I cannot afford neutrality in discussing Kemi Adetiba’s ‘Return of King of Boys’. In every respect, it is an example of motion picture works that should dominate the environment soon enough and travel successfully.
It takes a pride of place as the first Netflix original commissioned series in Nigeria.
KoB as a feature film thrilled Nigerians when it was released by same writer/director in 2018.
The part two, a six-episode drama/thriller dwells on power, control, loyalty, the underworld, crime and politics.
Let us consider the plot, screenplay and other apurtenances.
Whether writing a novel, documentary, feature film or TV series, it is still a story. Since we are on an emotional journey, a good story in my view must find the centre of emotional connection.
This one did, significantly.
From the times of Shakespeare, Christopher Marlowe and John Webster, the three-act structure had been in use, however it was Syd Field who emphasized its uniqueness in screen play which deliberately divides narrative fiction into three parts.
Set up, confrontation and resolution. When further broken down, one will be dealing with inciting action, usually first turning point, all is lost moment, climax and resolution.
In light of the above I hold that Kemi Adetiba’s KoB 2 demonstrates nearly excellent creative acumen as core competence.
KoB is a story about Eniola Salami (Sola Sobowale) who returns to Nigeria after a five year strategic /planed exile with an affirmed desire to become governor of Lagos state on her return while dolling out revenge on both her underworld rivals led by Odudubariba (Charles Oputa) and political opponents spearheaded by first lady Jumoke Randle (Nse Ikpe Etim)
There is agreeable excellent casting led by Sola Sobowale and her superb delivery.
The other top players – Nse Ikpe Etim, Richard Mofe Damijo, Bimbo Manuel, Taiwo Ajayi Lycett, Akin Lewis all set their talent literally on positive fire blazing with top notch control, diction, carriage and high level performance. Unfortunately, Ade Tiger (Titi Kuti) and Charles Oputa are not convincing enough for me.
Both sound too on the surface, milquetoast, lacking desired dept and grit that their important characters required.
Perhaps, Oputa could do without his harbitual range of rings, make-up and mannerisms which come across like a sissy.
On casting still, the elders in Rev. Ifeanyi’s (Richard Mofe-Damijo) church did not have any presence, they could have served better as extras in the auditorium.
I have never been more impressed with attention to detail in production design costumes and properties. The project ticked all the right boxes in this regard.
The photography is also quite impressive.
It’s my considered opinion that once a story is gripping, one will nearly ignore other key elements. However, i noticed a few forgivable line crossing and did not quite agree with the lighting design in the Babalawo’s scene.
Also, the Makanaki (Reminisce) scene when he raids Odogu Marleys (Ill Bliss) warehouse.
King of Boys has some of the most amazing inner and outer dialogues which advance the plot and help to reveal different character traits from the talents.
Native Igbo and predominantly Yoruba languages are effectively deployed, showing tension and exact mood where necessary.
Imagine the opening scene between Ajayi-Lycet and Ikpe-Etim. Simply exceptional!
Then Sola Sobowale and her second confrontation with Akin Lewis
“People like us dont have the pleasure of peaceful death.
“It is inside the darkest pot that one cooks white rice.”
Sadly I hold the view that there is too much focus and dialogue for the fact finding journalist (Efa Iwara) who had a brilliant performance by the way.
Sound in all its forms, make actions really believable. It is very useful in enhancing our total experience in motion picture works. The human sound and music in King of Boys 2 is very comendable though more attention should have been paid to sound effects especially the shoot-out scene involving Makanaki’s boys versus Salami’s team, after the gubernatorial debate.
I have not stopped wondering how Salami and Ade Tiger escaped.
Finally, while I cannot quarel with the creative licence of a director, my curiousity is fueled with the biggest reversal and resolution when Makanaki is crowned. But i still wonder that he did not revenge by killing Salami when he could.(Makanaki had been killed in the feature version).
He will later dramatically take over reigns from Salami. A plotting error?
The return of King of Boys, a Netflix first commisioned six-part series, is spectacular and brilliantly made. Our publics and particularly filmakers ought to see this series for different reasons . Very highly recommended.
PS: Am I the only person that is surprised by the persistent use of musicians in key roles in our movies? (dem don grab our jobs finish o)
Big salute to Kemi Adetiba for a job welldone.
