In a time of colored film,
Pontecorvo uses black and white to reflect the harmful nature of opposition
based on outward appearance between the French and the Algerians. Though
colonization chiefly fuels the clash, appearance is what enables it to occur. However,
the film renders distinction between French and Algerian people difficult, as
the only notable differences in black and white are the Algerians’ slightly darker
hair and skin color, and naturally, both sides have exceptions. Only outward
appearance such as clothes and hairstyles are what is left to identify race. As
the three women westernize themselves to pass the French checkpoints, they rid themselves
of identifying marks, hair, the veil instead, and clothes, instead of donning color-changing
makeup. The lipstick one woman applies makes no distinguishable difference. Looking
like French women, the three blend in with other French people but are easily discernible by their attire amongst the Algerians in a lack of color. By each woman
passing the French checkpoints without question or papers, Pontecorvo implies
that the difference between the two peoples is only what they wear, something quite
trivial, in a black and white film. The harmful nature of judgment by
appearance is that once the three women passed the checkpoints, they were able
to murder dozens of innocent people. By simply cutting their hair and putting
on certain clothes, the three women looked exactly like those they killed.
Pontecorvo demonstrates that this mass murder can be boiled down to clothes and
the racism that comes with them.
Another instance of animosity
strengthened only by outward appearance is the French woman who yells at the
homeless Algerian in blame and everyone follows. Her accusation comes directly
after, “Murder all the bastards! Then we’ll have some peace!” as if she
responds to the man’s exclamation in agreement. She fails to consider anything
about the man that could point to his innocence, such as has he been there for
a while or did he just finish running, etc., and exploits his Algerian and
homeless appearance in blame. Further racism comes from “Filthy Arab!” shouted as
the man starts to run. Similar abuse comes from the Algerian children beating
up the intoxicated French man. In black and white, the homeless Algerian man
and drunken French man look rather similar, only identifiable by their
difference in clothes. Pontecorvo builds upon the notion that difference
between peoples is their outward appearance to demonstrate that such
superficial discrimination is harmful, to say the least.
In
what other ways does black and white affect the film and why are they
important? How else does racism appear in the film and what is its
significance?
Eric, I think that your observations about the use of black and white are completely valid. Your question got me to thinking about how black and white was used throughout the film. One thing that I noticed was that during the first bombing scene with the French, that it took place at night. The black and white filming helps us to see the sort of sneakiness with which this whole action is taking place. It emphasizes that the French are doing this terrible thing with the cover of darkness. It is not something to make an immediate spectacle but a more backhand attack on the Algerians On the other hand, the Algerian retaliation takes place in broad daylight. The scenes leading up to and following the bombing are light- the sun is shining and lots of people walk about. The light in these scenes make this bombing seem well planned. They are not covered by darkness—these bombs will be a spectacle. It is like the Algerians want the French to see. They want to make a point. I think in this way the black and white Pontecorvo uses is extremely effective.
ReplyDeleteOne more thing that I forgot to add is that I think the black and white does a good job of directing our sympathies. The whole movie sort of directs out sympathies towards the Algerians. In the examples I gave above it depicts the French as black and black is a symbol for bad, evil, and sickness. The Algerians are seen as white which symbolizes good, purity, and peace. Not only can this be seen in the bombing scene but all of the women wear pure white. Associating these colors, black and white, with each side helps to direct our sympathies.
ReplyDeleteYour point about the bomb attacks is interesting. To build upon it, though the bombings were done either at night to be sneaky or during the day to cause a spectacle, the aftermath of both were similar. The remains of each explosion were uniformly grey; the pile of rubble and smoke blended any difference in color away in black and white. The aftermath was practically indistinguishable between explosions, implying that both peoples face the same devastation and the same lives lost.
ReplyDeleteEric and Marlee both make really fascinating points about the role of black and white! Another instance of its significance would be with all of the photographs. Early on in the movie, following an attack, someone sorts through photographs of victims. In these pictures, shadowy, bloody corpses are surrounded by a perfect frame of white-- an effect that objectifies and isolates each deceased person. After whatever life they have led, these people are left within a frame, defined by a single moment in which they were involved in the conflict. The contrast in value highlights this new role because it serves as a visual reminder of how each victim has been reinterpreted by the war and placed within a context they don't fit into.
ReplyDeleteEmily, that's an absolutely fantastic point. Building upon your statement that "each victim has been reinterpreted by the war" fits perfectly into my argument. All the victims had one thing in common, fighting in the struggle between two peoples. After death, the victims have everything in common, they were all people that died for what they considered a greater cause, and their bloody but black and white photos all looked similar. Maybe Pontecorvo implies the common "death is the greatest equalizer" here, exemplified by indistinguishable shots of death in black and white.
ReplyDeleteWhile I think everyone is making really fascinating observations about the use of black and white in the film, I don't think that black and white are used as universal themes--rather, the shades are used to convey different meanings in each scene. Marlee pointed out that the large amount of black used during the scene of the french bombing the Casbah gives a sense of deception and underhandedness. However, this does not mean black is always used to portray the French; during the scene on the roof where Ali la Point talks to Ben Ali, it is nighttime, but in that case the night is used to give a sense of tension as the dawn will bring the strike and possible change.
ReplyDeleteOne scene where I found the use of black and white particularly interesting is when the final rebels are hiding in the bunker and about to be blown up. Though realistically the bunker would be completely black, the rebels' faces are lit up white against the darkness. This focuses attention on the individuals, who represent the last "light" of the FLN in Algiers against the darkness of continued French oppression.
Lachlan makes some interesting points about the scene on the rooftop with Ali la Pointe and Ben Ali. The Algerians come to a point where the French are somewhat succeeding in their efforts against the Algerians. This scene relates the night and its darkness with the time of darkness or suffering. The suffering that occurs everywhere only brings the Algerians closer and makes them stronger to defend their people. Those two on the rooftop are the light or white that as Lachlan describes are the ones to bring this through to success.
ReplyDeleteIn relation to Eric's good post, the black and white portrays several meanings in different scenes. The colors do not necessarily mean the same in every scene of the film. I really like Eric's points made upon the drunken French guy and the homeless Algerian. The cruelty on both sides is equal. I think we could even define this as a gray area, where neither one would be the good guy or bad guy. Both the Algerians and the French can be accused of mistreating people for no good reason. Just to point out, it is amazing how involved the Algerian children were. Children saw the French man to be the "black" or the bad in their world, and they wanted him to go away. Some scenes the film allows the black and white to define the "good" or "bad" between both groups. Generally, the more white colored focused makes one look good, and the opposite for black. However, for the homeless Algerian and the drunk French there is not defined designation. It is a gray color, where they both have inflicted the same pain on innocent members of their community-yet they are punished simply by race. I find that the majority of the film seems to focus itself on either the cause for the Algerians and the colonialism from the French, but not really on the race. Rather, that scene brings out the racism between the two groups, but it cannot be simply determined as black or white.
I think everyone's been making really good points, and I think I'd like to build off of Emily's expanding it to a more general sense. I think that Pontecorvo effectively uses black and white to emphasize the stark contrasts in the film. I don't necessarily think that it relegates the French or the Algerians to one color, but rather it is used to contrast ideas. In one of the final scenes, the dark hideout which Ali is hiding in is then contrasted with the very light outside scene of the crowds two years later. I think it has less to do with the fact that Ali was evil or good, and rather just show how, even within one group or while fighting for one goal, there are many contrasting ideas, themes, and individuals.
ReplyDeleteI think the discussion of the use of black and white is very interesting, and I strongly agree with Emma's point. If Pontecorvo had used color, imbalances in color would have affected emotions and perceptions of different groups. Perhaps the Casbah would have been more brightly colored and lively than the French portion of Algiers, or vis versa. Viewers' sympathies might lie with the more visually pleasing side of the conflict. By portraying the story in black and white Pontecorvo emphasizes the fact that everybody involved is human, everyone appears grey.
ReplyDeleteJosh, I agree with your statement, "the story in black and white Pontecorvo emphasizes the fact that everybody involved is human, everyone appears grey," because it more clearly supports the claim that everyone is human regardless of race, wealth, religion, outward appearance, etc. Relating to contrast, there is practically none between the two peoples that color would have illuminated. Additionally, as Josh says, color may be employed to direct sympathies. The black and white film leaves directing sympathies up to the viewer without help from color, supporting the movie's documentary-like genre.
ReplyDelete