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For Túndé Kèláni at 68!

IMG_1871There’s probably nothing I can say about him today that hasn’t been said better by others, or that I haven’t said before on this blog. His work over many decades represent a significant guiding light to the little work I (and many others) do in defence of African languages and culture. Through filmmaking, he has helped place African culture on the global map, but more importantly, given us an alternative and authentic portrayal of ourselves (to ourselves and to the world). He is restless, dedicated, hardworking, meticulous, thorough, and he knows what he is doing.

The journey for me with his work started with Ó Le Kú (the film portrayal of the novel by Akínwùmí Ìṣọ̀lá which renewed my interest in the University of Ìbàdàn as a place of study), then Kòṣeégbé, and then Thunderbolt/Mágùn which premiered while I was an undergraduate at UI: a beautiful film of a cultural contact, trust, and repercussions. And then there was Ṣaworoidẹ, which embodied a nation’s pain and provided needed catharsis for a turbulent political time. There have been many more, like Yellow Card, and Agogo Èèwọ̀ and Campus Queen. Through his Mainframe Òpómúléró film house, he has challenged us, and led us, and surprised us, and guided us.

In those movies and more, TK as he is fondly called continues to define and redefine what it means to be an African filmmaker. More than the quality of his cinematography, dialogue, setting, and plot is his painstaking attention to casting. Through his work, we discovered the talents of actors like Lárìndé Akinlẹ̀yẹ (of blessed memory), Kúnlé Afọláyan, Kafilat Káfidípẹ̀, Lala Akindójú, among many others, placing them in roles where their artistic talents were best utilised in the furtherance of the story. His latest movie is an adaptation of a novel by Ọláyínká Egbokhare, dealing with an issue that can’t be discussed enough: sickle cell. He has also worked in drama (Lànkẹ́ Ọ̀mu, Yèèpà, among others).

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He turns 68 today, Babátúndé Kèlání, a veteran movie director and producer, Ìkòyí ẹ̀ṣọ́ abì pelemọ l’ójú ogun. I wish him a happy birthday, and many more years in pursuit of African excellence in filmmaking.

Saworoidẹ Again

IMG_5604Yesterday, at the Lights Camera Africa Film Festival at the Federal Palace Hotel in Lagos, this movie, Saworoidẹ, from the stable of Mainframe Opómúléró, was screened.

It is not a new film. It was released in 1999 (and, according to the director, was premiered during the inauguration ceremony of at least one state government in Nigeria during the transition to civil rule in 1999). It was however a fresh intervention both as a way to look back at the country and where we’ve been, and as a way to contrast today’s movie production to where the industry had been. That was not the stated objective, of course, of the showing. This is my conjecture, purely. The film was screened as part of an exhibition of films at the annual film festival.

For me seeing the movie again for the umpteenth time, and for my family members who were watching the show for the first time, it was a a trip back into a familiar cultural resource. From the regular folk songs strategically placed into parts of the movie to reinforce particular didactic points, to the copious but tasteful use of proverbs and aphorisms, Saworoidẹ delights in ways that can’t be successfully described to a non-Yorùbá speaker. Even for Yorùbá speakers not fully versed in the oral literature, some appreciation of the work might lack in depth, but never completely. The story is well told, well shot, and very well portrayed by the seasoned actors. It’s sad to imagine native speakers of Yorùbá not being able to fully appreciate all of what the work serves to the viewer.

For someone familiar with some of the actors in the film, the showing was also a drive through memory lane. Now deceased Dr. Lárìnde Akinlẹ̀yẹ‘s efficient portrayal of a corrupt chief was and remains a bitter-sweet treasure. The actor and professor died at 56 from injuries sustained in a motor accident in Ibadan in 2004, but not before appearing in a couple of films by Mainframe, including Ó Le Kú (1998), Thunderbolt Magun (2001), among many others.

One question I forgot to ask the director Túndé Kèlání during the Q&A session at the end was how the casting process was like which resulted in a presence of some of the biggest veterans in Nigerian media in many of his movies. Saworoidẹ was written by Professor Akínwùnmí Iṣọ̀lá, and stars as big as names like Adébáyọ̀ Fálétí, Tóyọ̀sí Arígbábuwó, Lérè Pàímọ, Akínwùnmí Iṣọ̀lá, Bukky Wright, a young Kúnlé Afọláyan and a young Kabirat Káfidípẹ̀, among others.