The White Maasai (2006)

Directed by: Hermine Huntgeburth | 128 minutes | drama, adventure, romance | Actors: Nina Hoss, Jacky Ido, Katja Flint, Antonio Prester, Janek Rieke

There are two important aspects to the behavior of main character Carola that make this story interesting. The first comes out nicely in the scene in which Carola takes the bus to Maralal to visit the man that has knocked her down so much. On the bus she gets into a conversation with an African woman who asks her why she is going to this city (since there is nothing for tourists to do). Does she go there for business? Carola answers in the negative and lets a silence fall, where as a spectator you half expect her to say: No, for pleasure. Her actual answer comes down to the same thing, but at the same time goes much further: I’m looking for a man. The African woman does not know what she is hearing and is very amused, as is another woman next to her, who tells her about this. And Carola can’t contain her laughter either. Now that she says it so literally for the first time, she realizes how absurd this whole situation is. What is she actually doing? Still, this brief self-reflection doesn’t make her change her mind. Far from it. She may be smiling, but behind her smile is a hopeful determination. Now that she realizes what she is going to do, she can reinforce the decision even more for herself. Yes, it is idiotic and the future is uncertain, but she wants, no she has to, follow her feelings in this.

That it’s not just a whim becomes clear in a similar self-affirming scene halfway through the film, when Carola has briefly returned to Switzerland to say goodbye to everyone and sell her shop. Sitting at the table with her parents, she informs the bewildered company that she plans to marry her Masai friend. Her mother thinks it’s a ridiculous idea. There in the bush. That she wants to stay there for a while, okay, but not forever? Yes, Carola answers firmly, forever, while her mother looks ahead, gritting her teeth and almost uninterested. By expressing her wish, she confirmed it for herself for good, and in fact, she effectively said yes to her boyfriend here.

In short, there’s the absurd, spontaneous whim that drives Carola to seek out this mysterious man, but it’s coupled with a drive and surrender that make her actions more than just a thrilling new experience. It is fascinating, also for Carola herself, that in a split second she saw this new life for herself. The devotion she will show later seems impossible to match with this apparent impulse, yet they are inextricably linked. As if fate suddenly intervenes and puts Carola on a different (life) path, and she can only make it happen herself.

It is clear that Carola wants to stay in the village. She marries her Masai and they have a child. She also sets up her own shop, just like at home in Switzerland. She clearly wants to build a future here. Of course, a big component of the appeal comes from the powerful persona of Lemalian himself and the passion he exudes or could harbor for Carola. Her Swiss boyfriend, who is forced to go home alone once Carola is enchanted after seeing this Masai on the ferry, is a bit rude when he says that it is all about sex for her, but it does play a part. She is therefore clearly disappointed, and even sad when Lemalian initially turns out not to be the tender or exotic lover she had hoped for. He shows his interest in her by taking her to a motel room, bending her over and leaving after less than a minute with her. The gentleman has not eaten much of romance. Carola also doesn’t really feel treated as a human being. But although this makes her cry softly, she realizes that this means nothing personal. This is just how it goes in Masai culture. She just goes with Lemalian, as she is now apparently accepted by him. However, the village will notice that not just take everything for granted. This fact keeps the film interesting (for a long time): without the commotion that Western, independent Carola causes in this strongly patriarchal culture, in which women come just after the goats, as one character in the film states, the film would dramatically have become flat.

Carola causes the biggest problems by simply doing or wanting too much as a woman, and not staying in the shadows with her husband, as is expected. She opens her own shop, she smiles too much at other men, and also looks at them when they come into her shop. Then she drives a car, while her husband has to sit next to it. And to top it off, it even comes to the point where Lemalian has to herd the goats his wife just won in a lawsuit. This is going too far, and Lemalian cannot just deny his dignity and culture. This causes some outbursts of violence, which make Carola realize that her own values ​​may clash a lot with those of the Masai. How can she balance between the two to her own satisfaction?

It is this issue that makes The White Masai more than just an exotic travelogue, and gives it some added value. This is important, since little of meaning actually happens in terms of story. Lemalian’s recurring bouts of jealousy, for example, are necessary to show the escalating situation, but limit diversity and depth through the increasingly soap-like moments they cause. Also, Carola’s overly independent behavior and her need to express her Western Values ​​sometimes irritates. It is very naive to think that the people will just dance to their tune and say goodbye to the age-old traditions. It’s hard to say whether the film as such propagates Carola’s ideas and complacent liberal attitude or tells the story from her perspective, but the fact remains that Masai culture is often unflatteringly portrayed, indicating a somewhat unbalanced sympathy for the Western guest. . What further detracts from the film experience is that, due to Carola’s naivety, certain central dramatic entanglements and decisions appear dramatically meaningless.

‘The White Masai’ generally gives an authentic-looking image of the Masai, and has good acting and a generally unobtrusive style. Nature and people come across beautifully to the viewer, but without excessively picturesque pictures or overly dominant ethnic music. The atmosphere is often well captured. Felt, but not manipulative or cheap (although the love scenes are a bit long and sweet). It is a beautiful film that offers an interesting insight into the (true) lives of Carola and her Masai warrior, and into the Masai culture in general. It’s a shame that the film turns out not to have that much to say in the end, but it is certainly worth a visit to the cinema.