Review: Youssou N’Dour: I Bring What I Love (2009) *** 1/2
Youssou N’Dour (Photo credit: Hugo Berkeley)
There’s a great story to be told about the making of and the reaction to Senegalese popular singer Youssou N’Dour’s religiously themed 2004 album Egypt. Unfortunately, filmmaker Elizabeth Chai Vasarhelyi only brushes against her subject and the result works best as a performance film rather than as an enlightening message movie. It’s a testament to the power and beauty of N’Dour’s music however that Youssou N’Dour: I Bring What I Love works as well as it does.
If Vasarhelyi had gotten deeper into the story in front of her, this could’ve been a great film instead of merely a good one, but it at least stimulates discussion and frankly the music speaks for itself. Fans of the artist are sure to be pleased and anyone interested in World Music or Senegalese or African cultures will find plenty to like.
N’Dour’s first number, captured in an exuberant live performance, is an exhortation for one Africa united by its people and not by its governments. Later in an interview N’Dour states his wish that Africa not be defined by its poverty and that the diversity of its cultures should be enriching and not an obstacle. He’s a popular singer, but he’s also a man with a message. It follows then that such a person would eventually be interested in recording songs inspired by his spirituality.
N’Dour, a Sufi Muslim, set out to do just that in the late ’90s, but the project was shelved after 9/11 for fear that a promotion of Islam would be interpreted as support for the acts of a few Muslim extremists. By 2004 however, N’Dour realized that the world needed more than ever to be shown a more peaceful side of Islam. In this spirit, his album Egypt was finally born. Combining traditional Sufi music with Senegalese rhythms and folk melodies, the album was widely embraced in the West. Ironically however, Egypt was deemed blasphemous to the Sufi Muslims who comprise 94% of N’Dour’s home country of Senegal. The man who was once a favored son was now seen as something of a pariah.
This is great and timely material that works beautifully set against N’Dour’s live performances as he tours the world with his music, but Vasarhelyi never goes below the surface of the central tension in the story. It’s mostly about how N’Dour responds to the rejection, which is interesting but only a tiny part of the overall story. There’s a much bigger picture about the conflict between and within religions and between the religious and secular worlds that goes unilluminated.
Vasarhelyi also provides frustratingly little context to her story. There’s a quick biography of N’Dour whose grandmother was a renowned griot singer, but not enough for those unfamiliar with the man or his music. There’s little discussion about the nature and beliefs of Sufism, nor is the perspective of the offended given in their own words. Also, there’s little information about how Egypt was such a departure musically. It’s unfortunate because the story properly told could have held the enlightening and healing power that N’Dour originally intended with his album in the first place. As it is, it falls short and that’s a shame.
Reservations aside, this is still an interesting and entertaining documentary. The story of a man struggling to express his faith in the best way he knows how is universal and here it comes to life under the power of Youssou N’Dour’s moving and inspiring music. As such, Youssou N’Dour: I Bring What I Love is a must-see for fans and is sure to make new ones of people who haven’t heard him before.
Youssou N’Dour: I Bring What I Love. France/Senegal/USA 2008 (US theatrical release 2009). Written and directed by Elizabeth Chai Vasarhelyi. Cinematography by Hugo Berkely, Scott Duncan, Nick Doob and Jojo Pennebaker. Music score composed by Martin Davich and James Newton Howard. Edited by Jonathan Oppenheim and Fernando Villena. Featuring Youssou N’Dour, Peter Gabriel, Moustapha Mbaye, Kabou Guèye and Fathy Salama. 1 hour 42 minutes. MPAA rated PG for thematic elements and brief smoking. 3.5 stars (out of 5)
Filed under: Reviews, Trailers
Tags: Elizabeth Chai Vasarhelyi, Fathy Salama, Fernando Villena, Hugo Berkely, James Newton Howard, Jojo Pennebaker, Jonathan Oppenheim, Kabou Guèye, Martin Davich, Moustapha Mbaye, Nick Doob, Peter Gabriel, Scott Duncan, Youssou N'Dour
“This is great and timely material that works beautifully set against N’Dour’s live performances as he tours the world with his music, but Vasarhelyi never goes below the surface of the central tension in the story.”
This is the second review I’ve read of this film in the past 24 hours (The other is Jon Lanthier’s) and it seems both of you are in complete agreement as to the contention made by Craig in the above excerpt from the review. I am particularly interested in this must, and am happy at least to hear:
“Reservations aside, this is still an interesting and entertaining documentary.”
A very perceptive piece, you are really on a roll.
Well, once again I find a review of a film I’ve written-up and discover that before I’ve had a chance to respond to my colleague the tireless Sam Juliano has already referenced me. Lol! Thanks for your unflagging support, Sam, it always cheers me up.
Craig, this is indeed a fine review that agrees my own views in many respects. One thing I’m realizing in retrospect, however, is that a number of the issues I had with the film — for example, the glib exploration of west/east and secular/muslim relationships — may be partially a product of America’s “alien” perspective of N’Dour’s cultural heritage. As I point out in my write-up, that he is both African AND Muslim is essentially a recipe for US marginalization, despite Islam being one of Africa’s most prevalent religions. However, the film fails to in anyway assuage our confusion, so all I made out is a lot of passion with recondite targets.
And as you say, “There’s little discussion about the nature and beliefs of Sufism, nor is the perspective of the offended given in their own words.” Indeed, for a portrait of a cultural activist there’s very little cultural detail!
My review can be found at the link below, if anyone is interested. Excuse the self-advertisement.
http://www.slantmagazine.com/film/film_review.asp?ID=4344
Thanks for stopping by Jon. Your excellent review was even a bit harsher than my own. I found myself sufficiently captivated by the music that it still worked for me, but I was left frustrated by what could have been.
I agree that it’s the fault of Western audiences if they go into the film lacking knowledge of the subject and the culture, but knowing that’s likely the case, I wish the filmmaker had been more explicit with details. It would’ve helped carry N’Dour’s intended message further into the very places that need to hear it.
Interesting review of what still sounds like an interesting film. I’m very curious about the film, even if it doesn’t go as far as it could. The music sounds intriguing, too. Will have to check it out first chance I get.
Hi, Jon! Nice to see ya in this neighborhood, too.
I really enjoyed it while watching it, but was left wanting more. I think you’ll find plenty to like.