These regions unexplored until now by cinema due to climatic difficulties (heat and humidity) and the religious superstition of the Mohammedans which forbids them from allowing themselves to be photographed, have provided us with ...

Léo Lefebvre

En Afrique occidentale

These regions unexplored until now by cinema due to climatic difficulties (heat and humidity) and the religious superstition of the Mohammedans which forbids them from allowing themselves to be photographed, have provided us with a series of excellent scenes from a double point of view. interest and photographic quality. There we see successively the return of a column with women and children, an indigenous village with its tents which look like burrows full of teeming families and where women carry heavy loads or pound millet, the religious festival of Salam where the natives placed in long regular lines, straighter than ranks of soldiers on exercise, fall to the ground, with a single rhythmic movement, silent and hasty, remain prostrate for a few moments and get up without noise: once wild fills them and raises them up like puppets. Here now are tom-toms and dances, crouching people, among whom strange girls, covered in gold and shimmering fabric, pass with their calm pace; struggles of griots with marmoset faces, but already muscular like real men in miniature and dexterous like old wrestlers; a swimming of children in the Oua Oua: it is in the middle of the bush a precipitous fall of griots, leaps, tumbles, jumps and cries in a splash of water. The scene has an amusing lighting effect, the black and shiny griots swarm in the luminous water which seems to carry sunlight. Rocked by one wave, shaken by another, sometimes half turned, two teams of Minas and Krou natives, mounted on whaleboats, cross the passage of the bar, this formidable line of breakers with gigantic waves, populated by sharks.

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