When Patrice Emery Lumumba became Prime Minister of the newly independent Congo in 1960, he refused to sit by as the Congolese gave false homage to their tormentors and torturers of 80 years, the Belgians. After those decades of murder and exploitation, Lumumba took the podium at the June independence ceremonies and condemned the Belgians for their maltreatment.
“While the independence of the Congo has today been proclaimed in agreement with Belgium, a friendly country with whom we deal on an equal footing, no Congolese worthy of the name will ever be able to forget that independence has only been won by struggle, a struggle that went on day after day, a struggle of fire and idealism, a struggle in which we have spared neither effort, deprivation, suffering or even our blood,” the doomed nationalist said.
The months of turmoil, corruption, murder and political dealings that follow are the subject of Director Raoul Peck’s award-winning Lumumba. Now playing at the Foundry, the French language film succeeds admirably in portraying the complicated struggle for control of the Congo. Peck, who spent time in the Congo as a child during the troubled times, also co-wrote the script with Pascal Bonitzer. The saga was an intricate one, and rumors as to the actual fate of Lumumba continue today. However, facts take place over hazy rumor and, in turn, Peck and Bonitzer weave an engaging story about an idealist that history seems to have forgotten.
The film stars Eriq Ebouaney, a veteran of French film and stage, as the conflicted Lumumba. Reminiscent of Malcom X with his thoughtful countenance, thin ties and glasses, Ebouaney seems to embody the black revolutionary of the ‘60s. His character, who narrates the film from his grave, is unwilling to patronize the Belgian imperialists and his only interest is a free and united Congo. This proves a difficult task throughout the film, as the factionalism of the gigantic African state takes precedence over progress.
He battles stridently with the Belgian authorities and military, who linger after independence in the countryside and in the capital of Leopoldville (now Kinshasa). The leaders from the southern province of Katanga refuse to take part in Prime Minister Lumumba’s coalition government, threatening secession. To complicate matters, Lumumba must maintain his tenuous partnership with his denigrating President, Joseph Kasavubu (Maka Kotto). Representing different parties and interests, the two leaders had to present a unified front for both the Congolese people and the rest of the world, including Europe, Russia and the United States.
Their friendship is tense, and while Lumumba wants unity for the Congo, he wants it on his own terms. After signing the treaty of independence, Lumumba reluctantly tells the press, “Unity is what the Congo now needs.” We know, however, that Lumumba wants to call the shots himself. And that is what makes Ebouaney’s performance so good?the audience seems to know Lumumba like a friend after just a few minutes. Despite his sometimes blind idealism, he never fails to lose admiration. This may be a flaw in the script (Lumumba was known to be a womanizer and often times big-headed), but his heroism in real life seems to justify this sympathetic portrayal.
His independence speech is perhaps one of the most moving scenes, as Lumumba’s passionate rhetoric is juxtaposed with images of racial tension in the country?a black man carrying a white woman’s groceries, rejoicing black soldiers juxtaposed with an angry white audience. It all seems to suggest that Lumumba was a polarizing force among the races, but Peck truthfully attributes much of the blame to the Belgians themselves, who further heightened tensions with a million dollar smear campaign against the nationalist leader.
The film explores Joseph Mobutu’s (Alex Descas) military and political involvement with the United States and the CIA in overthrowing Lumumba and Kasavubu, as well as his role in Lumumba’s murder in January 1961. The details of Lumumba’s death are fuzzy, but it is accepted that he was beaten and probably shot in the wilderness of the Katanga province. His body was never found, and Peck has us believe that it was burned in order to erase all evidence.
The scenery is purely African?dusty roads, colorful cityscapes and musical parties?but not overly romantic. Certain shots dramatize the film’s effect, especially the headlights of the cars driving Lumumba to his death through the Congolese forests. The scenes of violence, brutality and riots are accompanied by high and low angles as well as some shuddering camera work. But it is the script that engages.
There is a large measure of African history involved, and various names and political parties may confuse viewers without much previous knowledge of African history. It is the humanity of the film, though, that is important. Lumumba comes off as very real indeed, and Peck breathes new life into a story that the Western world has ignored and hidden for over 30 years.
