Review: The Politics and Aesthetics of The Middle Passage

Good, politically charged films are hard to come by in a world of Hollywood tripe and aesthetic pandering. I recently watched the English version (2003) of Guy Deslauriers' film Passage du Milieu as part of a teaching assignment, and was pleasantly shocked that the spirit is alive and well, if only in somewhat marginalized indie films. The Middle Passage is a brutal indictment of the slave trade and colonialism, while explicitly making the link between the past and present experiences of those of African descent. It combines creative cinematographic techniques, various symbols of West African religion, and a clear and concise political message that is powerful, if not especially visually pleasing.

The Middle Passage tells the story of the experiences of the millions of people (250 million according to Deslauriers!) who were enslaved by West African kingdoms (such as Dahomey), sold to Europeans, and forced over the Atlantic ocean to work in the Americas, through the narrative of a murdered slave who still "haunts" the passage. It is a slow, symbolic, movie that aims for effect via the recurrent imagery of waves lapping against the hull of the boat, rats in the slave hold, and the festering wounds of slaves. The director uses an off-focus lens to blur many scenes, and often frames shots of the French slavers in a very depersonalized way, which works to establish the intersection of history (docu-) and memory (drama). The narrative simultaneously, and somewhat contradictorily, emphasizes the diversity of the African captives while seeking to construct a common continental identity among them by referencing a multitude of religious icons and shared social institutions.

While Deslauriers makes a good effort at this, the artistic aspects of the movie comes across as kind of bland, overdone, and even boring towards the end. The emotional response that he is trying to foster somehow didn't materialize for me - possibly due to the cerebral nature of the script. But the real strength of the movie is not its cinematography, but in the political message it advocates. The contradictory message of diverse "Africans" is laid bare in the final minutes when the narrator states that the middle passage was "a kind of vaccination" for the horrors of slavery to come, and that it created a "new race" of people. Although the temporal reference in the movie is deliberately unclear, The Middle Passage seems to be alluding to the notion of the creation of "race" beginning in the 1500s. References throughout the film suggest that it was the brutality of the Europeans that created a shared understanding of the "African", which obviously did not exist in an era of relatively isolated villages and kingdoms. This is powerful because it links the political claims of those of descendants of slaves in the present wholly to the atrocities of, and interaction with, the Europeans. In other words, the racialized identities of both Europeans and Africans are dependent on the longstanding historical relationship between these two broad groups, and thus any solutions dealing with present problems necessarily require the recognition of this historical interrelationship.

And this is precisely what Deslauriers unequivocally emphasizes. The narrator reminds the audience that it is not the descendants of those that suffered the horrors of the Middle Passage and beyond, or those who suffered under the ineptitude and greed of corrupt African "princes" that should be blamed for their current plight. Rather, blame should be placed on those who gained from this cruel institution and system of relations - and their descended beneficiaries. The institution of slavery is still with us, embedded in our postcolonial societies. If it is not prevalent in overt practice (though existent), it can still be seen in the inequality, discrimination, cultural denigration and remnants of a genocidal past that still flaunts itself in all of our faces. Deslauriers calls for - quite simply - a meaningful dialogue that actually seeks to address the past, rather than those noncommittal people who hope that the kinks will iron themselves out as time transforms memories into forgetfulness. He is much more critical of those who know, and yet actively seek to silence those memories. Ignorance is complicity, and to be complicit is to actively pick up the muskets and whips that European slavers and African kings wielded against so many human beings.

The Middle Passage is a refreshing political manifesto seeking to bridge historical memory with our present political praxis, and I argue that it does so quite effectively. However, this is likely to be lost on the very people that Deslauriers is trying to reach most, due in large part to the cerebral nature of the script and abstract imagery and symbolism. Moreover, from a purely aesthetic point of view, although the film flirts with genius, in the end it delivers a product somewhere between cliche and monotony. Unfortunately, I fear, the effect of the urgent political message greatly diminishes as a result of these failures. The general lack of interest in the film, though it it is available in both English and French, likely confirms my fears.