NYU Black Renaissance Noire Spring 2015 - Page 133

Film productions at the Algerian Radio Television BRN-SPRING-2015.indb 131 It must be said that given the goodwill of the film directors of the frontiers, Television was able to fill all the slots with colonially trained technicians. While most of the Algerian films in the cinema sector used foreign technicians, Mustapha Badie benefited from the experience of a great photo director in the person of Noureddine Adel, in addition to experienced Algerian set designers, film editors and sound engineers. In a style more influenced by (good) Egyptian cinema than the Hollywood/Soviet mixture that is the stamp of the first revolutionary films for the cinema, it recounts the saga of families caught up in the ten years preceding Algeria’s Independence. From 1962 until the mid-eighties, the doors of Algerian Television were constantly open to young talent, whereas cinema production shrank, despite its undeniable international successes due, in particular, to the renowned expertise of Lakhdar-Hamina and a few self-proclaimed and moderately talented directors. At the beginning of the seventies, Mustapha Badie scored once again, making what remains today the greatest popular audio-visual success of independent Algeria, l’Incendie [The Fire, 1974], a sit-com in twelve episodes, adapted from the novel by the great writer, BLACK RENAISSANCE NOIRE Before him, Jacques Charby made Une si jeune paix [Such a Young Peace, 1965], dedicated to the young Independence generation, including the children of the martyrs of the Revolution. For his part, Ahmed Rachedi’s l’Aube des damnés’ [Dawn of the Damned, 1965] was inspired by Damnés de la terre [The Wretched of the Earth] by Franz Fanon, who died before 1962, but remained the muse of the peasant revolution. This film was ready in time for the summit of Third World Heads of State, planned for 1965, but delayed when the Army of Colonel Houari Boumediene overthrew the elected President Ahmed Ben Bella. Mohamed Dib. During this same period, some young film-makers made their first films which were well received: the magnificent Noua (1972) by Abdelaziz Tolbi, Près du peuplier [Near the Poplar Tree, 1972] by Moussa Haddad, (assistant to Pontecorvo in La bataille d’Alger [The Battle of Algiers, 1966] and Les Spoliateurs [The Dispossessed, 1972] by Lamine Merbah). T