Of course, the great irony of non-Europids wanting to relocate to Europe is that Europe is (or, was) great because of native Europeans and the more non-Europids the continent accepts the less European Europe naturally becomes, thus leading to an overall decline in quality of life. After all, civilization is a precarious thing and not all peoples are suitable for it, or as Harvard-educated American political theorist Dr. Lothrop Stoddard once wrote in his classic text The Revolt Against Civilization: The Menace of the Under Man (1922), “Civilization thus depends absolutely upon the quality of its human supporters. Mere numbers mean nothing. The most brilliant civilization the world has ever seen arose in Athens—a tiny community where the number of freemen (i. e., genuine Athenians) numbered perhaps 50,000 all told. We therefore see that, for civilization to arise at all, a superior human stock is first necessary; while to perfect, or even to maintain that civilization, the human stock must be kept superior. And these are requirements more exacting than might be imagined. Surveying human history, we find that superior stocks are the exception rather than the rule. We have already seen how many races of men have never risen above the planes of savagery or barbarism, while relatively few races have shown the ability to create high and enduring civilizations.” Needless to say, France has been long extinguished of the stock that once made the nation great and flooding the country with largely hostile aliens from the Global South is only going to speed up its complete and utter capitulation. Undoubtedly, the France depicted in Black Girl seems like a sort of figurative luxury cruise ship that has a small hole and is slowly but surely beginning to sink, as the white characters certainly live a life of ease and luxury in a scenic resort area, but it is clear that they are weak and decadent and thus easily susceptible to a drastic decline.
Virtually plucked off a Dakar street corner where she and other young negresses would wait at during the day in the hope of being hired by a rich white employer, Diouana is pure of heart and virtually infantile in terms of her understanding (or lack thereof) of the world and especially people, hence why she made for easy prey for a conspiring ‘Madame’ (played by Anne-Marie Jelinek, whose surname suggests Czech, and possibly Jewish, origins) that clearly believes she can bully the negress into doing anything for her. Married to a weak, ineffectual, and emasculated yet seemingly well-meaning nameless Monsieur (Robert Fontaine), Madame is clearly the boss of the house and wastes no time in turning Diouana into her own virtual personal lapdog. Initially plying her with gifts like her own used clothing, including silk underwear, and initially only making her watch her kids upon first hiring her in Dakar, Madame turns into a completely different person when Diouana arrives in France. Indeed, instead of being simply a nanny as she expected, Diouana receives a rather rude awakening when Madame also makes her a cook, maid, and an object of constant ridicule. For whatever reason, Diouana never once questions Madame's demands and instead keeps her misery inward. Indeed, as the film progresses, Diouana becomes engulfed in a psychologically crippling nightmare of perpetual ennui and melancholy as she passively accepts her own virtual slavery until it becomes completely unbearable and she succumbs to the most drastic and permanent form of defeat.
As the days pass, Diouana becomes more and more dejected and naturally escapes further inward. When Madame notices the heroine’s glaring change in character, she snidely remarks, “Diouanne looks strange” and “She seems to be wasting away,” though she ultimately comes to the conclusion that it is simply because she is “lazy.” Of course, Madame is not exactly happy with her life either as demonstrated by remarks like, “I’m fed up with this life” after getting annoyed with her seemingly impotent husband for taking a nap. Indeed, as the director seems to suggest, Madame might be somewhat less of a ruthless bitch if her clueless husband knew how to sexually satisfy her. As Diouana thinks to herself regarding Madame’s boldly bitchy behavior and Monsieur’s similarly unhappy nature, “She wasn’t like that in Dakar. Neither was he,” thus suggesting that even white people prefer Africa to Europe. As for France itself, Diouana can only think, “For me, France is the kitchen, the living room, the bathroom and my bedroom. Where are the people that live in this country? The mistress told me, ‘You’ll see, Diouana, there are lovely shops in France.’ Is France that blackhole?” Indeed, Diouana may be black as coal but nothing is darker to her than the bottomless pit that is the seemingly forsaken frog soul.
Undoubtedly, one of the things that most stood out to me about Black Girl is the almost absurdly impressionable nature of the titular heroine in what ultimately seems to be a critique from Sembène in regard to an innate weakness of African negroes. Indeed, Lothrop Stoddard might as well has been describing the heroine of the film when he wrote, “This lack of constructive originality, however, renders the negro extremely susceptible to external influences. The Asiatic, conscious of his past and his potentialities, is chary of foreign innovations and refuses to recognize alien superiority. The negro, having no past, welcomes novelty and tacitly admits that others are his masters. Both brown and white men have been so accepted in Africa. The relatively faint resistance offered by the naturally brave blacks to white and brown conquest, the ready reception of Christianity and Islam, and the extraordinary personal ascendancy acquired by individual Arabs and Europeans, all indicate a willingness to accept foreign tutelage which in the Asiatic is wholly absent.” Indeed, the eponymous heroine of the film immediately becomes enamored with the novelty of France and French culture and gleefully accepts a position as a mere servant, but this ultimately results in great misery and eventually tragedy.
While Black Girl gives somewhat different reasons as to why, in general, blacks will fail to collectively flourish in Europe, Stoddard offered fairly reasonable, if not exactly politically correct, theories when he wrote in regard to non-Europids in general, “Now how does the Under-Man look at civilization? This civilization offers him few benefits and fewer hopes. It usually affords him little beyond a meagre subsistence. And, sooner or later, he instinctively senses that he is a failure; that civilization's prizes are not for him. But this civilization, which withholds benefits, does not hesitate to impose burdens. We have previously stated that civilization's heaviest burdens are borne by the superior. Absolutely, this is true; relatively, the Under-Man's intrinsically lighter burdens feel heavier because of his innate incapacity. The very discipline of the social order oppresses the Under-Man; it thwarts and chastises him at every turn. To wild natures society is a torment, while the congenital caveman, placed in civilization, is always in trouble and usually in jail.” Of course, the racial character of France's prisons, criminal gangs, and ghettos certainly demonstrate Stoddard is right, even though he wrote those words in 1922 long before the decolonization of Africa and flooding of Europe with various groups from the third world.
Indubitably, one of the most important things I took away from Black Girl is that it is the first film directed by an African negro features a strong anti-multicultural message. Surely, Sembène's debut feature makes for a great double feature with Claire Denis' White Madness (2009)—a less than liberal flick about an unhinged white bitch that hates white people who ultimately sacrifices her entire family to anti-white negro revolutionaries because she refuses to move to Europe—as both films demonstrate in rather provocative ways how Africans and Europeans will never live in harmony. Of course, one only has to look at American, Haitian, and African history to realize this is true, but most whites rather live in denial of the fact that most blacks have nothing but contempt for them and nothing they do can change that. Personally, I much prefer watching films by the likes of Sembène, Carl Franklin, and even Spike Lee than taking in part in any real-life multicultural experiment and I say that as a proud and unrepentant Eurocentric cinephile.