Dir. Mahamat-Saleh Haroun, UK, 2010, 91 mins, in French with English subtitles
Cast: Youssouf Djaoro, Dioucounda Koma, Emile Abssolo M’bo
Review by Francesca Neagle
A Screaming Man is an elegant study of the relationship between a man and his son. Although set in the war-torn African country of Chad, the “action” mostly centres around the quiet waters of the upmarket hotel pool, where both former swimming champion Adam (Djaoro), and his son Abdel (Koma) work. In his pristine pool attendant’s clothing, Adam initially epitomises cool composure and conformity and it is only through slow, subtle observation that we begin to sense the silent, churning turmoil within both himself and the people around him.
Adam is losing control of his life. The world around him has gone to pieces through war and globalisation, and there are no bearings and certainties left, except for those he clings to, as to a buoy, for example his job: “Pool attendants wear white”, he asserts to his black-shirted son, who unbeknown to him is poised to usurp him. The baton of power has begun passing from the older to the younger of the two from the very first scene: a seemingly childish game to see who can hold his breath the longest underwater. And as Adam is demoted, he loses his cool, white uniform and authoritative demeanor. He looks ridiculous and humiliated in ill-fitting gatekeeper garb and his control over himself continues irrevocably to erode.
Abdel is a loving son who sparkles with youthful exuberance, whilst respectfully acknowledging the importance of traditional values to his father. The universality of the tale with its unmistakable Old Testament parallels combines with Djaoro’s compassionate performance to ensure no undue blame is attributed to him for the terrible betrayal of his son. But as even Adam asserts “One can’t expect anything from Heaven”: So whom is his sacrifice for?
Striking widescreen cinematography and an evocative score contribute much to the film’s graceful simplicity. Two particularly poignant scenes stand out: one takes place off-screen, observed by Adam through a half-curtained window. The other happens quite literally in uncharted waters, where he finally has no other choice but to let go of everything; his fierce pride and gnawing guilt and the fear of loneliness and aging that brought him to this point.
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