. Paraphrase of a new movie
Folorunso Fatai Adisa
The above named movie is a Nigerian political thriller by Kemi Adetiba, the same producer of Wedding party, a brilliant movie. Starting from the casting of the characters to the filming of the movie; one cannot but praise the hands that cooked it.
Aside from the fact that almost all the actors and actresses in the movie displayed originality in the various roles they had played, hilarity wasn’t sacrificed where and when necessary. How about Mr Fashina’s request for biscuit at the reverend’s office when they have a pressing issue at hand? How about the reverend father’s appearance alongside the “Iya Oloja” and others to rejoice with the Governor-elect amongst others? Funny!
It is note worthy to appreciate Reminisce,again, in that movie. Given that that is his second outing in the theatrical realm, he did brilliantly and commendably well. From his cadential flow cum line renditions, facial expressions to general actions, “Korede/Makanaki” ( Reminisce) dramatically gripped his audience and displayed the attributes of a lout and slum cum gang leader.
Ade Tiger is the textbook definition of wisdom and loyalty. He needs be studied by people who use bodyguards and, even, bodyguards themselves. I think he has greatly matured in that role.
Madam Taiwo Ajai-Lycett, indeed, proved her being an old warhorse. Her diction, top notch. Her kinesics, excellent! Role interpretation, superb.
Akin Lewis is, truly, legendary. I have yet to see anyone play a fatherly and political role better than he does: possibly Anta Laniyan, to me, is his best challenger.
Akin has the words and the imperative voice. The needed dramatic kinesics, too. I once noted that he goes inaudible when he renders his lines. Most times, you would have to strain your ears to hear him. But in King Of Boys, Akin’s (Aare Akinwande) audibility is incontestable. He is an old wine. He tastes better. I enjoyed his act, as usual.
Eniola Salami, OBA, (Sola Sobowale) is the metaphor for hard work and commitment. And brilliance. And a certain amount of expressive energy; so an individual with high-octanes of energy and the ability to translate that energy on-screen like Sola Sobowale cannot but be praised.
The passion for performing and entertaining is a key quality, and a good actor should have the confidence to portray their role in a production convincingly and connect with audiences. They need physicality to convey the emotions, motivations, and intentions of a character through physical movement as well as speech. All of the aforesaid are the things Sola Sobowale aptly represents in the movie: A CLASS ACT, she is!
Power tussle, which formed one of the bedrocks of the work, was well-acted out in the movie. Rapacity, corruption and conspiracy conspicuously played out too.
The rots in the highest seats in the land, both at the Federal and the State levels, are aptly displayed in the movie as well. The good and the bad pen pushers/opinion moulders—Journalists— are not left out too.
Taken together, that movie is a beautiful one. It says there is corruption. It says criminals exist. It says politics, here in Nigeria, is a can of worms— an organised “legal” crime. It says karma and/or revenge is real (Lola lost her children. After all, she killed a lot of people too. However, she has taken a pound of her flesh from Aare by assassinating him). It says loyalty also exists( as displayed by Ade Tiger towards Lola Shobowale). It says corruption courts the church as displayed by the reverend (RMD) with a girlfriend and a child.
Indeed, LABURU has LANDED.