The Money Order

The Money Order (original French title: "Mandabi"), a 1968 film directed by Ousmane Sembène, is a timeless piece of African cinema that interweaves the themes of postcolonialism, morality, and socioeconomic dilemmas through a narrative that is both comedic and tragic. The trio of Makhouredia Gueye, Ynousse N'Diaye, and Isseu Niang star in this brilliant adaptation of Sembène's own novella, injecting the story with robust and heartwarming performances.

Set against the backdrop of Dakar, Senegal, the film centers around the life of Ibrahima Dieng (portrayed by Makhouredia Gueye), an unemployed man living in abject poverty with his adoring two wives and multiple children. Dieng's life takes an unexpected turn when he receives a money order from a nephew working as a street cleaner in France. The order is worth 25,000 francs (approximately 50 dollars), a substantial sum for the Dieng household that could alleviate the family's financial struggles.

However, cashing in the money order proves to be an insurmountable challenge, mired in a web of bureaucratic hurdles, an unfamiliarity with the convoluted processes, and a circle of people trying to exploit Dieng's lack of literacy and his vulnerability. As Dieng navigates through this labyrinth, the plot unfolds, unravelling the complexities of a new age Africa scrambled with traditional values and a rapidly modernizing society.

Makhouredia Gueye embodies the character of Ibrahima Dieng with extraordinary precision, keenly portraying a man tossed into circumstances beyond his capacity and comprehension. He flawlessly manifests Dieng’s bewilderment, naïvety, and desperation, providing audiences a character that is not only accessible but also relatable.

Ynousse N'Diaye puts on a fantastic performance as well, playing one of the wives of Ibrahima Dieng. His character, imbued with resilience and practicality, presents an essential perspective of the unthinkable realities faced by women in their struggle to maintain their families amidst the dire circumstances. Isseu Niang, who plays Dieng’s other wife, brilliantly showcases the emotional rollercoaster their family goes through, counterbalancing Gueye’s performance.

Sembène, often hailed as the father of African Film, showcases his critical acumen and intense storytelling prowess through The Money Order. The movie serves as a scathing critique of post-colonial African society at the precipice of modernization and a poignant reflection on the socio-economic disparities and exploitation that seep into the strata of civilization. He smartly uses the narrative of a single money order to capture the dilemma of an entire generation caught in an existential conflict of tradition versus modernity.

The film also provides a snapshot of Dakar in the 1960s, weaving an intricate portrait of a city imbibed with vibrancy and teeming life but also weighed down by the iron grip of poverty, social inequality, and corruption. The complex depiction of urban life in Senegal, coupled with the humor and humanism embellished in the script, provides The Money Order with a unique charm, making it both a social commentary and an entertaining cinematic journey.

The film is presented in Wolof, Senegal's most spoken language, with its infusion helping to convey the authenticity of the story and its setting. Furthermore, the use of local dialect enhances the narrative’s immersion and credence, strengthening its impact on the audience.

‘The Money Order’ is an impressive portfolio of performances, deeply embedded symbolism, and a brilliant narrative that explores the socio-cultural context of post-independence Africa. The film's lasting impact on African cinema is immeasurable, marking it as a stand-out piece of world cinema. Its portrayal of omnipresent themes such as poverty, corruption, modernity, and human struggle have made it timeless, rendering it as poignantly relevant today as it was during its release.