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Movie Evolution




    TITLE: Married but living single

    PRODUCER: Kalejaiye Adeboye Paul

    DIRECTOR: Tunde Olaoye

    SCREEN PLAY: Jovi Babs and Tunde Olaoya

    MAIN CAST: Funke Akindele, Joseph Benjamin and Joke Silva

    LOCATION: Lagos, Nigeria

    Duration: 1hr 45mins

    DATE OF THE MOVIE: 3rd June 2012


    REVIEWER: Chukelu Vivian Adaeze

    SYNOPSIS: The movie “Married but living single” is about a young ambitious woman Kate (Funke Akindele) who is a career driven woman who married to an entrepreneur, Mike (Joseph Benjamin). Mike is diagnosed with lung cancer, kate has to choose to either take a break from work to be with her husband while he recuperates from surgery, or stay dedicated to her company which now stands a big chance of winning an important contract with a big telecommunications company.

    Her neglect for the only child of the family is epitomized in the daughter’s love for only her father and even a stranger Titi (Kiki Omeli) who turned out to be her mother’s competitor at work and husband’s mistress.

    The movie touches all aspects of a family: relationship, trust, neglect, and emotional and physical abuse which are all evidence of our daily living. It teaches the foremost ambition of any couple should be how to strike a balance between work and family and the trick is to know where to draw the line.   



    LIGHTING: the lighting was just ok, no special effects.

    PICTURE QUALITY: the picture quality was perfect











    The picture quality, sound and background music was perfect. I loved the positive display of African culture through the use of Ankara wears in major scenes in the movie. It was really colorful.

    Funke Akindele did a phenomenal job as the advertising executive. She was able to translate emotions into the screen and you find yourself understanding her point of view and walking struggle. However the opening award seen should have been shorter and the dancing scene (at the end) was unnecessary.

    Joseph Benjamin and Funke Akindele are not the perfect match as husband and wife, there was no chemistry between them. Also most nollywood movies never look deep into investigations on the death of a character: Dorothy. Despite that was not the main object of the movie , I think nollywood has got to a stage where all stones must be unturned, no loopholes left and most importantly the depicts a lack of order in our society. For such event to occur without any input from any enforcement agency, no autopsy done, no litigation carried out against her husband is a big minus on the part of the producers of the movie.

    It is a very interesting movie and should be seen by both the married and single.     

  • Inala


































                        ADAM MASON






                       HAKEEM KAE-KAZIM – AS ODE


                       DEDE MABIAKU – AS KING OCHE


                       NSE IKPE ETIM – AS ORI


                       INI EDO – AS OMADA


                      OMAWUMI MEGBELE – AS ENE


                      KEPPY EKEYOUNG – AS PRINCE AGABA


                      MBONG AMATA – AS KEKE










    MOVIE RATING: 7/10


















         Inale starts off with a man telling his daughter about Idomaland. Ode and princess Inale are both madly in love with each other. However, according to the custom of the land, Odeh has to wrestle several other suitors of Inale in order to be able to have Inale’s hand in marriage. Odeh wrestles several men and wins the fight, the stranger wins and he revealed to be Prince Agaba, a prince of Apah, a nearby village, which has been in long rift with Inale’s village, the king reluctantly declares the winner and tells prince Agaba that his bride will be escorted to his village the following day. Inale thrown in sorrow through the night but the king refused to compromise despite plea from the queen and other palace people. Inale tells her love Odeh that she’ll come back for him as she was been escorted by her sister and her maid Omada. During a break in the journey the maid pushes Inale into the river to drone and lies to her sister that Inale has committed suicide. The two ladies eventually conclude that maid pretends to be Inala to the prince of the neighboring village who doesn’t know how the princess looks like. The two ladies arrive the village with maid disguised as Inale and Inale sister as the maid but things gave a new turn when the maid starts maltreating Inala’s sister and as a result of this she tries to open up to the people but nobody believes her




    Inale is a 2010 Nigerian musical drama film produced by Keke bongos and directed by Jeta Amata is said to be very similar to a folktale about Idomaland. Inale, while I praise it for its beautiful production I will also critics it for its storytelling. The visuals are beautiful, the actors acted effortlessly, the cinematography, editing, and sound of the film were on point but the music s not traditional enough. The movie also faulted in the scripting and the choreography of the dance and fight scene. The movie is a tremendously ambitious attempt at producing a musical. It is one of the best musical film ever produced right now in Nigeria cause other effort to produce a very good musical has failed countless times the effort is recommendable, more time and resources seemed to have been put into the production to the detriment of the basis of the film the script. The movie has lazy scripting, good production but also lacks attention to important details, certain details seemed to get more attention, and it was almost as if the director wanted more to impress the Nigerian audience than making a good film. I will rate this movie 7/10. Inale is touching a story of love, fighting tradition but in all a great movie for relaxation






    Various camera shot were used, consisting of long shot, medium shot; close up shot, high angle shot and so many more. The editing, cinematography and the sound of the film were great but had fault in both the scripting and choreography of the fight and dance scene






    Inale is an African fairytale set to music, it tells the story of Inale, the beautiful daughter of the great king Oche of the idoma people in Idomaland, Nigeria. According to tradition, her beloved Odeh must win the wrestling tournament to win her hand in marriage. A stranger appears who challenges not only the tradition of the village but the strength of ode and Inale’s true love. The story of how Odeh works to win his true loves hand in marriage back unfolds in this well filmed movie



  • Phone swap

    phone_swap_01220px-Phone_Swap_Theatrical_PosterDescription: C:\Users\OLUGBENGA TOLUWALOGO\Documents\220px-Phone_Swap_Theatrical_Poster.jpg



    MOVIE: Phone Swap

    PRODUCER: Kunle Afolayan

    DIRECTOR: Kunle Afolayan

    SCREEN PLAY: Kemi Adesoye


    Wale Ojo

    Nse Ikpe Etim

    Lydia Forson

    Joke Sliva

    Chika Okpala

    RELEASED DATE: 30 March 2012

    LANGUAGE: English

    GENRE: Drama, Comedy

    DURATION: 1 hour 50 minutes

    LOCATION: Lagos

    PRODUCTION COMPANY: Golden Effects Pictures

    RATING: 8/10

    REVIEWER: Itegbe George 14BE016585




              Akin played by Wole Ojo is in rush to make a company conference in Abuja after finding about it last minute. Mary too (Nse Ikpe Etim) too is in a rush to visit her family in the village in Owerri. Her sister has been terrorizing her husband and her father has called an urgent family meeting which she has to attend. Akin and Mary bump into each other in the airport and accidentally swap their phones which were identical. This switch leads to a mix up with their destinations after they both receive a text with regards to where each is heading. As a result, they agree to help each other with their responsibilities with leads to hilarious results.




    Description: C:\Users\OLUGBENGA TOLUWALOGO\Documents\phone_swap_01.jpg   




    Description: C:\Users\OLUGBENGA TOLUWALOGO\Documents\5.jpg




              I must congratulate the actors in this movie because they did a real fine job. Afeeze Aiyetoro Plays a bumbling employee who can’t keep his mouth shut. Nse Etim did an awesome job in portraying the character Mary. The scene she finds out her boyfriend was a married man, was particularly emotional. Nse dug deep to channel the emotions of a heartbroken woman. Her facial expression and the tears in her eyes, it was such a powerful moment. It must be said that the whole cast did a great job even the minor characters, there were no weak links.

                My only problem with this movie was the product placement. While the Blackberry placement wasn’t too obvious, Globacoms banner was showing everywhere as if to say “WE PAID FOR THIS MOVIE SO WE OWN IT” It was too much, I feel the movie would have done better without it but if this is the only way we can get brilliant movies like this then so be it.


    “Do you have any cutlery”

              This was a particularly hilarious scene; Even as I was sitting watching the movie I couldn’t stop laughing and waiting for their reaction considering everyone were eating their Amala with their fingers and this spoilt man comes and asks for a fork.



                Phone swap by all regards was one of the best Nollywood movies I have seen in a while, it displayed our comedic side, I will rate it 8/10

  • Alan Poza












    DURATION: 00:57:32





                Alan Poza (OC Ukeje) is a rich, young music label executive who is extremely egocentric and boasts that he can get any lady he wants within the twinkle of an eye. He refers to himself as a rave among the ladies.

                He has a job at Scorpio Media and believes that he will be promoted to Vice President, His friend Kokori Oshare (Okey Uzoeshi) works in the same company with him. Alan is also as notorious as him and they can both be classified as “like minds that think alike”. They both help and give themselves advice on how to play women.

                Scorpio Media is spurred into Scorpio movies and Scorpio Records in order to further penetrate the entertainment industry. Kokori is appointed Vice President of Scorpio Movies while the new colleague Pride (Beverly Naya) while Alan is made her deputy. Alan is told that her appointment is due to the fact that she has a wealth of experience in the industry. Alan is annoyed and because of this, he decides to lure her to his bed and control her emotionally. Although he had slept with Bunmi (Belinda Effah), who turns out to be the Managing Director’s (Norbert Young) girlfriend.

                            Alan finally gets a date with Pride and she ends up sleeping with him that same night. She finally falls in love with Alan after so much persistence from him. She also warns Alan that she can be a jealous lover.


                            ALAN POZA MOVIE REVIEW

                Alan Poza was classified by Charles Novia as a youth romantic comedy during its publicity. Watching the movie, in my own opinion, I felt that it should not be classified as youth as it could be watched and enjoyed by people of different age range. Because the majority of the characters in the movie were truly young, it covers the youthful aspect, the romantic and the comedy aspects were quite questionable. OC Ukeje is an actor that I truly admire and look out for his movies, Alan Poza was not just his best role and OC Ukeje played the lead role in the movie. The role of Alan Poza is supposed to be a sweet talking womanizer which OC Ukeje did not really interpret the role the way a Majid Michael would play it.

                The role of Pride was played by Beverly Naya. Her role is a top media executive returnee from the United Kingdom. Her dressing was okay but not top class, her hair do did not speak of her position and her speech sounded like a rehearsed executive not a real one.

                The role of Kokori was played by Okey Uzoeshi was the character with the most comic scenes and also a friend of Alan. I felt that he did not play his scenes well. Senami was played by Sylvya Oluchy. The over emphasis and stretching her words was not necessary.

                The picture quality was okay, sound quality was good but not top class. I believe that a cameo appearance is not supposed to be more than two minutes but Charles Novia took more than that. The way the movie turned out at the end but did not live up to the hype.



                Alan falls in love with his secretary Ina (Kemi Lala Akindoju) which was totally not planned by him. This new love gets threatened when he, Kokori and Ina have plans to go out after work before she was kidnapped. He receives a message from pride telling him where Ina is; but it was Bunmi sending the message because she stole Pride’s phone. Bunmi wants to see Alan hurt and her plan on achieving this is to kill Ina the love of his life because she was one of his deceit victims. The Police led by Pride, rescue Alan and Ina and arrests Bunmi. Alan promises to change his Casanova attitude.

                The movie ends with Kokori marrying a singer Kiki whom Alan and Pride discovered on their first date.


                                        ELEMENTS OF PRODUCTION

    Close Shot


    Long Shot

    Extreme Long Shot


    Extreme close shot

  • Bursting Out











                         DESMON ELLIOT




                              BOLA ADUWO




                            MAJID MICHEAL


                            NSE IKPE-ETIM


                            OMONI OBOLI


                            UTI NWACHUKWU




    DURATION- 1:10


    DATE OF MOVIE- 2010




    REVIEWER- Ajai-Ajagbe Oluwatoyosi


    SYNOPSIS- Bursting out is a story about a young lady Zara (GENEVIEVE NNAJI) who is the CEO of her consultancy firm. She is a hardnosed workaholic who is always single because she is too busy for love. She doesn’t believe in falling in love, having fun and getting married. Her friends Kena (NSE IKPE-ETIM) and Ini (OMONI OBOLI) both have men and are constantly bugging Zara to get a man, all efforts always proved abortive. Kena and Ini called Zara the president of the single ladies club.


    They would plan lunch dates with her so as to hook her up with different men but Zara always cancel the lunch dates. On one occasion she met this guy Tyrone (MAJID MICHEAL) and they started a love affair  




    LIGHTINING- There was no special kind of lightning used here, the lights were just okay.


    PICTURE QUALITY- The picture quality of this movie wasn’t the best at all, it wasn’t clear and did not do justice to the movie.


    CAMERA SHOTS- Different camera shots were taken like

    vlcsnap-2015-10-27-23h50m39s374Meduim shots

    vlcsnap-2015-10-27-20h11m53s343Close up shots

    vlcsnap-2015-10-27-23h56m07s444Extreme close up shot


    CAMERA ANGLES – Some camera angles were used in the movie like


    vlcsnap-2015-10-27-23h27m50s609  LOW ANGLES





    The set, the continuity process, camera shots, angles and movements were very good and impressive. GENEVIEVE NNAJI and MAJID MICHEAL both did great jobs in both roles and the movie was well executed. The director made good use of the timing system and unnecessary shots and scenes were not added to prolong the time of the movie. The lighting system and the sound system were very poor.


    I was a little disappointed because the story line was so plain/ ordinary and nothing different from what we have seen before. I can say that this movie is proves that love is a force beyond all others. To me “Bursting Out” is a typical love story like every other Nollywood movies.



     hqdefault[1]      Screenshot (1)

    Title of the movie: Power of Faith

    Producer: Chidi Chijioke

    Director: KenSteve Anuka

    Genre: Family Drama (Religious)

    Main cast: Amaechi Monagor, Michael Godson, Patience Ozokwor, ChaCha Eke Ikechukwu, Adamma Luke

    Location: Enugu and Benin

    Duration: 1hr 7minutes

    Date of release: 31st December, 2014.

    Movie rating: 7/10

    Reviewer: Nwagboso Prayer


               POWER OF FAITH is a religious movie, centred on the tragic life of Ikem (Michael Godson). Ikem is a businessman, an only son and child of his parent.

        After being visited by armed robbers, he finds himself in a fixed state, struggling for survival. In order to preserve his family’s lineage, his parents married a pregnant girl for fear of their generation being wiped out.

    After passing through this phase, Ikem goes through another trial of faith. Would he eventually over come or would he give up? All these would be unravelled as the events unfold.


    Some of the notable shots, angles and camera movements that were used in the movie are displayed below:


    a. Extreme long shot (Ex Ls)

    Screenshot (7)

    Screenshot (13)

    b. Long shot (Ls)

     Screenshot (9)


    Screenshot (56)-1

    c. Medium shot (Ms)

    Screenshot (1)

    Screenshot (2)

    d. Close up shot (Cs)

    Screenshot (23)

    e. Extreme close-up shot (Ex Cu)

    Screenshot (53)-1-1-1

    f. High angle

    Screenshot (15)

    g. Low angle

    Screenshot (20)

    h. Mid angle

    Screenshot (38)

    There were lots of tilting up and down, a lot of zooming in and out of the camera especially when they wanted to bring our attention to something.

    Camera movements used in the movie: Dolly in, Dolly out were used, tilt up and down were also used. Hand held cameras were used as well.

    Transition: cut was used at the beginning of the movie and fade out was used at the end of the movie.



    The beginning part of the movie is captivating, and full of motivational words. The location of the movie is well situated. The movie is an interesting one that brought out the reality of what people go through, and how their faith in a particular god or God decides the outcome of their lives. I must commend the script writer and the director, they both did a good job. The song used for the movie fitted every scene of the play, such that it passed the message across to the audience(s) easily. The actors and actresses made the play so real, especially the lead actor Ikem (Michael Godson); he poured his heart into the movie, in fact he’s my hero in the play.

    The extras in the movie messed it up, especially the scene where the villagers were attacking the taxi for killing a big snake. They acted as though they were not sure of their roles in the play; in fact some of them were confused, they didn’t add energy to the movie, their acting was too fake. The snake used was also fake. They didn’t even try to make it look real to some extent, it was so obvious that it was a stick and not a snake.

    Another aspect that was over-emphasised was the role of Catholicism. So does it mean that all Reverend Fathers cared for their church members like that? The aspect of the Catholic church involvement in the lives of its members was exaggerated.


    The movie started as a tragedy but ended on a happy note, so I would categorize it as a tragicomedy movie although it has some element of melodrama. The movie is a wonderful one and is also educative. My best quote in my movie is “Live your life one day at a time, see everyday that comes as a gift, thank God for everyday. Stop seeing your circumstance as a problem rather, as a challenge you must conquer”.




  • iyore

    It is a 2014 Nigerian drama film set in the Benin kingdom. It was directed by Femi Arase. It stars Rita Dominic, Joseph Benjamin, Bukky Wright, Yemi Blaq and a host of others.
    Initial release date: May 8, 2015
    Director: Frank Rajah Arase
    Screenplay: Frank Rajah Arase
    Producer: Frank Rajah Arase
    Genre: Drama,film
    Cast: Rita Dominic, Joseph Benjamin
    Camera movements: internal, horizontal, and vertical movements

    One would think of iyore as Rajah Arase’s own inception, an epic, mind blending, time travelling film within a film.

    Iyore (The Return) or as I like to call it “Playing with Reincarnation” is a twisted tale of love transcending from one lifetime to another and growing stronger each time it is reenacted. It tells the story of Osarugue (Rita Dominic) a married Secondary school English teacher in the 80’s who is in love with a crown prince of Benin Kingdom Azuwa (Joseph Benjamin) but it is forbidden for she already belongs to another man Osas (Yemi Blaq). The Prince Azuwa is to be married to Ajoke (Okawa Shaznay) a Yoruba Princesss who might be a Reincarnation of Amenze on of the scared Virgins of the ancient Benin Kingdom who had an affair with Edosa the warrior and had to elope with when rather than be buried alive with the dying king.

    The movie opens with an aged Joseph Benjamin and a smooth faced Rita Dominic who apart from her clothes hasnt aged at all. They are lovers reunited again after a series of tragic events that would hunt thier love affair from the beginning till the end. Dominic’s character narrates the story to her whiny teenage son.And this shocking, bittersweet tale of hers spans generations and continues even up till the present. Employing a series of time shifts, flash backs and forward cuts, Rajah Arase juggles multiple story arcs in the air at the same time, zig-zagging through time and space.
    There is the aged lovers, Osarugwe and Eweka, (Rita Dominic and Joseph Benjamin), then in a series of flash back scenes, the origins of their romance is traced to when big haired Osarugwe was a young wife, teaching History at the local high school, and married to another. By some stroke of genealogy, Mr Benjamin (Eweka) becomes the crown prince of the entire Benin kingdom, but is also engaged to another. Both Eweka and Osarugwe were childhood sweethearts and now, Eweka resurfaces and wants back into Osarugwe’s life. Custom dictates otherwise though and he is expected to marry a princess from a neighboring Yoruba kingdom (Okawa Shaznay).
    This thread bears a striking similarity to events of previous generations, one which has been encapsulated as history and which Osarugwe narrates to her eager students. In this narration, a maiden queen shares a forbidden passion with a foolish warrior that ends in bloodshed. In yet another narration, occurring much earlier, an act of betrayal leads to devastating consequences. Somehow, all of these story arcs are related, somehow they must add up.
    At its core, Iyore is a tale of 2 star crossed lovers, doomed by fate to remain eternally apart and this central romance, as well as what becomes of the lovers, is interesting enough to power a much more disciplined and reflective film.
    As such Iyore quickly finds itself succumbing to the director’s excesses. Too much is going on at the same time, too many plot swings and time jumps, but not enough time to follow anything to a satisfying conclusion. The arc between Osarugwe and Eweka especially suffers short shrift and the tension explodes prematurely instead of igniting to a slow burn.
    Rita Dominic is a movie star, While Dominic is dependable as usual, she does not quite disappear into the role of a Benin maiden. Her movie star looks constantly get in the way and it probably would have helped, if she had learnt a few lines of the local dialect.
    Joseph Benjamin has built a career playing boring second fiddle to famous co- stars. He is at it here again and while his hard work shows, he is still overpowered by his more famous co-star. Cameroonian Okawa Shaznay plays multiple roles that are essentially the same but raised on Rajah-Arase’s style of rushed film making, she finds herself overpowered by the demands of her roles. Paul Obazele has a brief but scenery chewing role as a powerful Oba.
    The picture is crisp, with plenty to look at in terms of fine scenery and colorful period costumes but the locations, even those from the pre-colonial days have a contemporary feel, not quite convincing of their authenticity. Some noticeable energy is put into staging the fight scenes, but Iyore, like most Nollywood films still has more than its fair share of dialogue. The work of the make-up team shows so much that Rita Dominic looks more like a Zaron cosmetics model than a frumpy school marm. Special effects do fine work until they have to stage a lightning scene that just comes off silly.
















    DURATION: 25:53










    MOVIE RATING: 8/10



         DARIMA’S DILEMMA is a suspense filled movie that centers on two twins, Darima and Dise (MBONG AMATA) who have separate lives and ambitions. Darima is pictured as the   black sheep in her family and also a wild heart non challant, I love you, but I love myself     more, kind of wife of Joshua (MAJID MICHEL). While on the other hand Joshua (darima’s  husband) is seen as the ever loving and caring husband that every woman dreams to have.     The story depicts Darima as ‘Oliver twist’, someone that is not contented, due to her hunger  for another relationship she decides to elope with her ex-boyfriend ‘Tom’ [IK OGBONNA],which eventually turns ugly, as she bestows a huge burden on her sister Dise, making her life miserable and also helping her to find  love.


        However, this movie displays the excitement,  lies, secrets of the two twins, what strikes  me hard throughout  this movie is the value of delivery from the characters, the location,  the lighting, the language and camera movement and shots,  pretty much all the effect were impressive not that I expected anything less from Lancelot Imaseun(director),EMEM ISONG (story) and surprisingly MBONG AMATA ( producer) not once in the course of this movie did I move, not because it was an outstanding  plot but because of the delivery of the main characters. Despite the questions and the unlikelihood of the story, I still enjoyed this movie.               I allowed myself to get caught up in the fantasy and hey!, that’s why I watch movies to escape reality for a few hours which actually successfully distracts me from my daily grind.


        Moreover, there were few times I go….Uhhhh red flag in between scene where MAJID    MICHEL is no doubt a good actor tends to over act and probably go off scripts, by taking the suspense out of the not-so-suspense filled movie EMEM ISONG (story) should have hidden the main character in a latter time till everything unfolds; doing that will give the viewers the surprise factors. In addition, the timeliness for Joshua discovery was off and the   wedding   album was a miss; no one has a wedding album with same picture page by page. In this case the camera man should have showed the album once.



    Overall, this movie offers just enough of a thrill to sustain an audience. Movies where twins are center stage can be tricky especially if one actor plays both roles “DARIMA’S                  DILEMMA” is an improbable story but it was made to entertain and it achieved its goal. Also the story, editing, directing and characters performances were great and refreshing to watch



    Long shot


    Full shot

    Close up shot


    Extreme long shot

  • oge’s sister




    Nollywood movie review by Olatunji Titilayo




    The movie was produced on February 2015


    Written by uche jumbo


    Directed by Lancelot imasuen


    Starring: uche Jumbo, Yvonne jegede and Seun Akindele


    The genre of this movie is comedy and melo drama


    Duration: 1hr42mins movie.




    Oge’s sister is a story of two sisters who lost their mother unexpectedly and sought to redefine their lives with secrets threatening their family bond.  Their lives became a contrasting scene as everything threatens to draw them further apart….. Until a hospital emergency and a car crash brings them back together.




    Esther would do anything to enjoy her life as a single girl; oge on the other hand would do anything to keep her marriage…. And so they make a pact to keep their secrets forever within them. But as the saying goes “nothing is hidden under the sun”


    The structure of the movie is based on a flashback, they start at the present and go back to the past and back to the present.




    The movie is a very good one and in fact a comedy, the video quality and sound quality was good but at a point things became awkward. Half way through the movie random subtitles popped out of nowhere and then suddenly they disappeared. The camera was also wobbly in a few scenes.


    The best thing about this movie is the storyline. It explores the depth of the relationship between siblings and how quickly we go from loving to hating each other.



    In the making of the movie we can see the camera used and it’s being supported by a tripod


    Also shots taken in the movie includes medium shots, mid angle shots, low angle shots, the medium shot is used the more often than not.


     This is a mid angle shot This is a long shot


                    And also in the editing of the movie [the way shots are put together] the CUT was used: that is the ending of a shot.


    There were various transitions like the fade-in and out, the dissolve and the wipe but the cut was the major used.


                    To be honest, the reason I decided to see this movie is because I heard it was written by Uche Jumbo and trust me, she delivered. Her performance was good but it was Yvonne jegede that surprised me. She reminds me so much of Mercy Johnson, she is hilarious!


                    However I am rating this movie a 7 out of 10, if you are looking for a good movie to watch with friends I will recommend this movie. Most scenes are funny but a few are quite deep.



    This article was first published in Image Magazine of the University of Ibadan.


    BENEATH sheer adulations, the excitement and vaunted theme of new repute; Kunle Afolayan’s October 1 is a shrill call for reparations. The clarion motif is, in itself, sketched from the earth of The Killer – that innately troubled ‘Agara’ who, before a country’s independence, ‘must be smoked out’, lest a vibrant Akote be shrivelled by fear and distrust. While it should be applauded, the ability of Kunle to merge history with entertainment yet steering away from hyperbolic overtones; the Nigerian mind, imbued with the surviving story – the single story – of an all-chaste road to Independence, therefore, finds a rather curious melody around this film noir.

    It sets the butt on edge. Curious Melody? One of the bucolic undergrowth? Of the murders of young virgins? Or of collective anticipation of national triumph? Perhaps, Inspector Danladi Waziri, who is the nut wedged in the mesh of events, is solely in tune. Although, all of these landscapes create an intense story devoid of speed, triteness and stereotypes; the extenuation of colonial scars and its seal in time is a big part of October 1.


    The title works as the movie’s sub-plots – impeccably disparate – proceed evenly and gather momentum to birth sudden realizations. Every corner in the movie is prone to suddenness; the turbulent cusp of independence, the encounter with dead bodies, the departure for greener pastures aboard, a town’s part turning against the whole, a desperate propitiation, a prince’s guile. Before Independence Day, a detective is charged with solving a serial-murder crime in far far away Akote. The suddenness in his discovery is the very tremor that rocks the scene and from that probing stretch of days, that preceding space of truth – that is, October Zero – the Curious Melody rings back in time.

    In that Melody is a definition for the essence of ‘October 1’ as an abstract property of the Nigerian mind; and it is easy to assume that this voice of contention is directly that of the scriptwriter. Anyway, the voice is a recurring one and, more importantly, bugles the need for national reflection and restitution of lost ideals – the lost mores, the lost industries and the lost spirit of Africa since the white men came.


    Among the ebb and tide of action and suspense, The Killer is the reagent. Yet, he, too, is lost, lost like his country, his people who have, for long, witnessed the oppressive lethargy of choicelessness. Although he is ‘deranged, devoid of human compassion’, he ‘struggles with a deep-seated inner crisis’. The complexity of this individual insurgency makes a case for the very nature of the State, that is, Nigeria.

    In fact, the import of the entire movie is an aesthetic conversation between dual orbits – one of The Killer and of The Country. To hear the dialogue, one only has to trace each interlocutor on the divide between aspirations and transitions; and once this is done, one has to heed the Melody that comes echoing, stirred by bitter truths. One has to heed anguish, heed the innocence of pain, of a promising Nigerian boy seeking education yet led to the dark pit of violation, or, even more precariously, a promising Nigeria seeking independence yet led to its own battlefield.


    The substance of The Killer is not rationed solely by local connotation. Indeed, it raises a question of universal appeal, one that transcends Nigeria’s Akote to probe the nature of human and national development on deterministic scales.  For Nigeria, it is this: ‘When did independence begin or, as in yet another rendering, did it ever start?’ To co-opt a perpetual variance of Prince Aderopo’s prediction: ‘Are we at war with ourselves?’

    The answer is also a property of the Nigerian mind, as is the question. However, in some shades beneath a thriller’s gusto, Kunle Afolayan succeeds in animating the ideals of a hopeful Nigerian nation, ideals such as unity, freedom and democracy. He does this by defying stereotypes; and, once for a dare, a country’s story is resolutely about its ordinary people than the cream of the crop. It is why I have refused to resent the silence of the character of Mrs. Olufunmi Ransome Kuti or the choice of a lettered Northerner as detective or the funeral rites of respect for a young Ibo girl (Chidinma) on a Yoruba earth or – stressing this – the poising of Religion on a delicate axis; one that has, according to Wole Soyinka, proved it again and again a spur, a motivator and a justification for the commission of some of the most horrifying crimes against Humanity, despite its fervent affirmations of peace.


    The presence of all of this calls for emulation, for an opening of the mind to the grave realities of nationhood that has undergone a grave history an October Zero – a space of time from where it all started.

    ‘And there is no limit to how that mind can open!’ Kunle’s film shouts.


    Oyin Oludipe is a Graduate of Mass Communication from Babcock University, Nigeria. He edits non-fiction at EXPOUND, a Magazine of Arts and Aesthetics. He is a contributing poet to the anthology, ‘Black Communion: Poems of 100 New African Poets’ with his poems, Lafenwa and Camwood.