#Ceddo

[theseventhveil1945]

ceddo (1977) dir. ousmane sembène

[whileiamdying]

In precolonial Senegal, members of the Ceddo (or “outsiders”) kidnap Princess Dior Yacine (Tabata Ndiaye) after her father, the king, pledges loyalty to an ascendant Islamic faction that plans to convert the entire clan to its faith. Attempts to recapture her fail, provoking further division and eventual war between the animistic Ceddo and the fundamentalist Muslims, with Christian missionaries and slave traders from Europe also playing a role in the conflict. Banned in Senegal upon its release, Ceddo is an ambitious, multilayered epic that explores the combustible tensions among ancient tradition, religious colonization, political expediency, and individual freedom.

[moviesiveseenandwanttoremember]

Ousmane Sembène’s “Ceddo” July 1977.

[sumarex]

[891movies]

470 to go

The Rules of the Game (1939, dir. Jean Renoir): Apparently this movie was considered scandalous when it first came out? Incredibly funny to me considering a bunch of rich assholes running around cheating on each other is the most french cinema thing I can think of. Anyway, this movie is great, the hunting scene is a particular highlight.

The Descendants (2011, dir. Alexander Payne): The constant voice over narration at the beginning was painful to sit through. Once that stopped the movie improved but it was still pretty bad. Not sure how it made the list.

Spellbound (1945, dir. Alfred Hitchcock): "I can fix him": The Movie.

A Tale of the Wind (1988, dir. Joris Ivens, Marceline Loridan-Ivens): A strange, captivating watch about the impossible task of filming the wind. As a fellow asthmatic, I really related to Ivens.

Ceddo (1977, dir. Ousmane Sembéne): This movie is rather slow and drags in places but even so I would still consider it a masterpiece. It has one of the most powerful endings I've seen in a while.

Tokyo Olympiad (1965, dir. Kon Ichikawa): So I kind of watched this movie twice? Or rather, I watched it on youtube not realizing it was a shorter cut, then went back and watched the full cut the moment I realized my mistake (that's five hours of Tokyo Olympiad in one day!).

I don't think I would have bothered if this weren't some of the most incredible documentary filmmaking I've ever seen. The cinematography is unbelievable, as in I could not believe they managed to get some of this footage, and I was moved to tears at several points. This is why I love cinema.

[byneddiedingo]

Tabata Ndiaye in Ceddo (Ousmane Sembene, 1977)

Cast: Tabata Ndiaye, Alioune Fall, Moustapha Yade, Mamadou N’diaye Diagne, Ousmane Camara, Nar Sene, Makhouredia Gueye, Mamadou Dioum, Oumar Guèye, Pierre Orma, Eloi Coly, Marek Tollik, Ismaila Diagne. Screenplay: Ousmane Sembene. Cinematography: Georges Caristan, Bara Diokhane, Orlando Lopez, Seydina D. Saye. Art direction: Alpha W. Diallo. Film editing: Dominique Blain, Florence Eymon. Music: Manu Dibango. 

In Wolof, ceddo means something like "outsiders" or "others," but the subtitles for Ousmane Sembene's film translate it as "pagan." Which is appropriate in that Sembene's film is about that essential precursor to colonialism: the obliteration of an indigenous religion by a proselytizing religious authority. Ceddo is set in a village in Sub-Saharan Africa in precolonial times -- Sembene said that he imagined it to be the 17th or 18th century. The colony of French West Africa was established in 1895, but the colonizing vanguard was there much earlier in the form of Islamic and Christian missionaries. In Ceddo the village has been mostly converted to Islam, which the village king has accepted. But the ceddo resist the new religion, and kidnap the king's daughter, Dior Yacine (Tabata Ndiaye), who is supposed to marry a Muslim, in conflict with suitors upholding tribal tradition. The struggle to return the princess is bloody. Two white men, a slaver and a Catholic priest, observe the action like eager scavengers. Sembene tells the story with a mixture of straightforward narrative and touches that evoke the future under colonialism. The music track, for example, at one point contains a gospel song sung in English, suggesting the diaspora of slavery. And we see the Catholic priest with what appears to be his sole parishioner in his makeshift chapel, but Sembene cuts to a vision of what the priest longs for: a large congregation with nuns dressed in white and an image of black men rising into heaven. At one point, when the Islamic villagers have won a victory over the ceddo, the imam gives the forced converts their new names. The first one is called Ibrahim, but the second is tellingly given the name Ousmane. Ceddo is an ambitious film, made under difficult circumstances -- the dailies, for example, had to be sent to France to be processed, resulting in a lag of some weeks before Sembene and his crew could know if what they had shot was acceptable. But Sembene's achievement is a remarkable portrait of a continent in transition.   

[eohachu]

i kind of forgot to live blog this week's film but I'll just say 100% recommend Ceddo (1977). you can watch it on youtube here

[moochilatv]

Max Ceddo presents: Everyone Falls in Love

Y sí, todos nos enamoramos alguna vez.

Everyone Falls in Love is positive, feel-good, celebration of love. Vocals strike a frantic excited tone as the melody energetically ascends and descends the scale, in rapid succession, using lyrical rhymes and humor to convey ebullience.

Max Ceddo it's an indie alternative pop/rock/electronic music group based in New York City.

View this post on Instagram

A post shared by MAX CEDDO (@maxceddo)

Mood of happy love-crazed puppy is embraced not being sugar and saccharine but rather fun and witty. Chorus is catchy and stays in mind. Written in Sweden by co-writers Fredrik Haag ad Cedric O’Gorman.

[pyritetears]

Ceddo (1976)

[allweknewisdead]

Ceddo (1977) - Ousmane Sembène

[chainsawpunk]

Tabata Ndiaye in Ceddo (1977)

[theseventhveil1945]

reference clocked i see u trisha biggar

[cosmicanger]

Ceddo (1976)

[fibula-rasa]

Favorite New-to-me Films—March ‘24

(listed in order pictured above, L to R)

READ on BELOW the JUMP!

Forbidden Fruit (1921)

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C.B. DeMille and Jeanie MacPherson’s second swing at this modernized Cinderella story about overcoming a bad husband, now with eye-popping fantasy sequences designed by Natacha Rambova. [Gif sets incoming!]

Mary Maddock (Agnes Ayres) does seamstress work and takes in laundry to support her layabout, no-goodnik husband. Her wealthy clients (Kathlyn Williams & Theodore Roberts) hatch a scheme to use a social event to settle a business deal with handsome young entrepreneur Nelson Rogers (Forrest Stanley). Mary accepts the job to keep Rogers occupied, with the unintended consequence of the two falling in love. When Mary’s husband makes a surprise appearance, the jig is up. But, after her husband’s chicanery has deadly consequences, Mary and Rogers are free to live happily ever after. CW: a pet bird is killed.

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The Woman King (2022)

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Giving an epic treatment to fitting subject matter, Gina Prince-Bythewood, Maria Bello, and Dana Stevens tell the story of the Agojie, a real-life group of warriors from the kingdom of Dahomey in West Africa, and General Nanisca (Viola Davis), a fictional leader of the warriors. The Woman King has a creative approach to history, to which a lot of critical attention has been paid—it’s certainly worth seeking education on relevant historical topics. 

That said, it was a gutsy and risky proposition to tell a story tied into the Transatlantic slave trade focused entirely on the West African and Portuguese side for an American (and English speaking) audience. Also, as an avid fan of Xena: Warrior Princess and the Eddas/sagas of Iceland and Scandinavia, I appreciated the filmmakers taking a legendary approach to this location and time period. In its deliberately extra-historical engagement with history, The Woman King also brought to mind for me Senegalese filmmaker Ousmane Sembène‘s Ceddo (1971), which I highly recommend. (Obviously the films have wildly different tones/styles tho!) 

As you might imagine from the description, heavy CWs for violence (including SA), blood, and slavery.

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Why Change Your Wife? (1920)

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A month ago, I wouldn’t have believed you if you told me that I’d be putting not one but two DeMille movies on my new-to-me favorites list! I initially watched them as reference for the cosplay I mentioned in the last monthly round-up post, but ended up enjoying both! Often there are elements of DeMille’s films that hamper my ability to enjoy them fully, whether it’s goofy class politics (hello Saturday Night), racist depictions (hi The Woman God Forgot, which I also watched for the first time this past month), or that I simply rarely enjoy christian bible epics. 

That’s not to say Why Change Your Wife? is somehow perfect—it features pretty sexist attitudes. But, having learned a little bit about DeMille’s unconventional marriage, I see it less of a story of wives failing and more of a story about how two people who have a solid partnership can lose themselves when they lose each other. Here I’m referring to the first part of the film, before Swanson’s Beth and Meighan’s Robert get divorced. Beth isn’t being true to herself when she’s on her mental-improvement kick—there are sufficient details thrown in that show that she and Robert have drifted apart and she’s responding to it by morphing into a maiden aunt type. The film could’ve made Robert’s role in their marriage’s demise a little more overt, but I do think DeMille and screenwriters Olga Printzlau, Sada Cowan, and William DeMille must have been concerned about the American public’s response to a story that normalizes divorce in 1920. For context, we didn’t have no-fault divorce here in the US until the 1970s.

Anyway, why should you watch it? Gloria Swanson and Bebe Daniels offer fun and energetic characterizations as the two Mrs. Gordons, and they share a pretty wild fight scene. The costumes by Natacha Rambova are funky and interesting. The film features an absolutely adorable dog too! (If anyone recognizes the dog please LMK!) [Gif sets for this film are also on the way!]

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Intohimon vallassa (1947)

[letterboxd | imdb | ELONET]

Teuvo Tulio don’t miss. 

The heir to the biggest farm in the county, Aino (Regina Linnanheimo), is forced into an arranged marriage, but the man she really loves, Olavi (Kullervo Kalske), sticks around and becomes the town blacksmith. Years pass and Aino’s husband becomes an alcoholic and an abuser. Olavi keeps his distance as Aino’s marriage implodes in a particularly disturbing fashion. CW: domestic abuse, alcoholism, implied death of dog

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Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)

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Look at me watching more than one movie this year that was made in this century! Anyways, I’ve been a turtle fan as long as I can remember (photographic evidence below) and I love that the comics have been re-adapted so well in the last 15 or so years for younger generations. (The 2012 show is very cute btw, worth checking out especially if you have kids.)

This take features a unique and kinetic animation style with an accessible story touching on what makes someone an outcast and how both adults and kids can navigate that. Mutant Mayhem features probably my new favorite depictions of April and of Splinter. Also, even though the non-turtle characters are almost all celebrity voice actors, the voice acting quality is very high.

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Montana Moon (1930)

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Sweet romantic story with comedic elements about a millionaire’s willful daughter (Joan Crawford) who, fleeing an awkward situation on a train ride with her family, runs into a cowboy (Johnny Mack Brown). The two quickly fall in love and are married, but the newlyweds face challenges when the differences in their lifestyles come into sharp relief. I love Crawford’s costuming and styling in this and her performance elevates the material. There are extended sequences with classic country-western music tho, so if that grates on you, you might want to take a pass on this one.

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Leda – The Fantastic Adventure of Yohko (1985)

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Yoko Asagiri is a young girl struggling to confess her feelings to the boy she likes. She decides to confess via a song she composed herself, but the song turns out to be a key to another world. Yoko teams up with a talking dog and a tiny warrior girl with a giant robot to fight the villainous Zell, who wants to use Yoko’s song to conquer her world. The animation and designs are top-notch as is the music. I personally enjoyed all of the Oz vibes suffused throughout the OVA.

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Tomatos Another Day (1934)

[letterboxd | imdb | Eastman House]

Also known as “It Never Happened,” this is ostensibly a short film about a woman carrying on an affair and said affair being discovered by her husband. What Tomatos Another Day actually is is a send up of early talkies conceived and executed by independent filmmaker James Sibley Watson Jr. and collaborator Alec Wilder. If you’ve been around my blog for a while, you probably already know that I love Watson’s Fall of the House of Usher (1928) [Gifs/Stills]. However, I haven’t seen much else of his work! Thankfully, Eastman House has preserved and digitized a couple of his films and I plan on watching more soon. The link above has the short film with an introduction and outtakes!

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Past Lives (2023)

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Past Lives is a quiet but emotionally-rich love story by Celine Song that spans decades but also a single eventful week. I loved the way that the story was structured and how much the film relied on thoughtful pauses to communicate complicated emotions. The actors, Greta Lee, Teo Yoo, and John Magaro, all put in great work here. If you haven’t seen it yet, but plan to watch it, prepare to cry a bit.

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The Mind Reader (1933)

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Warren William plays a carny with a different gimmick for every town in the midwest. When the Depression affects his take, he and his cohorts, Frank (Alan Jenkins) and Sam (Clarence Muse), come up with a new scheme: fortune telling. As Chandra the Great, the crew start to rake it in, but when Chandra falls for an upright citizen (Constance Cummings), the scheme and their freedom is put in jeopardy.

I’m not accustomed to William playing this particular brand of sleazebag, but he really kills it as Chandra/Chandler/Munro. I appreciated how creative and adventurous the cinematography and editing is—not an especially common trait for pre-code films. I also made some still sets for the film!

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Honorable Mention: Hard to Handle (1933) [letterboxd | imdb]

This film gets honorable mention because while I didn’t think it was particularly good, a few call outs are deserved. The bad: the plot was unnecessarily convoluted and the recurring sequences with fat people were iffy at best. The better: Ruth Donnelly shines as the comedically base mother of Mary Brian and she even gets to do a bit of physical comedy. Donnelly, Brian, and Cagney have a nice chemistry together throughout. In terms of costuming, the matching outfits of Brian and Donnelly are funny, but made funnier by the sheer quantity of mother-daughter ensembles they wear. The neutral: the film is packed with topical Depression-era references: notably Florida investment swindles and trends like dance marathons and the grapefruit diet. All-in-all, the filmmakers could have done less and achieved more.

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The only big post I completed this month was a massive undertaking: Lost, but Not Forgotten: Omar Khayyam / A Lover’s Oath and a timeline for the film’s production and release.

Otherwise, I made themed gif and still sets from:

Torture Garden (1967)

The Marriage Circle (1924)

Le Altre (1969)

The Mind Reader (1933)

As for April, the cosplay I mentioned should be up very soon. If I have the time, both Lost, but Not Forgotten and How’d They Do That should have new installments posted and I have a few movies/shows on my themed gif/still agenda.

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☕Appreciate my work? Buy me a coffee! ☕

[kyrasaphira]

makeup & lighting in 1960s-90s films

A Woman Possessed, 1975

The Bloody Judge, 1970

Ceddo, 1977

Johnny 316, 1998

Top Sensation, 1969

Komm Liebe Maid Und Mache, 1969

Flower Meg in the Iron Crown, 1972

Amuck, 1972

Las Amantes del Diablo, 1971

Emanuelle Nera: Orient Reportage, 1976

The Devil’s Nightmare, 1971

Willie Dynamite, 1973

Waheeda Rehman in Neel Kamal, 1968

The Blood Spattered Bride, 1972

Aziz Johari in The Killing of a Chinese Bookie, 1976

Virgin Among the Living Dead, 1973

[kevinjmann]

UKI - Episode 366

UKI: Episode 366 is now here on Mixcloud

Featuring:

1. @bantunanimusic and Misato - Disco Fever

2. Chris Lewington Music - My White Bicycle

3. The Souls - Bangladesh

4. @loovex.1 - No Sin, No Doubt

5. @ellyottmusic - Vibing

6. Max Ceddo - Everyone Falls In Love

7. von Krogh - Costs

8. Gill Guillermo Music - Mary

9. @iwamusic13 - A Notre Tour

10. Aaron Koenig - Crazy & Wild

11. @we.are.ptrns - Magnolia

12. Lisa Brunet - Une Fille D'été

13. Casey Frazier - Cold Road

14. Veiled Skies - Eventide (WTNSTD)

15. @kadence.music.writes - Trio

16. Blend 11 - Tomorrows Yesterday

Broadcast on

Sword Radio UK - www.swordradiouk.com - Thursday 9pm

KrystalRadio Station - www.krystalradio.net - Friday 7pm

Pop Radio UK - www.popradiouk.co.uk - Monday 8pm , Tuesday 8pm and Wednesday 8pm

Bunka Radio (Columbia) - https://www.bunkaradio.com/ - Monday 1am

Charlie Mason Radio (USA) - www.charliemasonradio.com - Tuesday 10pm

YOUR LOCAL INDEPENDENT AND UNSIGNED MUSICIANS - PLEASE BUY THEIR MUSIC - KEEP THE SCENE