Black and White in Color (1976)

French colonists in Africa, several months behind in the news, find themselves at war with their German neighbors. Deciding that they must do their proper duty and fight the Germans, they promptly conscript the local native population. Issuing them boots and rifles, the French attempt to make "proper" soldiers out of the Africans.What has been pointed out about this film that may be of interest is how much more critical the film is of the French than it is of the Germans, despite the fact the Germans are portrayed as the bad guys. And, of course, by the 1970s, the French had fought the Germans twice in the last 50 or so years in some pretty massive wars, so it is interesting not to vilify them.But what is more interesting, at least to me, is the choice to put the story in Africa. World War I is not very well known in America. We are not taught much about it. And it surprises me that battles were even fought in Africa. This should not surprise me, but it does, because I cannot recall for the life of me ever being told such a thing. And that makes me want to learn more. Not the film's intent, but a consequence just the same.

Black and White in Color is a 1976 film about the unctuous specter of war and its curious effects on the small African colonial community of Fort Coulais. The white colonists of the town largely consists of wholesale merchants the Rechampots (Dufilho, Legros and Doll), the sexually frustrated Simon's (Monnet and Rouvel), two bumbling Catholic priests (Berling and Boignan), a permanently drunk sergeant (Carmet) and young geographer Hubert (Spiesser). It is through a care package sent to Hubert that the townsfolk discover France has been at war with Germany for a little over a month and in a patriotic fervor decide to take on the nearby settlement in German Togoland. To do this however they must coop the large black population.Exploding onto the scene as a powerful calling card for director Jean-Jacques Annaud, Black and White in Color benefits from some sly and surprising comic set-pieces. Those expecting the dour humorlessness of Enemy at the Gates (2001) will instead find moments of genuine mirth, plain and in the open among the noxious absurdity of war. In one scene palanquin carriers chant clever songs as they labor to bring the priests to their destination. While whites hear them and think they're gibberish, the locals know they're singing about the quality of their passengers. On many occasions the white colonists celebrate their piddly (and few) successes while black Catholic converts Caprice (Barrier) and Assomption (Atchory) shake their heads in disbelief; muttering to themselves "ugh, white people."There are times when the light-hearted humor threatens to sabotage the themes of the story from within. Thankfully we have the character progression of the young Hubert Fresnoy who at first seems the least enthused about battling the Germans. As the only learned member of the colonists, Hubert reluctantly leads the defense of Fort Coulais and the Sisyphean task of taking the neighboring German settlement. When we first meet him, he's drafting a letter to a school friend. In it he writes "I dare say, that in many respects the natives are not far from meriting the honored name of men," pitting him as the most enlightened of his compatriots. Yet war takes a toll on idealists as both Hubert and the audience come to realize. A toll that might just rob him of his humanity.If ever there was a character that best exemplifies the goals of the film it'd be Jacques Dufilho's Paul Rechampot. While being the most outspoken and vain of the white colonists, he's also the most selfish, going so far as to bury cans of sardines and other supplies so their conscripted army won't take them. Bearing a thick, angry mustache, fierce eyes and brimming with hubris, the man against the elements superimposes a thesis of absurdity; like herding cats or confidently pissing in the wind.What's ultimately missing from Black and White in Color is serious input from the locals themselves. Shot entirely in Cote d'Ivoire, the film feels like a satirical screed on war, religion and colonialism which, while well argued, nevertheless feels like it could have used at least one strong black character. Assomption gets a moment to shine as he gatekeeps for Hubert but we never get to really see the horrors of war up close from the subjugated perspective; from the soldier's perspective. So many men die as a result of hostilities yet the film's preoccupation with the white settlers blunts what could have made for a more damning film.Thankfully, Jean-Jacques Annaud's clever direction and a few choice satirical images sure to stick with you make Black and White in Color worth a gander. Sure it might be plagued with one too many "white- guilt chic" moments, but at least you know it's heart is in the right place.

i've read thru the other comments twice now and think perhaps most did not see the same film i did. this doesn't quite click in my head as just an anti-war film; it is something else, a darker thing that aims at a soft rot inside us all.the development of the character of the geographer, fresnoy, was like a rusty nail hidden in the pudding. he was in the beginning so likeably idealistic; we hoped for him.out of date papers arrive and "war" is discovered in an old issue. in a sudden fervor of nationalistic spirit the colonials are senselessly eager to march into conflict; they are a barely controlled mob. all but one; fresnoy stands apart and counsels talk rather in lieu of instant bloodshed. he is the human voice, his the ignored pleas.after the 'defeat' the fresnoy gets another hearing and with forceful initiative takes charge of a situation seen as hopeless by the others; while they quibble and cavil he begins to organize the outpost for war. he is quite good at this and earns everyone's grudging respect as the fort takes on a martial aspect and the idea of safety once again takes hold.but something happens to fresnoy. most of the colonials are slapstickish fools first, foremost and forever. but fresnoy develops slowly from idealist to man of authority. with power he evolves into a dark shadow of his former self. it is not unlike the descent of kurtz in apocalypse now/heart of darkness. his black mistress openly flaunted, his imperious air, his elevation of africans into minor positions of power all might be seen as his being a moderating and liberating force. i don't think so. i think he has begun to be eaten from the inside by the power he has tasted and that his life will never be the same. the end, where he is seen as almost a twin to the German officer and they both admit to being socialists, is meant only, i believe, as bitter irony.

While I would be the first to admit that this slight little film will probably not change your life, it is very clever and well worth watching. It is the story of an inept little French village in West Africa that discovers that World War I has been raging for 6 months. So, as patriotic Frenchmen, they decide to launch a completely inept invasion of a nearby German village--even though they had been on excellent terms for some time. The silly slogans and patriotism as well as the ensuing stupidity of their assault is a great mini-version of the real war back in Europe. The parallel is actually quite smart as is the acting and direction.A slight movie, yes, but it will give you a little chuckle and it's all harmless fun.