The point here is that, in a clash of foreign colonial powers, the locals inevitably get the worst of it. This point is made early on and gets little further elaboration as the drama plays out. Giving the Oscar for best foreign film to a movie which was, let's be honest, a decent enough but obvious and not unusually clever satire on a serious topic (WWI), had to be some misguided exercise in political correctness before such nonsense had been given a name. Yes, it is fairly remarkable that a film with international appeal could be financed and shot in a place like the Ivory Coast. We get this. But an award for BEST foreign film, at a time when many national cinemas (Germany, France and Italy especially) were churning out a pretty impressive product, seems like tokenism. There. I said it. Go ahead and be offended.The film itself is watchable enough but ordinary. The pacing is slow, the characters are not particularly sharply drawn, and the plotting - mostly a series of military misadventures and misunderstandings - is nothing really clever. It works well enough, but had me neither slapping my knees in merriment, nor nodding in acknowledgement of its cinematic skill. If Hollywood had cranked out something along the same lines we would have expected a higher level of creativity. It has unexpected moments of simple entertainment thanks to some old-fashioned knockabout comedy, but even this is executed with no display of unusual skill on the part of the film's makers. Everything manages to hold together well enough and move the story along - the cinematography of the African locations looks good - but there is just nothing here that is special enough to elevate the project above the realm of the merely good and giving it such a prestigious award as if it does seems dishonest. Watch it, but don't let the Oscar voters snow you. It's an okay movie, and an honest attempt at creating international cinema in an unexpected place. It's just not THAT GREAT.

this film lead me on a odyssey: to see as many films of the former colonial masters views of themselves. none of the other films reached the level of brilliance of Black, White in Color.the sheer madness of a rag tag ARMY marching to destruction, followed by the racially "superior" colonist being carried in their SEDAN chairs can only be equaled by SPRING TIME FOR Hitler via the Producers. the writers create many great characters and many moments of hilarity follow. some of my favorite moments: the priest"s servant on his Muslim pray rug praying with a Christian cross dangling from his neck. the priests again, being carried in their SEDAN chairs while being throughly mocked by their porters.the last scenes, with the french consoling the Germans over their loss and the two young strategists comparing notes, self assured of their superiority, can world war two be far?

What day should be chosen to attack the Germans just up the river, ponders the French in flea-ridden Ft. Coulais, in the Ivory Coast? "You can't go wrong choosing the Lord's Day," urges one of the two priests, with the other nodding enthusiastically. Please note that elements of the plot are discussed, but nothing that also isn't mentioned on the back-cover of the case and in the accompanying insert Black and White in Color tells the story of a motley group of Frenchmen, including a few shopkeepers, at a colonial outpost in Africa who learn belatedly that World War I is underway. Since a German outpost, with three Germans, is just a few miles away, La Gloire and honor dictate an attack. Of course, the real fighting will be done by hastily recruited natives on both sides. The fort's young teacher, Hubert Fresnoy (Jacques Spieser) had heard that there is a sensible German and says he wants to try to negotiate. With La Gloire, that would be impossible. The shopkeepers demand French honor be sustained with an immediate attack on the Germans with whom they'd been trading (and unknowingly sharing their wives) just days before. And off they go. The shopkeepers, two priests and two wives are carried in palanquins by natives. The hastily recruited and untrained native soldiers are armed with old rifles and some slightly damp powder. They're led by the tired and realistic Sergeant Bosselet (Jean Carmet) only three years from retirement. The teacher reluctantly tags along. And they all -- well, the whites -- stop for a picnic just before the battle starts. War, they appreciate, can be great fun as well as a source of great pride. Unfortunately, the Germans have machine guns. As the native troops stagger back, the whites hastily pack up the food and dishes and head quickly back to the fort. Surrender seems the logical next step to the shopkeepers, even though no one has yet seen a German. But La Gloire prevails: No surrender...as long as the Germans stay away! Now the amusing part really begins. The teacher, who had been ridiculed by the shopkeepers as being all brains and no heart, decides to step in. He convinces the sergeant, who needs all the brains he can find, to back him up as he plans for the defense of Ft. Coulais. Before long we begin to notice that the teacher is not only training the troops, he is turning the fort's colonial society on it's head. The casual corruption of the self-inflating shopkeepers is exposed. Positions of authority are being given to natives. The teacher's mistress, a black woman, accompanies him to another picnic, and this time the wives and shopkeepers find themselves shaking her hand. All good things come to an end, of course, and so does World War I. A British company led by a Sikh captain marches into Ft. Coulais with bagpipes playing to inform them that the German colony is now a British colony. The war is over; the next-door enemy has become an ally. And the teacher, a Socialist, who was well on his way to becoming a benevolent and anti-colonial dictator, is last seen wandering off with his German counterpart, who is also a Socialist. This was director Jean-Paul Annaud's first film. It's a wonderfully sardonic, amusing movie about hubris, patriotism and racism, and surprisingly gentle. Those who believe that "glory" can come without a steep price, who believe war is a great adventure as long as it's experienced at a distance, who believe whites are intrinsically superior, all take their share of ridicule. "White men are stronger than black men. Why?" shouts a priest. "Because they have a better god!" comes the well-rehearsed answer. Of course, in his own language one native says to another, while the white sergeant slaps away an insect, "Didn't I tell you white men attract flies?" In one quick scene a native who had been facing Mecca and praying quickly disappears into his hut and reappears wearing a cross just as the priests arrive.

...Nous Ouvre la Barrière La Liberté Guide Nos Pas.....Borrowing from one of the most famous military marches for its original title ("Black and White in color" became the title when it was awarded an AA),"La Victoire En Chantant" remained Annaud's best : bitter and utterly uncompromising qualities .At the time ,he had not been swallowed by the Hollywood machine and he did not need a Brad Pitt to flog his stuff.His actors are not very famous on an international level but all of them are to be commended:Jean Carmet,Jacques Spiesser,Catherine Rouvel or Jacques Dufilho are all excellent thespians .Africa 1915:the French colonizers do not know their country is at war.but a geographer learns the whole story and urges his compatriots to join the fight against those Barbarian Germans .There are Germans in the neighborhood,therefore they have become enemies.So let's enlist the natives and let's wage war through "black" intermediaries.A brilliant metaphor of the absurdity of war,an excellent spoof on jingoist spirit .You should see the heroes having a picnic while their men go to be slaughtered.