By Segun Ajayi
Amidst raving commentaries on Femi Adebayo’s new movie Jagunjagun (The warrior), my initial thought was to pin the movie down to a specific incident in Yoruba history. So, I made out time to see the movie last night and, soon enough, I realised Jagunjagun is simply a creative work of fiction built on war-mongering narratives and set in traditional time and locales. At the centre of the tragic plot is the megalomaniac Ogundiji (Adebayo Femi) who whimsically deploys soldiers to raid weaker communities and strip them of their resources.
However, the emergence of an adventurous Gbotika (Lateef Adedimeji) changes the course of events in Ogundiji’s military camp. The climax of the warlord’s arbitrariness is his destruction at the hands of a younger Gbotija.
The story is well scripted and rich in dialogue. The script drew from some historical sources to push the themes of obsession for power, love and betrayal. For instance, a power drunk Ogundiji would rather sacrifice a promising Gbotija out of envy of the young man’s rising profile. Ogundiji also perceived Gbotija as a threat to his hegemony. You can relate this with Saul’s envy of David, the culmination of which was Saul tragic death. At the local level, the open duel between Gbotija and his father-figure, Gbogunmi (Yekini Itele) reminds us of the epic encounter between biblical David and Goliath on one hand and the plotted battle between Gbonka and Timi; Alaafin Sango’s war generals. Recall the death of Timi, history reminds us, culminated in Sango’s fall. Even if Jagunjagun is not set in a specific historical period, the storyline underscores the producers’ eclecticism; his intricate application of historical narratives to drive contemporary issues.
Contemporary Africa is again witnessing the emergence absolute despots in military garbs like Ogundiji. In retrospection, Africa had a quantum of them in the 70s through the 80s. It was the sit-tight syndrome that inspired Professor Wole Soyinka’s satire, “A play of Giants” and “King Baabu”, much later.
Another underlining statement in the movie is encoded in Kitan, Ogundiji’s foster daughter who is randomly demonized to assail Ogundiji’s foes.That she meets her tragic death in the hands of her secret lover (Gbotija) while on an executioner’s mission is itself instructive. In her last words, Kitan flashed back into her past that she is not Ogundiji’s biological daughter as many thought. There is a heir apparent tucked away in a safe haven? This is reflective of a social malady in contemporary Nigeria where politicians use children of the less privileged as foot soldiers while their children are kept in safer climes.
In all, Jagunjagun is an impressive work of art, conventionally costumed, good props and aesthetic location designs. The film also upped the ante in acting, dialogue and effects. The sound effect is an upgrade to what we were used to. Anyway, things can always get better with the make up, several of which are not unconvincing. The fight scenes are a combination of gun duels and sword combats which put the period in the late 18th century through the first half of the 19th century Yorubaland. Even at that, the sword combats ape movies set in ancient Roman empire and medieval England. I wonder if Yoruba warriors used swords and shields stylishly as depicted in the movie. Probably, those are foot soldiers and are entitled to some levels of exuberance. Typically, we are used to warriors who assail their opponents with magic and medicine. But what stops a creative mind from trying new things?
Overall, I salute Femi’s courage in taking up such an ambitious project. Just like Kunle Afolayan’s “Anikulapo”, Femi Adebayo’s Jagunjagun is another significant contribution to the restoration of a heritage on downward slide.
