Don't Touch The White Woman!

Don't Touch The White Woman! is a non-traditional and delightfully absurdist 1974 western comedy. This French-Italian produced gem exhibits a classic clash of cultures, caught in unusual circumstances in an even more unusual setting - a construction site in the heart of Paris. Unlike most traditional westerns, which are set against the backdrop of the American frontier, this film directed by Marco Ferreri, subverts and ambushes the traditional genre tropes and utilises them to provide a satirical and sometimes disturbing commentary on contemporary issues of its time.

The film features Marcello Mastroianni, an internationally acclaimed Italian actor best known for his roles in films like La Dolce Vita and 8 ½. In Don't Touch The White Woman!, Mastroianni steps confidently into the shoes of General George Armstrong Custer, adding an elegant European charm to the role. It’s a refreshing twist on the typically gruff, American depiction of General Custer we usually see in mainstream Hollywood cinema.

Similarly, Catherine Deneuve, an emblem of French cinema, portrays Marie-Hélène, a woman of upper-class French society. Deneuve’s characteristic elegance combined with a certain emotional vulnerability makes her character captivating. Concurrently, Michel Piccoli, another stalwart of French cinema, takes on the role of Buffalo Bill, lending a sense of authenticity and depth to the film.

Ferreri's distinctive style manifests itself in placing historical events in a modern setting to create a witty yet thought-provoking artistic satire. The Battle of Little Bighorn, the particular event used in the film, occurs in the heart of a bustling construction site, bringing the old west to an urban grit. This absurd tableau aims to shine a spotlight on the destructive march of urbanization and the deplorable conditions in which we often disregard our history for the sake of progress.

In essence, the film is not just about the clash of the French and Indian cultures amidst a western backdrop, but also about the repercussions of colonization and imperialism, emblematic of the cultural and political debates of the tumultuous 1970s. It is as much a critique of harmful Eurocentric attitudes as it is an exploration of the harsh realities of racial conflict.

The film, in the guise of a classic Western comedy, is not just poking fun at the genre but is simultaneously driving home a serious social critique. The director's signature blend of farce and thoughtful commentary allows the film to tackle significant themes, such as racism and cultural erasure in an engaging, albeit offbeat manner. One of the most commendable aspects of the film is its ability to use comedy to underscore some of the intense issues of its contemporary times.

In the realm of its technicalities, the film’s cinematography stands out. The stark and atypical scenery of the Parisian construction site provides a visually arresting canvas for the flamboyantly costumed characters to enmesh themselves with their harsh surroundings. The cinematography beautifully contrasts the past and the present, the comedic and the tragic, the cultural and the personal.

The film, while often being sidelined as an obscure European cinema oddity, can also be considered ahead of its time, posing questions and themes that are still relevant in our current socio-political climate. Therefore, while it features iconic actors and uses beloved genre tropes, Don't Touch The White Woman! is a unique beast, using its absurdity to shed light on real-world absurdities; a unique piece of cinema encapsulating the energy and experimental boldness of the 1970s.

In summary, Don't Touch The White Woman! is a delightfully eccentric and satirical viewing experience. A western film set in a sparsely excavated, sprawling, construction site in Paris featuring the Battle of Little Bighorn, led by iconic actors, morphs from being merely an off-beat comedy into a vibrant commentary on culture, history, and society. If you appreciate experimental cinema that breaks the barriers of storytelling and are not afraid to dive into something genuinely different, then this film should be on your watch list.