Touki Bouki is a 1973 movie directed by Djibril Diop Mambety.
Touki Bouki or Journey of the Hyena tells the story of two Sengalese youth who want to leave their homeland for Paris. They scheme ways to raise money for their departure – which often appears more of a dream than reality.
A fascinating experiment of movie making, Touki Bouki is an irreverent, dreamy dissection of post-colonialism Senegal. While the characters seek Paris, the New Wave influence of Godard is already felt throughout the movie.
A delineation is immediately highlighted by the two leads – Magaye Niang’s Mory is a cowherd and Myriam Niang’s Ante a University student. Each is non-traditional – Mory is chastised for riding his bullhorn adorned motorcycle and Ante is villified for seeking education.
The opening scene dives further into this separation. A cow is brutally slaughtered – its arteries ripped open and drained into a pool of blood. It’s a wrenching scene but easily representative of Senegal’s rural, Colonial roots – the place and history Mory and Ante want to flee.
Ante is further trapped by her family and friends – who casually demean her attempts at bettering her life. Her mother regards Ante’s school as “like a freak show.” She curses Paris: “Kids go to France and bring back white women with their diseases.” Ante’s University friends acost Mory – blaming him for keeping her away from their “revolutionary meetings.”
Mory is the more brazen of the pair – yet displays a surprising vulnerability. He hatches the schemes that will fund their escape, including robbing a street card dealer and ripping off a small-time criminal. Mory and his horned motorbike are ubiquitous – it’s clearly a symbol of freedom in a post-colonial setting but also reveals his intense connection to nature.
As the movie unfolds, the bike is abandoned and picked up by a native lingering in a tree. Mory and Ante board the cruiser that will take them away from Senegal. Yet a distant crash causes a mystical reaction and Mory takes off sprinting towards the accident. He cradles the cracked bull horns – his world shattered.
This moment – along with so many others – are hard to classify. There’s a sadness inherent with the slaughter of animals and by proxy Mory’s motorbike. Yet, these same images are presented with a whimsy reminiscent of Godard. The refrain of the bubbly “Paris, Paris, Paris” song is such an example. It’s catchy and could signal the start of new adventures – or is simply a cruel taunt – a reminder that Mory and Ante’s life will never change.
This theory could explain the ludicrous scene that occurs after Mory robs Charlie “the Mother Hen.” Mory and Ante return to their village decked out in fancy clothes and flush with cash. The same family and friends who denounced the two earlier now perform an elaborate welcoming dance and treat them like royalty.
Mambety creates a dreamlike environment – a surreal, confounding experience that distorts the overall narrative. Extensive quick cuts define Mory’s meeting with Charlie. They paddle together while close up shots alternate between Ante and a series of withdrawn women. The vocals of The Joy of Love soar as Charlie tries to lure Mory sexually.
Mory and Ante’s journey is bookended by similar scenes. A deafening cowbell clangs as a goat is being slaughtered. Ante is naked over the bike, presumably bathing in the blood. It’s a baptism of sorts that’s repeated in dual scenes where Mory and Ante have sex by the horned bike – seemingly both planning their escape or possibly dealing with its failure.
The BEST – The Clothes
The splendor of 1970’s clothing is on full display throughout the movie – especially during the arena scene. Daishikis and bubus dominate the crowd and the movie’s most memorable image sees Mory and Ante playing the role of gangster – another French New Wave inspiration.
The BEST Part 2 – The Cab Driver
The best gag occurs when a cab driver sneakily opens Ante’s trunk – which contains stolen money. He discovers a skull waiting for him and his reaction is priceless.
The BEST Part 3 – The Mother Hen
The mystery of Charlie is intriguing while his intentions are blatantly obvious. He attempts to seduce Mory before getting robbed. When he calls the police captain, he offers the same. If anything, Charlie is persistent.
The WORST – No Animals Were Harmed During the Making of This Movie
About that. The opening scene is brutal. If you’re an animal lover, be warned.
FOX FORCE FIVE RATING – 4/5
Touki Bouki is a highly inventive, creative expression that subtly explores the divide between traditional and post-colonial Africa. It’s a vibrant, stylish, dreamy movie that deserves a watch.
