A political stage theatre, musical, satire and history lesson all in one: Covering hundreds of years of colonialist, slavery, exploitation and disenfranchisement.
Now this is a Hondo closer to his roots in O Soleil, and what an incredible, mad and beautiful film!
To talk about West Indies, we need to talk about the minimalist setting, and extraordinary scope. Almost every scene is set, fittingly enough, one a stage made to look like a large ship - used both as the transportation of slaves - and as the actual unnamed island home of our study. The black people, with the exception of those set forth to lead them, are always in the bay - that is their home - above them, the higher deck, is the place of parties, elites and rigged elections - and one step higher - that of the 5 people truly ruling the island - in France's stead.
Above them: France's slogen: "Liberty. Equality. Fraternity." - and as we move through the ages, the slogan changes.
We are also fitted to our secondary setting, which is also where our film opens with our 5 elites - the captain's lounge - a throne room with 5 chairs. Their faces remain the same, even as the trail through history - and see them put their "plan" into action.
Their plan: cheap labour - and, well, power. (Not to mention the complete displacement of the entire people)
Slavery, or low paid workers, it makes no difference - and as the film intercuts slave transportation with immigration - and the plot moves to have more and more French take over the island - it truly is a look at how history rhymes - not to mention the complacency and complicity for those allowed to join in the ride.
But what sets West Indies further apart is their dance numbers, and songs - playing into the seduction of France and Paris - the submission and happiness of "assimilation" for those on top - and songs of struggle and freedom of the people.
It even manages to take snipes at petty white revolutionaries, either propagating xenophobia themselves or uttering empty phrases without care and insight.
And "pretty speeches", lies, deceit and complicity is a theme throughout; no one is really spared - though the film's message is clear: take power into your hands and free yourself.
What is truly striking, beyond the scope and message - is how Hondo managed to craft it all, not just within the allegory of a slave ship, but within a literal ship - and the incredible way he plays with form and setting.
Decades before Dogville, he allowed us to suspend our disbelief, and see and understand the boat to be any setting - and the choreography and songs simply feel at home in the visual and formatic landscape he created. The humour, the emotion and the al-together experience becomes something more than real life - and it is through this overt performance of history, that the nature of this reality - past and present - as Hondo sees it - can fully be expressed.
Now this is a Hondo closer to his roots in O Soleil, and what an incredible, mad and beautiful film!
To talk about West Indies, we need to talk about the minimalist setting, and extraordinary scope. Almost every scene is set, fittingly enough, one a stage made to look like a large ship - used both as the transportation of slaves - and as the actual unnamed island home of our study. The black people, with the exception of those set forth to lead them, are always in the bay - that is their home - above them, the higher deck, is the place of parties, elites and rigged elections - and one step higher - that of the 5 people truly ruling the island - in France's stead.
Above them: France's slogen: "Liberty. Equality. Fraternity." - and as we move through the ages, the slogan changes.
We are also fitted to our secondary setting, which is also where our film opens with our 5 elites - the captain's lounge - a throne room with 5 chairs. Their faces remain the same, even as the trail through history - and see them put their "plan" into action.
Their plan: cheap labour - and, well, power. (Not to mention the complete displacement of the entire people)
Slavery, or low paid workers, it makes no difference - and as the film intercuts slave transportation with immigration - and the plot moves to have more and more French take over the island - it truly is a look at how history rhymes - not to mention the complacency and complicity for those allowed to join in the ride.
But what sets West Indies further apart is their dance numbers, and songs - playing into the seduction of France and Paris - the submission and happiness of "assimilation" for those on top - and songs of struggle and freedom of the people.
It even manages to take snipes at petty white revolutionaries, either propagating xenophobia themselves or uttering empty phrases without care and insight.
And "pretty speeches", lies, deceit and complicity is a theme throughout; no one is really spared - though the film's message is clear: take power into your hands and free yourself.
What is truly striking, beyond the scope and message - is how Hondo managed to craft it all, not just within the allegory of a slave ship, but within a literal ship - and the incredible way he plays with form and setting.
Decades before Dogville, he allowed us to suspend our disbelief, and see and understand the boat to be any setting - and the choreography and songs simply feel at home in the visual and formatic landscape he created. The humour, the emotion and the al-together experience becomes something more than real life - and it is through this overt performance of history, that the nature of this reality - past and present - as Hondo sees it - can fully be expressed.