HOUSE OF GA’A Film Review

Have you watched House of Ga’a? What do you think about the Netflix film? For one thing, it has some of the best posters I’ve seen. But how about the film itself? Does it need a review? Well, here are my two cowries on it.

First off, I commend Nollywood for making more movies based on our history and legends. History education has been seriously lacking in our society. Gaining knowledge while being entertained is always a plus. You will leave this movie more enlightened and more curious about the past. This is why Titanic, Braveheart, The Woman King and series such as Shaka Ilembe arguably resonate more deeply than fictional stories of the same theme. They can be easier to make too since you already have a story to work with. On the other hand, trying to adhere to historical sources while making a film that will be generally appreciated can also be daunting. There must be thorough research on every aspect of a historical piece as Zeno Petersen advised on the making of Shaka Ilembe or it can come off anachronistic and inaccurate.

Bolanle Austin Peters and Tunde Babalola, respectively the producer and scriptwriter of House of Ga’a, must have faced these challenges while making this film and others like Funmilayo. It’s not easy. Especially with a figure as significant in Yoruba history as Bashorun (‘Prime Minister’) Ga’a. Although his story is not as well-known as it should be, Ga’a was a power-drunk king-maker/king-destroyer living at the height of the Oyo Empire. He saw off four Oyo kings (Alaafins) for refusing to be subservient to him, replacing each one until the fifth king arrived- Alaafin Abiodun- who was more than a match for him in wit and ‘jazz’ (witchcraft). The story of Ga’a is an intriguing one- his twenty-year reign as Bashorun makes for interesting screenplay.

So how did the movie fare?

The Synopsis

One of Ga’a’s sons- the ‘docile’ Oyemekun (Mike Afolarin)- tells this story. He tells of his father’s victories in battle which helped stretch the boundaries of the Oyo Empire to its farthest ever. He also narrates Ga’a’s rise to the exalted Bashorun position and his membership of Oyo Mesi (a powerful seven-man council of king-makers in the empire) which he eventually controlled. We are told of other plots in the story which involved the narrator himself, his love interest Princess Agbonyin, and Ga’a’s other sons and siblings. The film is about the rise and fall of Bashorun Ga’a and his entire household. Adopting a narrative approach to the film gave a more relatable touch to the 18th-century story.

If you haven’t watched the movie, this might be the best time to take a bow because we are delving neck-deep into the pulp of the movie next. So Odaaro for now.

Hits & Misses (Spoiler alert)

Cinematography

So the movie starts with what was meant to be a setpiece battle scene but fell rather flat with this. Frankly, it almost put me off. If an epic film must have an open-field battle scene, it must be as realistic as possible. If it has to be graphic… if we are meant to witness both personal and group sword skirmishes, blood, and gore, then it has to look convincing. It is best avoided if this can’t be guaranteed. Video editing here needed more work. Clearly, we weren’t watching a real battle scene with armies clashing here but computer-aided clips stitched together to create a battle montage. Perhaps this was done for budgetary reasons but really… Some of the special effects were a bit ‘iffy’. Sometimes ‘less is more’ in such matters.

Weapons

I felt the weapons were a bit of a downer too. They looked like props- never mind the ‘clanging metal’ sound effect that came with every strike. It beats me why actual (dulled) metal swords and knives weren’t used-especially for close-up scenes. Also, the body armour and shields looked like modern rubber material which conflicts with the film’s setting. The war gear should reflect exactly what pertained at the time, methinks.

Acting Chops

I have commented on stage acting in Nollywood films a few times before. Expressions and gestures are normally exaggerated in theatre for obvious reasons but are superfluous on camera. On set, one can act naturally and let the director capture one’s minutest details to tell his story. This might take more cans of film but it’s worth it. In certain scenes, like the festival scenes, it was easier to pan a crowd of spectators and capture varied reactions within a few seconds when they are theatrically expressed but, frankly, it doesn’t do the movie much favours. Viewers’ powers of perception and deduction should be given more credit. We generally need to tone down soliloquy, gratuitous emotions, and over-dramatization on screen. Keep it real.

I was impressed with Lateef Adedimeji as Olubu the drunk and Mike Afolarin as Oyemekun, especially following the death of his love interest- Princess Agbonyin (Bridget Nkem). His passion was felt with every move. Femi Branch was also quite good as Ga’a but I felt the character was a bit one-dimensional. Historically, Ga’a switched from hero to villain during his 20 years as Bashorun. There was enough room for a character arc in this film and I know Branch has the acting chops to play it.

Many good actors in the supporting cast would have thrived with more character development. I would have loved to know more about the slave girl Zeinab (Tosin Adeyemi) and Ga’a’s merciless son Olaotan (Jide Oyegbile) for example. It seemed as if they would have more involvement at the start. I thought their story arc could have had more impact on the story like Olubu’s brief stint did. After all, it’s called The House of Ga’a and the scriptwriter does have creative license to mill around (watch 300 or Vikings Valhalla).

Summary

Maybe it’s too much to ask for from a full-length movie. Perhaps a series might have given more time to flesh out these characters. In general, though, the movie had its moments. One that struck me especially was Ga’a mourning the death of his son in silence. Femi Branch killed it there.