Moi un noir

Giving the participants significant control over image and voice makes it possible to convey the poverty and wealth of the lives of Eddie Constantine, Tarzan and Edward G. Robinson, and especially their great energy and terrible lethargy. It's interesting to see to what degree, by 1958, the culture of these folk, who say they're too poor to go to the movies, has already been suffused by the US/French culture industry. Despite meagre means, a cinematic form full of life seems to have been born.

Reality as cinema as alternate reality as cinematic fantasy; this is Rouch's ethnofiction in all its glory. This is proto-French New Wave (in particular the influence on Godard is starkly evident). The composition of shots, 'acting', editing, narration and perhaps above all the layering of post-produced dialogue and pre-recorded ambient street noise over the visuals makes for a diaristic film that is a delight to watch. As a viewer, you cannot help liking these 'slackers' who would be kings.

A film that seems to defy analysis. Definitely fresh.

This is really rough around the edges, as could be expected from nonprofessionals creating something wit the help of a professional, but there's an infectious energy about it that is endearing. These people are so happy to be creating and to be making a film that it's difficult to dislike.

It's a fascinating blend of documentary truth with the kind of truth one gets from a story, only its a story constructed mainly by it's own characters.

An interesting concept with creative execution, blurring the lines of fiction and documentary to show life in an African colony at the tail end of the colonization era.