This is a story of power, control, domination and war tactics in Yorubaland.
It explores inordinate desires in a game of total and extreme dominance.
In this fascinating cinematic experience, the lead act, Ogunjimi (Femi Adebayo), a feared warlord feels threatened by the gentle, unassuming, yet fast rising star of a hero, Gbotija (Lateef Adedimeji) who saves the life of Queen Erinfunto (Fathia Balogun) and falls in love with the princess of the kingdom, Kitan (Bukunmi Oluwasina).
This 2hr.13mins piece of work from the auspices of production company, Euphoria 360, released on 10th August on Netflix was produced by Femi Adebayo with collaborative directorial credits earned by Tope Adebayo and Adebayo Tijani.
Jagun Jagun is very rich in character subtext. One can relate Ogunjimi to leaders with megalomaniac attributes. Those who exaggerate their sense of self importance and are never able to see their shortcomings. Examples of such characters abound around the world – the reign of Alexander the Great, of the ancient Greek kingdom; Napoleon Bonaparte, French military commander and political leader; right down to Jose Eduado dos Santos former President of Angola who ruled the country almost 40 years like his private estate; and Teodoro Mbasogo of Equatorial Guinea, a small country with nearly the highest per capita income in the world yet it does not translate to prosperity in their land. Tracing this subtext to 17th century Yoruba land of Western Nigeria, Basorun Gaa famously reffered to as the wicked Prime Minister of Oyo – He could make a king commit suicide as an Ekeji Orisa (second to the gods).
In the same axis, there was Aare Latossa of Ibadan; Kurumi, Aare Ona kakanfo, Afonja etc.
Most of these war generals who ruled the space were deeply entrenched in powerful charms and other weapons of war.
This compelling film produced by Femi Adebayo was made in the rich Yoruba language. In the story build up, Kings in the neighbouring lands Keto, Modede, Aje, Banwoo, Larinle, Iwon, Iludun and Oniyo kingdoms, while having a jab at themselves over dinner, admitted that their thrones were hijacked from the rightful owners because of Oginjimi’s protection, support and powers drawn from a vast pantheon of deities therefore their homage.
“When a battle becomes fierce, Oginjimi calls on the indestructible Agemo”.
This kept happening until the fight with Gbotija “the one who wakes to talk to the trees” and the unmentionable ensued.
If there be plot concerns for me, it will be to question why Gbotija will completely annihilate the peaceful people of Orisa Aje. My understanding of Yoruba mythology is that Osun Osogbo, Orisa Aje and Orunmila are highly revered peaceful deities. If Gbotija had sought their blessings rather than killing them, disobeying Oginjimi’s order to kill everyone in the land, it would justify Ogunjimi sending Agemo to finally confront Gbotija.
The outstanding cinematography essentially captured the captivating scenic beauty, there was care for details not only of immediate identifiable in -your – face visuals but also objects in the background. A feat mostly ignored in some big pictures.
I am elated with this Epic motion picture work, all key performers are top notch: Muyiwa Ademola, Odunlade Adekola, Dele Odule, Bimbo Somoye, Ibrahim Yekini.
The combination of Femi Adebayo and Lateef Oladimeji with their carriage, character consistency and delivery so far should be recorded as the highest achievement in acting.
The costumes were a rich array of clothings representing different classes in Yoruba land. The Adire, Esiki, and Sapara worn by the masses combined with Gbariye- the large, loosely made clothings typically worn by the highly placed in the society, and so on.
The traditional chants and music score heightens the emotional connection of the film even as I would have preffered a less intrusive option.
I wondered that the high pitched orchestra did not sound localized enough.
The engaging dialogues potray a rich repertoire of idioms and deep proverbs from Yoruba axioms. There was something special in the way the talents came across giving their delivery verisimilitude.
In a private conversation with Prof. Segun Ojewuyi, a theatre director, teacher and Dean, College of Arts, Southern Illinois University, he says of Jagun Jagun ‘Its an enthralling tour de force in Nigerian movie making. It triumphs in cinematic storytelling’.
May I conclude to state that motion picture was brought to Africa, not exactly for our enjoyment, but as a means of imperialist encirclement and cultural conquest of the natives.
Some filmmakers, like the one in discourse, have acquired the necessary skill and displayed same craft to telling a compelling story of ourselves and our people. With Adebayo’s success in his last outing King of Thieves, Jagun Jagun is to be celebrated, as all the properties in delivering a good picture were deployed. When these all come together, it is fascinating.
Very highly recommended.
1 comment
One of the best analysis so far!