There comes a point in one’s life where an individual becomes reflective, and thinks about all the positive things that were, and also about the enthusiasm of the future. When one is young, there is all this excitement that great things are to come, but alas this subsides over time. Then there are the memories of those who have been lost, who have passed away, and how it is really difficult to let go of loved ones who are gone.
These themes provide the inspiration for music, especially the blues. One of the performers of this genre is Boubacar Traore, better known as KarKar, a musician from Mali (in Central Africa) and the subject of the documentary/performance film “”I’ll Sing for You”” (also known as “”Je Chanterai Pour Toi””). His lyrics deal with life in the country, its history (such as about a King named Soundjata), religion, and also about his late wife, Pierrette. KarKar, who earned his nickname from a soccer term (KarKar means ‘break’, an offensive move in soccer/football), grew up in the town of Kayes. The movie spends much time there, as individuals are interviewed and discuss the ‘grins’, or local hang-outs (much like coffeehouses), that existed in the early 1960s and served as places for the locals to discuss views and occasionally hear music. It was at these grins that KarKar performed in his early years.KarKar’s music career took off around the time that Mali became independent (in 1960). The young musician was a fan of American rock ‘n’ roll music and movies—Elvis Presley in particular–and modeled his look and sound accordingly, even doing his own version of the ‘Twist’. With his hip appearance and upbeat sound, he became very popular and released songs celebrating his homeland’s new autonomy; in one of his works he called upon young people to help build up this new country, to ‘fear nothing’ now that they are independent, and for Malians living overseas to return home and lend their help.The movie covers this period through both interviews and footage from those early years. There are scenes of students in classrooms, building projects, leaders being greeted, and athletic events. Following these moments the movie shows modern-day Mali—Kayes in particular–and shows locales that appear to have fallen short of the promise of those early years.Still, not all is bad, as the streets are full of life, whether in the markets, or the different modes of transportation that KarKar utilizes. That is another thing, despite his renown, he travels around, no entourage, nothing–he rides both the train and the boat with little fanfare. Although he does sing and play guitar during these sequences. The movie jumps around, between covering both the history of Mali in general, and KarKar in particular. There are the above-mentioned scenes of the film’s subject performing while traveling, as well as playing music in villages that he visits, or in the alleys of Timbuktu. He is also viewed visiting the cemetery where his late wife–who died during childbirth–is buried.[pagebreak]There is not much in the way of extra information, although there is some elaboration on certain aspects of KarKar’s life. This includes various individuals discussing the period, from about 1964-80, when the performer stopped focusing on music and spent time helping his family. However, things became so bad that person describes seeing KarKar selling children’s clothing and other items (‘made in Hong Kong’) in a market, and having difficulty making ends meet.Things turned around for the movie’s subject, though how exactly is not explained fully (it’s mentioned that KarKar met a British producer in France, but not mentioned is the name of the ‘producer’). An even bigger drawback is the lack of identification of the individuals being interviewed–it would have been nice to know who they were, and some of them appear to be musicians themselves.Still, if the movie is short on specifics, it is big on scenery, depicting the different Malian locales that are important to KarKar. These include the spot where the grin was located in Kayes, a soccer game, the cemetery where his wife is buried, and a mosque in Timbuktu (KarKar is Muslim, though he incorporates some indigenous-based beliefs as well). Viewers can get a sense of both life in Mali, and in Montreuil, France (near Paris), where KarKar spent part of his life as well.The music bits are also well done, with KarKar playing a variety of songs–though these appear to be newer works, more somber than his earlier rock ‘n’ roll pieces. These moments of the film seem to have a music video feel, with his performance being in the middle of a crowded street, boat, or wherever else, all while life goes on all around. His style may have changed–he is now a bluesman–but KarKar is still a great performer.””I’ll Sing for You””, then, may not be big on details, though there are some, in addition to decades-old footage and still photographs of the singer and his family, including his parents. Still, the music is good, the camera work is well done (creating a sense that the viewer is actually in Mali), and–especially for those here in the U.S.–provides an introduction to both an individual, and a country, that many here may not be familiar with.Grade: BEM Reviewby Andrew Haas3/26/04