention. Yeelen is quite possibly the most acclaimed film to emerge from Africa, having earned widespread critical attention and a special Jury Prize at the Cannes Film Festival in 1988. It is a film with a number of distinct merits but which, nevertheless, will pose a challenge for most western film-lovers because of the enormous gap that exists between traditional African culture and modern occidental perspectives and film traditions. Should you choose to watch this film, you will likely feel that your time has been well spent in several respects, yet walk away feeling somewhat perplexed and, perhaps, a tad disappointed by a lack of plot development, by Western standards.

Souleymane Cissé, the director of this significant film, was born in Bamako, the capital of Mali, in 1940. He studied filmmaking in Moscow before returning to take up residence in Mali in the 1960’s. On the evidence of Yeelen alone, Cissé has established himself as one of the top filmmakers in Africa, second only in stature, at present, to the Senegalese director Ousmane Sembene. The story of Yeelen is based on a traditional oral myth from Mali, set in the 13th century. At that time, Mali was a great empire, rivaling the strongest Arab and European centers, before later falling to Morocco in the 16th century and subsequent European colonization.

Yeelen means “brightness.” The opening sequence in the film therefore appropriately depicts a crimson sunrise – the symbolic birth of life. The story then tells of a warrior of the Bambara tribe, Niankoro (Issiaka Kane), who possesses the gift of magical powers and who has gained knowledge of the rites of the Komo (the science of the gods). Niankoro has been raised by his mother (Soumba Traore) after both she and her son were abandoned by his shaman father, Soma (Niamanto Sanogo), at Niankoro’s birth. Soma is the leader of the malevolent Komo cult and wants to kill his son to ensure that he cannot emerge as a rival or equal in magical powers. His mother, who fully understands Soma’s evil intent and relentless determination, has long hidden Niankoro for his protection. Since Niankoro has now come of age, his mother can no longer shield him and urges Niankoro to flee to a distant land. Niankoro, however, understands that it is his destiny to embark on a journey of spiritual enlightenment that will ultimately prepare him for confrontation with his father. While the particulars of this Mali legend are distinctive in detail, all viewers will appreciate that there is also universality in the story as a variation on the Oedipal conflict (or Luke Skywalker vs. Darth Vader -- for those more versed in “modern mythology”). Niankoro’s mother can also be seen as the embodiment of Mother Africa – the cradle of life – especially in a scene where she prays for her son’s safety while bathing herself in milk.

Niankoro’s mother, now understanding her son’s kismet, instructs him to seek his uncle Djigui Diarra (Ismaila Sarr), his father’s banished twin, whose wisdom will empower Niankoro to confront his father. As a farewell gift, she gives Niankoro the family’s magical fetishes for protection and the gift of a magical eye to deliver to his uncle. Meanwhile, Soma is hot on his son’s trail. Soma travels with two henchmen who carry a magic post that moves on its own accord, in the manner of a divining rod, methodically guiding Soma toward Niankoro. During this pursuit, the post periodically jerks the attendants around humorously, providing the principal comic relief of the film. Soma repeatedly shouts appeals to the god Mari to empty the lakes and level the mountains to aid him in his search.

As his odyssey proceeds, Niankoro passes through a variety of African landscapes, each with its own distinctive tribal culture (Bambara, Fulani, and Dogan). Passing through the tribal land of the Peul, Niankoro is suspected of attempting to steal one of their cows, and is taken captive. Here, for the first time, Niankoro’s magical powers are revealed to film viewers and the hapless Peul tribe as well. He boldly threatens destruction of the village if he is not released and provides credibility to his threat by paralyzing one of his captors. Duly impressed, the king of the Peuls, Rouma Boll (Balla Moussa Keita), asks Niankoro’s forgiveness and follows that with a request for Niankoro’s aid against a neighboring tribe of marauding warriors. Niankoro obliges by using his magical powers, first, to incite a swarm of bees against the enemy and, then, trapping them amidst a ring of wildfires.

The King now asks for Niankoro’s help with another, more personal, problem. The King’s youngest wife, Attou (Aoua Sangare), has been unable to provide him with a child. The King requests Niankoro to use his magic to make her fertile. Niankoro’s magic, however, proves stronger than his self-control, and he has sex with his young subject instead. Confessing his transgression in the morning, Niankoro offers his life as penalty for violating the King’s trust. The King, however, relinquishes Attou to Niankoro. Apparently, one wife more or less is small loss for a tribal King.

With Attou as his guide, Niankoro reaches his uncle, who fortifies Niankoro with the knowledge he will require to combat his father. Attou, now quite pregnant, remains with the uncle for safety while Niankoro strides out to complete his destiny with Soma. The climactic battle, a duel of magical powers, culminates in the disappearance of both in a dazzling flood of bright light. The story has now brought us full circle – from the birth symbolized by the initial sunrise to death as reunion with the light of creation. Only one thing more needs to be added to complete this quintessentially African vision of existence. In the final scene, Attou with her now young son (Niankoro’s son, of course) have journeyed to the site of Niankoro’s great battle with his father. The young boy reaches into the desert sand and pulls up two egg-shaped objects, symbolizing rebirth out of death and the persistence of knowledge across generations despite the inevitability of death for each individual.

The story of Yeelen is more a spiritual journey than a literal journey in the physical world, which is part of its difficulty for western viewers – not that many westerners are not also spiritually inclined, but the modes of thought of the respective spiritual traditions are so dissimilar as to limit cross-cultural appreciation and understanding. Another challenge for western viewers is that the African style of storytelling in far less linear than is western literature. African culture emphasizes circularity of existence, as in the cycle of birth, death, and rebirth. The story of Yeelen takes little regard of logical time, following an emotional progression rather than a readily comprehended temporal sequence. For western viewers, the lack of linearity has the distinct feel of a failure of narrative technique. The essential plot premise is established a few minutes into the film and gets nicely resolved at the end. In between those points, we feast on a smorgasbord of African culture, but without any further development or deepening of the essential conflict. It’s good vs. evil (or yin vs. yang) at the beginning, a very long yawn in the middle, and then, in the end, the annihilation of the opposing forces in a grand coadunation -- followed by rebirth. The center of the film lacks momentum or purpose, other than cultural appreciation.

Cissé found it necessary to overcome all sorts of challenges in completing this landmark film. At one point a sandstorm closed down production for three months, during which time one of the lead actors died, necessitating the finding of a replacement and the reshooting of the earlier scenes in which the deceased actor had appeared! The production was also plagued by difficult financial constraints. Despite those problems, the film that resulted is indisputably successful in several respects. First, as an introduction to the life and culture of this part of Africa, Yeelen triumphs marvelously. The viewer experiences first-hand the rituals, ceremonies, dress, language and music of several tribal groups while also observing aspects of daily subsistence. The magnificence of the cinematography in capturing a variety of stunning African landscapes is a quality of the film that has been widely praised. The imagery is rich, the symbolism pervasive, and the magical elements engaging. The film prevails in transporting viewers to a time and place entirely unlike our lives in the world of The West.

Yeelen was released in video by Kino, a long-time leader in promoting African film culture. The actors are all nonprofessionals, but most are commendably effective, given the naturalistic style that the film utilizes. Yeelen is in rich color with a running time of 105 min. If part of what you seek from your film viewing experiences is exposure to rich cultural heritages unlike your own, Yeelen will provide that in abundance, but, on artistic merits alone, it cannot be ranked as a great film. It is significant for its place in African film development, but not itself a masterpiece.

Recommended:
Yes

Viewing Format: VHS
Suitability For Children: Suitable for Children Age 13 and Older