This Damage packs a punch of positives

By Adedayo Odulaja

From the very beginning of touching base with the screen, recently-premiered movie, Damage sets out to give you nothing but a sensational feel of convincing acting and production of high quality. It presents a tale of a couple whose life is one of much love and regular outpour of streams of violence, both going hand-in-hand at the same time. Taiwo (Kalu Ikeagwu) and his wife, Sarah (Uche Jombo), are to be honoured at a grand event as the Best Couple of the Year and while their celebrity guests, the camera lights rolling and paparazzi set to usher them in already, the two to be celebrated are themselves thinking of what sense there is in receiving the honour, looking at their violence-ridden existence as man and wife, one the world is unaware of. A flashback soon beckons, introducing us to the couple just six months before the present as a season of violence wraps up the audience, staking its claim for the essential deal the movie is all about. In the first of many to come, a fight breaks out between them and with Taiwo lashing out continually at his wife, his young son is forced to fight on the woman’s side but even the boy is not spared. The father descends on him and until Dami (Nicolete Ndigwe), their teenage daughter, comes in crying, they do not stop although the two main gladiators are evidently tired out. Surprisingly, Sarah and her husband are soon back to a time of cuddling and kissing and the whole time of the boutof fisticuffs is forgotten. A manifestation of the violent ways of the couple soon bears fruit in the child as their 8 year-old son, TJ, constanlty gets into fights with others in his school. Once again, he lashes out at another of his classmates without provocation and his parents are summoned. As the head teacher tries to paint a picture of the abnormal beahovour of their son to the couple, Taiwo complains repeatedly of having been called out of the office for a matter as simple as two children fighting each other. With his complaints and manner of shouting down the head teacher down again and again becoming unbearable, Sarah squares up to him, reminding him of having left her own job too to be at their son’s school. A shouting macth ensues and becoming furious beyond limit and in order not to ingite another of their regular sessions, Sarah storms out, driving away in extreme anger. Not to be outdone however, Taiwo, after shouting at Sarah not to walk out on him without result, follows in a hot pursuit and their manner of driving at such an anger-fuelled moment cannot but be described as dangerously crazy. Although they have their many moments of romantic frenzy, the fights and violence is an ever-present feature of their life, with all kinds of weapons freely used and dangerous utensils becoming arms and flying everywhere when their volatile spirit comes upon them. But while their violence against each other is considered contained, the impact it leaves on the pysche of their children is so telling. Asdie the young boy beating and getting people injured, what it does to Dami is really beyond explanation. It gets so bad that she stops talking to any of the two, resorting to write instead and hand it over to them when it is absolutely neccesary although she is said to talk to her younger brother only when her parents are not there. Her earphone in her ear, with music togo with it also becomes her sanctuary. Another of the days soon comes around again when, on a day of their wedding anniversary, Taiwo is held back at the office by a crucial meeeting after telling his wife to dress up in preparation for an outing. Limitlessly upset, Sarah welcomes him when he eventually shows up at night by throwing bottles and glass cups at him. Although the tale surrounding their existence is gripping enough, it does not throw up much more all along, until Jude (Basorge Tariah Jnr.) shows up on the scene. Just one look at his sister does not only tell him things are terribly wrong, it shows Jude, Sarah’s elder brother, the huge bruises and scars on his younger sister’s face. There and then, Jude decides to take her away from her matrimonial home, leading Taiwo, who truly loves his wife despite the insanity of causing her bodily injuries, into dejection. Sarah also gets no reprieve from being away from her husband but her decision to go back is only the beginning of the end for the union they so much love to have and the family they long to grow. With Damage featuring Uche Jombo herself, highly rated Kalu Ikeagwu, Tonto Dikeh, Basorge Tariah (Jnr), it is already delicately poised to be refered to as a blockbuster in Nollywood where the star factor is often the essence of several productions. Especially when you put the cameo appearances of the likes of Jane Peter, Ayo Makun, Ne Ikpe Etim, Osita Iheme, Chinedu Ikedieze and many others into consideration, but Damage, produced by Uche Jombo and directed by Moses Inwang, does much better than that on the overall. Although not without its shortcomings like one or two of the violence scenes overplayed for instance and the scene where the senselessness of their action casues irreparable damage, comes almost implausible, the movie is balanced on all fronts as a qualitative production. It delivers well in terms of acting, which is probably its best claim to glory. Thematically also, it is on ground as an advocacy movie dwelling on domestic violence, but one which does it more in portrayal that in dialogue while the pictures are impressive enough to rival any movie around. But then maybe little should be said about acting when you have the natural and confident Kalu Ikeagwu, the inimitable Basorge Tariah Jnr. on set as well as Uche Jombo who is given to anything acting whenever and wherever. In terms of homourous excietement, the scene of the policeman who runs up to Sarah is at the time of irrational driving is very witty, sending the cinema audience into fits of laughter due to the tap of humour turned on by the police character despite how brief it lasts. So is the scene where Taiwo, snuggling up to his wife in bed after a violent moment, is interrupted by their son who comes to sleep with them. Mad but unable to say or act for the sexual enjoyment he is derived, it provides a funny spectacle for viewers any day. Damage, already taken round some cities in Nigeria, is charming enough to draw you to the cinemas where it is still showing and there is much more to hit you than the storyline here suggests, of course.    

BUDISO, satirical and hilarious offer of Nigeria in the 1980

By Adedayo Odulaja

For BUDISO, it is about a perfect interplay of music, dance, drama and else there is to make a poignant mark on the mind of the audience. It all started with a song about struggle and labour in the play’s latest showing on the day its writer was honoured by the National Association of Nigerian Theatre Arts Practitioners, NANTAP. Staged at the National Theatre, Iganmu Lagos. The play’s latest showing, directed this time by fast rising thetare man, SegunAdefila, was a nostalgic recall even if it’s one that is not so palatable, of events long gone. But are the realities far from us all, even today? The song for a better Nigerian society ends and there is a new day for which all around are preparing when a harmfully sounding announcement reaches that soldiers have taken over, with the usual curfews, declaration of public silence and such once again imposed in the country now called Budiso. With the new wave of military intervention, the normal course of events which would have led to So (Smart Adejumo), a judge becoming the chief bencher, is interrupted. While he complains of the lengthy years he has spent on the bench, a phone call directed at his house that he is to be fetched by the new military rulers, leads him into collapsing with fear in a hugely dramatic scene filled with fitting action, practiced movements and rising dialogue. With the coming of General Bu and his deputy, Di, repression is unleashed on the land with obnoxious laws known as ‘Budicrees’ but the most stinging being that no one is allowed to die without the permission of the authorities. The next scene presents a flamboyant pastor and some members of his congregation, saying they desire paradise. Simultaneously on the other side, a sonorous voice wails in lamentation. Pastor Obidike (Bayo Ogundele) complains that the economy is so bad and prays that his church should be remembered in every budgetary allocation. Calling on God for showers of naira instead of the Holy Spirit is an act the church does not frown at also. Soon, two of those indicted and wanted by the new regime for corruption comes into the church and a competition ensues between the pastor and his congregation as they help themselves to some cash put in as ‘offering’ by the two men, until marauding soldiers storm the church. Although just going about their business of ensuring no mutiny or treason is engineered anywhere against their big master, stumbling on two of the most wanted men in the land makes a lot of sense to the soldiers who round them up promptly. This is however, after they teach the people how to respond when they make the call: “Budiso” sure to lead to the Yoruba meaning of the coinage and prompting them to hold on their buttocks while standing straight. Coming to the grandmasters of the regime, So is ushered into the presence of the two topmost characters of the game and hurriedly, unconventionally made the chief bencher after another member of the Bench, Ajibaba (Haji Bello) rejects the offer. With a Bible absent although he is a Christian, So is sworn in with a copy of the dictionary and told to only apply the laws as made by them and handed to him. Insecurity, high-handedness and helped by the now mischievous So who is ready to protect his position with all he has got, rule the land. One does not need a seer to foresee the chaos lurking around, which inevitably overwhelms the land. But aside the person of So, on which the story is based and the many chaotic sessions his active and complicit support of the military rulers ignites in the play, BUDISO offers a journey into the past. But the most gripping element of the play, as far as I am concerned, is the whole lot of humour buried in its many scenes but that does not of course alter the impeccable armour of its viciously didactic arrows. A look into one or two wittily–packed scenes might provide better insight. The soldiers come into a place like a village square where almost every member of the community is busy either playing, involved in a business or buying and selling and announce a new set of ‘Budicrees’ as they call them. Then the messenger, who comes with an interpreter in tow, unveils the ‘Budicrees’ one by one. The people, finding the laws extremely impracticable, disagree especially with that about dying unlawfully and that which says women must give birth in 12 months either below or above child-bearing age. With the punishment said to be killing a relative of any one who dies, an old man in the gathering (George A. Eyo), defies the order, dying instantly. Except that as he lies down dead, one of his two hands is raised and the soldier, wanting to confirm if he is truly dead, brings down the hand only for the ‘dead’ man to bring it back promptly, eliciting so much laughter from the appreciative audience. Even if that does not really tickle you, then the scene in which an Alhaji goes to church would, with the turban-wearing man saying he is ready to call on Jesus if Allah refuses to forgive him for collecting the ‘gift’ from appreciative contractors. And when the discovery of an Alahaji in the church gets the soldiers mad, the pastor quickly says he is not one of their members although there is no discrimination when his money is concerned. How about the infinite energy and smooth chronological ordering of the well marshaled scenes of the benchers? The truth is it is difficult to find a down side in the performances of the cast of BUDISO and why would anyone not appreciate them the more, considering the professional manner those on stage stood still when a power outbreak occurred. Although the outage lasted about five minutes, they stood transfixed, slipping once again into their roles when power was restored. There are many bright spots in the play with all the actors exemplifying the themes with their reflections. But more than anyone else, Smart Adejumo who takes the role of So deserves a lot of kudos for his absorbing manner of acting and speaking as far as this stage production is concerned. Maybe you would not expect anything if you learn he is the son of renowned thespian, Moses Olaiya Adejumo better known as Baba Sala but the young man is one to watch out for. ,Budiso essentially a satirical template of the Nigerian nation with all the attendant issues, as well as that of three men whose grip on power was vicious and whose roles in Nigeria’s history will continue to be talked about for a long time, is a riveting play. Muhammadu Buhari led, supplying the BU in the title while Tunde Idiagbon, his deputy and Justice George Sodeinde Sowemimo, the attorney general and minister of Justice at the time, supplying the DI and SO respectively. The play, written by Fred Agbeyegbe, was actually commissioned by his fellow lawyers, was in commemoration of 100 years of the law profession in Nigeria.

Who takes over from Sam Loco Efe?

By Adedayo Odulaja

The death of massively popular actor and gifted comedian, Sam Loco Efeeimwonkiyeke, took the whole of the industry by storm and on account of his impact and lengthy years of being around, it was not surprising. He died in his room at Rapport Hotel, Amakohia, Owerri in Imo State and an account says he was a man who liked lodging in hotels rather than settling down in apartments. The tributes that have poured in for the man, who became famous among even his artistic peers due to his light-hearted nature and homourous manner, have not come in drizzles. They have come in heavy torrents and are yet to cease at the time of writing this piece. Many among those who have had the opportunity of act with him at any point or the other have expressed sadness at the unexpected demise of the late Edo-born movie star. So also have those who have been impressed or affected by the sheer mastery of his craft both on stage and on the screen. Among these have been Nigeria’s number one citizen, President Goodluck Jonathan, who bemoaned the death of the actor and described it as a great loss to the Nigerian movie industry. Lagos State Governor, Mr Babatunde Raji Fashola, has also commiserated with the family of the deceased and the entire Nollywood community as a whole. Fashola, in a letter to Segun Arinze, National President of Actors Guild of Nigeria, AGN, said “It is indeed heart-rending to think that the very familiar face and very likeable humour merchant whom I had known since my teenage years, has taken a final exit from life’s stage.” Fred Agbeyegbe, a playwright who started creating sparks in the industry many years ago, said Efe was everybody’s favourite artiste. “He was a man full of jokes and he took Nigerian theatre to quite the heights in his commitment to the presentation of what is the best and never looked after his own welfare, most of the time he was more concerned with making sure that theatre progressed. God will rest his soul. We worked together on one occasion when we were shooting The King Must Dance Naked into a television series in a place called Ilogbo near the Badagry expressway. He was there and always giving advice and making his presence felt and looking after the welfare of the people on set.” Others who have added their thoughts either by issuing statements or commenting on social networks like facebook and twitter include Ejike Asiegbu, a former president of the Actors Guild of Nigeria, AGN; star actress, Genevieve Nnaji who said Efe was her first screen dad; popular director, Charles Novia; actresses, Rita Dominic and Ufuoma Ojenebor; broadcaster, Soni Irabor; Mufu Onifade, chairman of the Lagos chapter of National Association of Nigerian Theatre Arts Practitioners (NANTAP); Ozi Okoli, National Director of Publicity of NANTAP; Prof Duro Oni, Dean, Faculty of Arts, University of Lagos and many others. Different accounts of his age and year of birth abound in the media, certain reports say he was 66 while others believe he was 71 although some others quote him as being 73 years old but his true age, according to his profile at the Nigeria Liquefied and Natural Gas (NLNG) Literature Prize held last year, was 71. What is not in doubt, however, is that the late movie and theatre veteran was born as Sam Efeeimwonkiyeke in Enugu although he is actually from Benin City, the Edo State capital. Efe played the role of young Akara Ogun during the premiere of the 2nd Festival of Arts and Culture (FESTAC) at the National Arts Theatre in Lagos in 1977 and in Nigeria's entry play ‘Lamgbodo’ written by Wale Ogunyemi and directed by Dapo Adelugba for the festival and for which he was voted Best Actor. Reputed as one of the most truly talented actors in the Nigerian theatre and movie circles, Sam Loco, popularly called Uncle Sam, by younger peers, was an enigmatic performer who garnished his remarkable acting with a profound knowledge and mastery of Nigeria’s three major languages, Hausa, Yoruba and Igbo which he could speak fluently. For many years, he distinguished himself as a rare talent in television, movie and stage efforts, acting under the directorial vision of the likes of Femi Osofisan, Ola Rotimi and other iconic playwrights. He was educated at the University of Ibadan and founded the Overamwem National Theatre Group which won many laurels in late 1960s for staged plays. In his young days, he worked for Michelin Tyre Company in Ijora, Lagos, and later Dunlop Nigeria Limited. Although, he was said to have quit drinking and smoking a few years ago, it was one of the reasons being pointed at as one of the likely causes of the sudden death which is being looked at as liver failure. But his inhaler, which was always with him, was said to have been found beside his body. Sam Loco Efe was chosen as special guest at the multimillion dollar - NLNG Prize last year in which he was described as “something of an institute.” The invitation letter written to the veteran performer, said “This year’s literature prize is for drama and there is no one, in our opinion, worthier of this honour than Sam Loco Efeeimwonkiyeke. “You have over the years changed your medium, but have not changed your gift for bringing smiles to the hearts and faces of our compatriots. You are an actor with whom everyone feels a special bond of kinship irrespective of tongue or tribe.” Loco won three awards in the THEMA edition of 1996 and was at a time the National Chairman of the Caretaker Committee of the Actors Guild of Nigeria as well as chairman, board of veterans of the same guild. His performance at FESTAC 77 was of matchless beauty and his dominant virtues were that of love for self, family, nation and his profession. Some of the popular movies, which Efe, whose corpse has since been moved to the mortuary, took part in were Sergeant Okoro, Old School, Ukwa, Alice My First Lady, Games Fools Play, German Wahala, Old Cargo, Across The River, A Fool at 40, Brain Box, Magic Cup, Mama Sunday and Men on the Run and many more while his part in Everyday People, the TV soap in which he acts as Chief Emudiagha, stands out also. He acted in the premiere performance of some of the popular plays read in book forms over the years in universities, polytechnics and colleges Beyond Sam Loco Efe, the list of comedians in the theatre and especially, the movie circles; is fairly long but a closer look at who can take his place would require names to be mentioned. Victor Osuagwu is one man who has also captured hearts of many in some Nollywood movies but when it comes to acting in top rated movies in which it is more of your way with words as against over-acting, there is a doubt in his ability. How then will he manage to excite in a long running weekly soap for instance or a play that is not solely based on comedy and of which he would only play a part. Another one is John Okafor popularly known as Mr Ibu. The man seems unable to go the hog alone especially when usual suspects like Osita Iheme and Chinedu Ikedieze are not there. Although he is a considerably talented individual, questions abound concerning the believability of many of his actions in movies. Also one to rely on his mates a lot to make sense, consider if you have to see him in a movie at a cinema and moreover, their types of run-of-the mill movies seem to be fading out of sight. Nkem Owoh comes with a lot of credibility as one of those actors who can create a sensation out of nothing. Widely known as Osuofia, he was reported to be the highest-earning actor in Nollywood at a time due to his pull power and said to have cut his teeth as a production assistant on the set of Ken Saro Wiwa’s Bassy and company in those days. He has delivered on many occassions especially in movies and the blockbuster, Osoufia in London but is he not also fading or better still, can he add the stage part to it and still do well? Charles Inojie is always acting in the comedy movies along with the likes of Victor Osuagwu, John Okafor as well as Osita and Chinedu. Most of the movies can be very boring while some are down right annoying. It is not sure if he would be considered a serious candidate for the crown held by late Sam Loco who was effortlessly homourous. His foray into the world of directing would surely be more successful as evident in Champions of Our Time. Although his acting is Nollywood Hustlers is top notch along with Bishop Ime Umoh. Bishop Ime Umoh, as stated above, is sparkling in his role in Silent Scandals but even in that flick, his below par interpretations are not few but that is about how good it gets for him. However, his worst so far, as far as this writer is aware, is in Edikan, an entire Efik language movie produced by the Royal Arts Academy in which he plays the role of a pastor. But other movies where he can be manageably endured is in the moving effort, Bursting Out but as far as taking over from Sam Loco is concerned, he is just not there. Chinwetalu Agu is another person who has a way of getting an entry into the minds of people even when they are not prepared for it. He has a particular profound manner of coming up with one Ibo expression in each of the movies which would definitely be among the things you would remember about the movies later. But is his acting deep enough or can he be trusted to be as professional as carrying on in a manner of reinventing for better performances? The evidence abound that he cannot provide the sustainable attraction that can last. There may be other candidates around, even in the Yoruba and Hausa sections of Nollywood but if we are going to witness a performance that got even General Olusegun Obasanjo as military Head of State interested at FESTAC 77, the search for a replacement of Sam Loco might be longer and more intense. That is if you are not thinking of his enigmatic portrayal as King Odewale in Ola Rotimi's mega popular pay, The gods are not to blame

Beholding the impressive Mirror Boy

By Adedayo Odulaja

When anything is as much-talked about as a new Nollywood effort titled Mirror Boy, a feeling of skepticism begins to creep in sometimes even before coming across such. And when it is a movie initiating a discourse in a manner, especially in this part of the world where a revival of sorts is being witnessed in the movie sector, you have to be extra prepared to read between the lines but that task is made much easier by the Obi Emenlonye-produced effort.
Mirror Boy packs a punch of fantastic picture, impressive storyline, moving acting and a panoply of positive sorts to stand firmly in the comity of Nollywood’s best efforts so far.
The tale, as seen from the perspective of Tijan (Edward Kagutuzi), a Gambian boy in his teens as he begins by telling the audience about himself as a peace-loving teenager and about Tanya, whom he considers “the most beautiful girl in his class”. But his sweet feeling of peace and love is soon interrupted as he is assaulted by Rodney, a white bully who attacks him while he is coming back from school along with his beloved Tanya. Trying to avoid trouble, Tijan moves away but Rodney would not let him be, repeatedly calling him African boy and left with no choice, Tijan fights back, getting the white boy down on his face and forcing him to retract all Rodney says about him. But the highlight of that encounter is that of the young Tijan telling the white boy to repeatedly call his real name which is Tijan and not 'African boy'.
Although it is good for Tijan to have reacted, putting the bully in his place, the incident is as well a symbolic representation of Tijan's rejection of his African roots especially as he says he holds a British passport and only his parents are from Gambia.
With the backlash of threats coming from Rodney's mother accusing Tijan of beating up her son, Teena (Genevieve Nnaji) soon decides Tijan would be leaving for Africa, The Gambia in particular with her. The young boy is crushed, so is his friend, Tanya but although peeved about going to Africa, Tijan keeps wondering why his mother hates questions about his father whom he has never met. They arrive in Africa to a warm welcome from his mother's side where everyone wants to touch him but images about a boy holding a mirror soon begin to disturb Tijan. At first, it is thought to be an issue of hallucination but the constant nature of the appearance is underscored when Tijan is left confused in a crowded place in The Gambia. With his mother hurrying away and hardly looking back, he is lost and the only choice available to him is to follow the unnamed mirror boy (Osita Iheme) beckoning to him.
The mirror boy operates in a world far beyond the physical and his enchanting grip on Tijan is overpowering as he continues to tell him "I have come to take you home."
As laid out, the story is elegant as Tijan, on his own, mainly because his guide is only visible to him, battles for survival, with the infinite sensation of his struggles enveloping the audience as story moves on in its breathtaking storm. The tale of his homecoming, although one that does not come on a platter of gold, leads him into affirming that he is an African boy later on.
Mirror Boy, produced and directed by Obi Emelonye, provides a fitting tale of remarkable insight into life in Africa which is at the same time anchored on the universality of the human experience anywhere. This throws up themes of love, survival, betrayal, greed in setting about a journey of impact. Some of the stereotypical exist: human beings still sacrificed to gods, policemen saying there is no petrol in patrol vehicles and receiving bribes among others. But according to the producer and director of the movie, these things are mirrored not to play up such but simply as a reflection of the society being portrayed and you would wonder why people are often touchy about this as such are portrayed of the west in films of the west also.
When it concerns humour, you would find plenty in Mirror Boy also with Rodney, the white boy's mother getting mad at her son as she is flabbergasted a skinny boy of small frame like Tijan is responsible for Rodney's injury and bruises. The matter of fact manner in which Tijan's mother tells him "Black out, darling. Welcome to Africa" when there is a power cut is another and how about Tijan's consideration of the lavish gifts Teena gives out as pretentions of an ordinarily poor woman in London. This is not to talk of many humourous moments created between Tijan and his mirror boy guide in their long and intriguing journey to discovery.
The didactic and proverbial sayings make a huge impact too in the movie and the subtitling of Osita Iheme’s problematic accent is an indication that the producers take care of everything, well almost everything. But it is not for nothing that Mirror Boy is the biggest and highest-grossing African movie in both the United Kingdom and Ghana and the several recognitions that dot its path is a testimony to it all.
Apart from Mirror Boy being an engaging and purposeful in terms of entertainment, it gives Nigerians especially, the privilege of seeing Osita Iheme alone in a convincing and moving role and it is a win-win situation for all. Mirror Boy will soon debut at the cinemas on August 5, giving Nigerians a rich taste of what other countries have had and you would be biting your finger later if you don’t grab a piece of it. I can bet.