BAB EL OUED CITY

Merzak Allouache1994

DISCUSSION QUESTIONS 1. This film seems to engage, in many ways, Julien Duvivier’s Pepe le Moko. What thematic, narrative, or visual similarities exist between the two films? What is the function of this filmic intertext, in your opinion, particularly as we have moved from the colonial to the postcolonial context?

2. One of the themes of this film (beyond the issue of entrapment) is the theme of blocked or incomplete communication. How does this manifest in the film? What is the function of this trope or theme? How does it relate to the central messages of the film?

3. Like earlier films we have seen (particularly A Summer in La Goulette) this film argues that Islamism is imported into North Africa from elsewhere. How is the argument made in the film? From where, according to the film, does Islamism come? How does this theme of Islamism relate to the other themes and messages of the film?

CONTEXT A look at the causes and effects of Algeria’s Civil War Contains direct and indirect references to government, Islamist rebels, real historical events

Allouache filmed in secret, gave script to actors day by day to prevent seizure of project by Islamists

Film was interrupted by the death of his friend, journalist Tahar Djaout (killed by Islamist rebels)

Film is pessimistic, suggesting exile as only real viable option, and even that is imperfect (we don’t know where Boualem actually goes)

SETTING

HISTORICAL SETTING Algiers, 1989, in the year following anti-government riots 3 years prior to official start of Algerian Civil War

Bab El Oued, old colonial part of Algiers Working Class Neighborhood Homes (main characters are neighbors) Beach (boundary between Algeria and elsewhere / France) Cemetary Bakery Mosque Boat

ALGERIA: AFTER INDEPENDENCE

ALGERIA AS GRAVEYARD

FAILURES AND BLOCKS OF COMMUNICATION

FROM PRISON TO TOMB Film explores failures of independence through a play with film noir (although we are primarily in the day suggesting darkness pervades)

Although it regards colonial Algeria as problematic, it seems contemporary Algeria as worse (particularly for women—Yamina is locked in and Ourdia lives a “living death”)

France is postulated as a possible escape, but it too is a trap (as evidence by Messaoud’s explusion)

Intertextual play with Duvivier’s Pepe le Moko reproduces and expands themes of entrapment and death

CORRUPTION AND DECEPTION

COMINGS AND GOINGS

CRISIS OF MASCULINITY AND SOCIAL ORDER (FILM NOIR) Algeria is depicted as governed (by force and subterfuge) by competing patriarchal forces

Women are (as the film shows) increasingly voiceless and powerless

People survive through escapism (books, movies) and fantasy (Paulo and his Aunt)

Authority is maintained not only through force but through illusion and subterfuge—nothing is as it seems (we are through the looking glass)

Motif of repetition (and references to Pepe le Moko) suggest Algeria is condemned to repeat the cycle of violence and oppression

CIRCULARITY AND ENTRAPMENT

IMPOSSIBILITY OF REVOLUTION Boualem’s revolutionary act is futile, a death sentence Multiple references to failed revolution, to revolution as a sort of manipulation or betrayal

Shadowy figures work behind the scenes to manipulate all action

No character (apart from shadowy figure) has any sort of real control or agency

All forms of expression apart from propaganda are shut off, cut off, suppressed (including music, art)

DEATH OF ORDINARY LIFE

THEMES Failures of Independence Blocked Communication / Algeria Cut Off “Government” and “Revolution” as tools of patriarchal thugs vying for dominance

Algeria as living tomb where escape (but to where) is only possible option

Place of Women in Modern, Arab World Corruption of Ruling Elites and Revolutionary Movements

Play with Film Noir (Pepe le Moko) Continued (but problematic) relationship between France and Algeria