Title: “Men’yu Tehatati?” (“Who’s Responsible?”)
Directors: Elsa Kidane and Gizenesh Menghis
Running Time: circa 1 hr. and 40 mints.
I saw an advertisement about a film written and directed by a woman indicating
that the director was the first woman to have explored film production in the Eritrea.
Although I had seen another film directed by a woman, the ad made me wonder why
it used that last info – first woman film director – as its catchy phrase.
Notwithstanding my stand about women’s ability compared to men’s, I
wanted to check it out at first hand. I expected a change of attitude about
presentation of women in artistic productions. I went with high expectation to
find it to be unlike the products of men that portray women for their physical
look or from the perspective of men only.
Many films in Eritrea include women in their scenes as objects of
attraction that show their physical being. It is often witnessed that the films
give less value to the women’s minds. We have hardly seen women who are
assertive and strong in advocating their rights. They are usually depicted as
lamenting and begging for love. Most of all they give blind eye to many big
excruciating issues in the lives of women in reality.
“Men’yu Tehatati?”, however, has tried to strike a small chord in the
reality that touches on the lives of women. The straying behaviour of married
men which is taken for granted but has consequences on the lives of the people
involved is its main subject. That kind of behaviour has been very common
amongst some men; and those who shoulder the biggest consequence have been the
mistresses and the children born out of wedlock.
This film reveals that the women involved in an extramarital
relationship with married men are very often faced with dire economic
situation, and that those who get the slap of that kind of situation the most are
the children born from the relationship – while they are children or when they become
adults. It also shows that women who are not assertive in what they want
ultimately risk their lives to be dictated by men.
As the issue is brought to us in a work of film, another important thing
here is its treatment in its production. Most of the cast involved in the film
are experienced actors. It is to be noted that the actors’ audience appeal,
acting ability and experience as important elements in casting; however, most
importantly, actors’ suitability for the characters appears to decide who
should take a certain role. As such, there seems to be a casting mismatch in
the selection of the main character Senait and her friend, acted by Helen Meles
and Lia Bairu respectively. Helen and Lia could be considered commendable in
their acting abilities; nonetheless they were not fit for mid-20 aged women for
which they were meant to act.
The acting of almost all of the actors was praiseworthy. Amleset and
Lemlem (Tsighe Techlesembet and Gizenesh Menghis respectively) were excellent
as ever. Amleset’s suspicions, sadness and hopes could easily be felt by the
audience. Tsehaye (Efrem Ghebrehet) was convincing as he was also very fit for the
role. Senait’s depressed behaviour carries the mood of the film to the ending.
With all the best performances the cast put together, we find some faulty
usages of dialogue which sound to be awkward: like when Samson (Eyob Habteab)
calls his girlfriend Ruth (Elsa Kidane) on the phone and during their
conversations when they go out to dine, we find the dialogues unnatural. They do
not sound as people who are in love but people talking about business dealings,
especially when they do it on the phone.
This last point could raise the issue of directing. It was a good
decision to have two directors for the fact that Elsa the writer and probably
the first director was also acting herself. Therefore, it was important to have
another director who could make important decisions on scenes in which the
first director acts.
There are some elements that were not shown in detail. They were revealed
by hinting them in such a way that they are not left obscure but understood
easily: the directors did not kill time to show Samson asking Senait for
marriage and very briefly they revealed that they spent a night together in
Massawa. Moreover, it was easily understood that Senait regretted her spending
the night with him - not in long conversations but facial expressions. These
were some good techniques employed on the part of the directors.
Eritrean directors often choose shiro
meal to imply that the household is poor. There were enough clues in Senait’s
family that suggest how poor their household is. Probably serving shiro may not have been necessary as
their tiny room, their furniture, the compound they live in… would help the
audience to gather enough clues about their livelihood.
In the scene where Senait and her mother have their shiro meal for lunch, Senait comes from work. She just sits on the
couch and takes off her earrings; she just eats without washing her hands while
Samson goes to the bathroom telling Senait and her friend that he was going to
wash his hands (in a scene where three of them dine at a restaurant). If the
directors intended to show something through these contrast, it would only be
preposterous.
The ending scene was very rushing and hard to believe it. The revelation
that Samson had broken his promise to Senait and was getting engaged to Ruth
was interesting. What transpired after that could not be harmonized with the reality
the film tries to set. The uncovering of the secret Amleset and Tsehaye kept
for 25 years would have been believable had it been done by Amleset herself instead
of Tsehaye; because she was getting hurt twice. In addition, the forgiveness
shown by Tsehaye’s wife is hard to accept it for it comes following few moments
after the shocking news.
I wish the strength shown by Senait at the end somehow came before the
she slept with Samson. If she had resisted before she slept with him, or shown
tricking her or convincing her with sweet words, the audience would have
probably sympathised more with her. Not letting her does that makes her look
like a girl who just sleeps with any person she finds. And that just shows only
women’s victimization in the hands of men’s recklessness. As women directors,
it might be expected of them to show us strong women who are assertive and
confident of themselves which are traits many men directors would not give
substantial focus.
Although the clarity of picture in "Men'yu Tehatati?" appears
to be of medium quality during close-ups, in general shots it seems a
projection of a worn-out film. In sound quality, the audience are able to get
every word the actors say, but in some scenes the surrounding noise and blowing
wind was not controlled.
In costumes, we see suitable choices of costumes in many of the scenes.
Similarly, makeup used with Senait and her friend, and the other three elderly
women wore dress fit for the occasions they were in. One very minor remark that
should be stated her is that a pair of tweezers had passed Amleset's eyebrows –
which is unlike of elderly women. Moreover, Ruth’s costume was so exaggerated
that they appeared like designer attires.
One of the most notable accomplishments of the film is that it has used
original music composition. Unlike many films produced in the country that use
musical compositions from various old songs and foreign films, a professional
musician – Yemane Kidane – composed the accompanying music for "Men'yu
Tehatati?" Here, it might be necessary to reflect that the music in the
last scene was more disturbing to the ear than heightening the effect of
suspense which was expected of it.
When viewed in whole, "Men'yu Tehatati?" has raised the issue
of women as it was expected to be for the fact that it is written and directed
by women. However, the issue is taken lightly while its consequences leave
life-long scars especially on women and children. It was right of them to ask
"Who's responsible?" and the answer is very simple – men are
responsible. The treatment of the issue in the film portrayed very submissive women
and did not strongly rest the responsibility on men. It did not attempt to make
the women characters to be very bold to break the trend. This being said, it
does not mean that the efforts of the directors should be taken lightly. We
hope that many more women directors would follow the footsteps of Elsa and
Gizenesh upholding their rights and striving to stir women's consciousness.
http://www.youtube.com/watch?v=Bkos6NV-tP0
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