Movie Title: Anikulapo
Cast: Kunle Remi, Hakeem Kae-Kazim, Sola Sobowale, Bimbo Ademoye, Taiwo Hassan, Faithia Balogun, Adebayo Salami, Kareem Adepoju, Moji Olayiwola, and Aisha Lawal.
Runtime: 2 hours, 22 minutes
Date of release: 30 September 2022
Director: Kunle Afolayan
“Anikulapo,” directed by Kunle Afolayan, is a thought-provoking film that plunges viewers into the heart of Yoruba culture. Set in the 17th century, it weaves a simple yet culturally rich storyline that explores themes of pride, greed, deception, and betrayal. Through vivid illustrations, the movie paints a vivid picture of Yoruba society, showcasing their warmth, polygamous marriages, artistic prowess, and deep-rooted folklore and traditions.
The film opens with a captivating scene where a character named Saro is brought back to life by the mythical Akala Bird, known for its resurrection powers. This mystical encounter sets the stage for a narrative journey that unfolds with intricate detail. However, some critics note that the film’s lengthy preamble may test the patience of viewers, despite its eventual payoff.
As the story unfolds, viewers are treated to breathtaking glimpses of the acclaimed KAP village in Igbojaye, Oyo State, at its zenith. Additionally, “Anikulapo” marks the debut of Eyiyemi Afolayan, the third generation of the esteemed Afolayan family in Nollywood. Beyond celebrating the family’s legacy, the film aims to redefine Yoruba cinema with its aesthetic appeal, profound storytelling, and clear vision. Through Eyiyemi’s debut and the film’s ambitious goals, “Anikulapo” emerges as a testament to the evolving landscape of Nigerian cinema.
Plot
“Anikulapo” unfolds the intertwined fate of Saro (Kunle Remi) and Queen Arolake (Bimbo Ademoye), whose ill-fated encounter sets the stage for tragedy rather than love. Initially introduced as the youngest bride of the king, Arolake’s path intersects with Saro’s, leading to both their downfall.
Saro, a skilled aso-ofi weaver from Gbogan, seeks a better life in Oyo. Despite initial skepticism, he finds acceptance and assistance from the guards, eventually encountering Awarun (Sola Sobowale). Their relationship blossoms into an affair, with Awarun providing Saro with opportunities and resources, reflecting the existence of unconventional relationships in pre-colonial Yoruba society.
However, tensions arise when Saro’s attention shifts to Arolake, causing friction with Awarun. Arolake, described as a melancholic figure by her co-wives due to her infertility, becomes the object of Saro’s affection. Her plight, stemming from societal pressures and personal unhappiness, adds depth to the narrative, highlighting the complexities of life in the Yoruba kingdom.
Positive Review :
As Anikulapo reaches its climax with Saro’s demise over his relationship with Arolake, one might anticipate the film’s conclusion, only to realize it is far from over. The movie’s true narrative begins where the preamble ends, delving into a subplot that interprets a prophetic verse from Ifa’s oracle divination. Despite its initial ambiguity, the prophecy unfolds before the viewer’s eyes, adding depth to the storyline.
Similar to “93 Days,” Anikulapo experiences what some might label as “the second half syndrome.” While the first half sets the stage, it pales in comparison to the gripping intensity of the latter part. Here, the film truly shines, delving into themes of greed, remorse, and the consequences of discontentment that ultimately seal Saro’s fate.
Anikulapo subtly suggests that sometimes, one’s destiny is already predetermined. While it doesn’t discourage the pursuit of love and aspirations, it questions the worthiness of risking everything for them. Despite commendable performances by the lead actors, the chemistry between Saro and Arolake fails to fully captivate. Additionally, a gratuitous sex scene detracts from the film’s narrative integrity.
Featuring a talented ensemble cast, including veterans like Adebayo Salami, Dele Odule, and Taiwo Hassan, alongside notable efforts from Yinka Quadri, Fathia Balogun, Akeem Kae-Kazim, and Moji Afolayan, Anikulapo showcases the depth and breadth of talent within Nigeria’s film industry.”
Negative Review:
While Anikulapo has resonated with audiences, it falls prey to common Nollywood pitfalls—oversights, implausible scenes, and superficial dialogue. The recent outcry following the Nigerian Oscar Association’s rejection of the film, coupled with director Afolayan’s response, highlights a pervasive trend: Nigerians often settle for mediocrity in films and mistake it for excellence. Despite showcasing ancient infrastructure and lifestyles, such as clay houses and trade with cowries, Anikulapo fails to offer anything truly exceptional that warrants Oscar recognition.
Although it shares similarities with The Figurine in its portrayal of mortals wielding mystical powers, Anikulapo ultimately falls short. While simplicity can be effective, the film lacks a compelling narrative to justify its acclaim. The gratuitous nudity, a risky move by Afolayan, detracts from the film’s appeal and alienates viewers, overshadowing any intended controversy.
Anikulapo succeeds as a period piece but lacks the essential elements of a typical Yoruba movie—decency and proverbs. Unlike Saworoide and King of Boys, which are lauded for their lessons and cultural richness, Anikulapo fails to deliver meaningful dialogue or depth. While the use of the Yoruba language adds authenticity, it does little to salvage the film’s shortcomings.
Despite strong performances from the cast, including commendable efforts from the protagonist and deuteragonist, Anikulapo’s bloated runtime and unsatisfying conclusion leave much to be desired. While some may argue for its merits, the film ultimately falls short of expectations, failing to justify its excessive length with a compelling story or meaningful content.
