#massamba diop

Five thoughts on a fabulous Sunday afternoon with the orchestra at the Kimmel Center in downtown Philadelphia

The Kimmel Center is a wonderful place to hear the orchestra, but needs a larger movie screen. So much was wonderful about the experience of seeing Ryan Coogler’s 2018 film, which remains one of the high-water marks of the entire MCU, accompanied by the Philadelphia Orchestra, one of the world’s finest ensembles, along with world-renowned tama “living drum” master, Massamba Diop, that the one glaring downside  —  the Kimmel’s movie screen feels more than a tad small for the space its filling  — stood out. The acoustics are grand, the seats comfortable, the space itself inviting and spectacular, so the lone weak link in the production was the screen, dwarfed, as it was, by everything else around it. It certainly wasn’t a deal-breaker by any means, but one could easily see how much more impact a larger image might have on the whole enterprise. I understand it’s not something the Kimmel does on a very regular basis, but still well worth looking into. 

The film has aged powerfully, if not steeped in the tragic. There is much to love about Coogler’s film  —  so many scenes one could look forward to with anticipatory glee  — but every scene, even the goofy camaraderie between T’Challa (Chadwick Boseman) and his kid sister, Shuri (Letitia Wright)  —  becomes shaded in somber tones due to Boseman’s tragic death back in 2020. It’s difficult to watch the film, even as joyful an expression of multiculturalism as it is, and not feel the weight of that loss (very much well-covered in the film’s sequel, Wakanda Forever, in which the loss of Boseman permeates every moment). All leading roles are designed to be central to a film’s focus, but Boseman’s generous warmth and decency powers the entire operation in such a way that you can’t imagine anyone else in the role (as evidenced in the sequel’s difficulty in trying to fill the Panther’s be-clawed boots). As good as Coogler’s film is  —  and, in the writing and storytelling, specifically, it’s among the very best of the MCU  —  it doesn’t work half as well without Boseman’s presence. I spent much of the film’s first act with tears welling in my eyes. He remains a tremendous loss. 

Andy Serkis’ Ulysses Klaue is a fabulous villain, but Killmonger remains king. If the MCU indeed has a #villainproblem, Panther managed to offer not one great baddie, but two, and for totally different reasons. It’s easy to hate Klaue  —  a gregarious mercenary, filled with evil bonhomie and ruthless skullduggery (helpful that Serkis himself appears to be having such a blast in the role), who makes his nefarious living stealing precious items and selling them to the highest bidder, the world be damned  —  but Michael B. Jordan’s Killmonger is a whole other story. Ruthless, brutal, and terrifyingly focused, he is, as Martin Freeman’s character Agent Ross informs us, doing things exactly as he’s been trained to by the U.S. military black ops division. Killmonger’s point, that after centuries of suffering, it’s time for the racial hierarchy to be upended with black people on top, actually makes perfect sense, in any sort of just world, even if his methodology is aggressively savage. He’s such a compelling character, in fact, with pride, menace, and swag veritably dripping off of Jordan’s skin, it’s pretty clear Coogler, along with co-writer Joe Robert Cole, had to tip the morality scales a wee bit with Killmonger (having him threaten an innocent gardener, burn the sacred flowers to the ground so there can’t be any more panthers, and gut Forest Whitaker’s Zuri in cold blood, all while sneering contempt for the ancient ways of the Wakandans), in order to make the audience actually want him to lose at the end. To balance that balance, the screenwriters see fit to give him a hero’s sort of death, defiant, significant, and on his own terms. A lot of other actors would have withered against the powerhouse charisma of Jordan, but Boseman is well up to the task, which creates a spectacular dynamic between the two dedicated actors. 

Having the live orchestra, along with Massamba Diop, adds an element to the excellent soundtrack. Honestly, I’m not normally one who terribly much notices a film’s score  —  at least, at first listen  —  unless it’s dramatically amazing or frustratingly distracting, even one as solid as Ludwig Göransson’s work for Panther, but having it performed as a separate entity, in harmony with the film, but not directly of it, sets it off from the screen just enough to allow iit hit with that much more force, enhancing the entire experience. On top of that, with the master showman Diop front and center of the orchestra, set off in his own booth, facing the audience, and leaping to his feet at key orchestral moments, it sort of bridges the gap between film and theater. It’s a spectacle that crackles with energy. 

The score will be performed live by composer Ludwig Göransson and the African artists originally featured. (Though many were, unfortunately, not credited on the soundtrack.)

Baaba Maal — whose voice is heard at critical moments in the score, notably the introduction to Wakanda — has flown in from Senegal. Massamba Diop, the tama (talking drum) master, will perform; and Magatte Saw will lead a group of six sabar drummers in the score. All played on the original recording and, says Göransson, “seeing the energy between them and the orchestra is going to be magical.”