Rubicon is a movie set in the ancient city of Ibadan, produced by Starkingdom Productions and an initiative broadcaster Dr. Adebayo Faleke of Fresh FM Nigeria. The drama with dialogue entirely in Yoruba but well subtitled in English was produced in 2021 but released to the cinemas across Nigeria on the 12th of August 2022.
Adebayo Faleke who doubled as the main cast and the producer is no doubt living up to the billing as a multi-talented communicator. He only a few years ago authored a book: Dilemmas of a Country.
Before then, he had launched National Cake and Banana Republic, audiovisual records that exposed the mismanagement of so-called leaders in Nigeria.
In a press conference before the release of Rubicon, Dr Faleke once again hinged his inspiration for this new work on the need to “…inspire the people to do the needful in order to correct the mistakes of the past which include vote selling, conscience selling, corrupt practices and other political anomalies” as Nigeria’s general election draws close.
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Bayo O or Bayo Kaakaki, as fondly called, is a brilliant Yoruba newscaster and entertainer whose impact in the Ibadan radio industry is undisputed. The director on the set of Rubicon is Ade Idris Jerry, a fast-growing director often adjudged to possess a good sense of interpreting scripts in unique and different ways.
Rubicon assembles A-list actors, entertainers, and broadcasters in what seems more like the marriage of the best of new and traditional media. Among these are Yoruba movie-industry-famed actors like Akin Lewis, Saidi Balogun, Taiwo Ibikunle, Awoyemi Bukola (AKA Arugba); comic acts and skit makers, Debo ‘Mr Macaroni’ Adedayo, Ayo Ayewole ‘Woli Agba’, and superstar music maestro and media investor, Yinka Ayefele, who also is Dr Faleke’s boss. Ace broadcasters like Kola Olootu and Alhaji Abolade Salami also had short but vital roles in this projected.
Summary of the story
Rubicon (Agbedemeji) follows the story of Adesola Adigun (Dr Faleke) a famous OAP with high moral standards and principles that sees him undermine his basic livelihood and personal safety to hang on to his beliefs when caught up between accepting a life-transforming publicity deal from a corrupt politician and facing rejection consequences. Adigun’s wife, played by Awoyemi Bukola had just moved out and separated from him after numerous arguments about his inability to meet with bare necessities despite the numerous opportunities available to him to enrich himself with his fame.
Adigun’s integrity is further tested when Dr Tayo (played by Richardo Agbor) who was just appointed as Senator Ipadeola’s political strategist in the build up to the gubernatorial elections, proposed using him as leverage to win the love of the masses. The management of Kaakaki FM and Adigun were approached with an outrageous offer that would turn everyone involved into millionaires, but Adigun’s outright refusal soon precipitated pressures from his boss, the General Manager of the station, played by Saidi Balogun. After several attempts to put Adigun ‘on the side of reason’, the GM fired him for his indiscretion, and Adigun after some short period of joblessness took his childhood friend and industry colleague, Debo (Mr Macaroni)’s advice, approached a bigger radio station, Fresh FM with the backing of some brands to reinstate his popular radio show.
While Adigun’s alternative to “selling a black market”, in the manner of corrupt Senator Ipadeola seemed to have calmed the storm in his life, he’s soon faced with the threat of his own dirty past coming public and discrediting his new posture of uprightness. Adigun goes on to take a brazen ‘tell all’ stand during his live show and by that irked his now inimical suitor, Senator Ipadeola. Adigun is shortly after arrested for possessing an unregistered rifle and stands with the fate of most poor, ‘unconnected’ masses who ever dared to contend with the powerful few of Nigeria.
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Analyses of plot elements
Nothing about this movie is new to Nollywood storytelling. The themes of love, betrayal, and triumph are typical of any script dating back to the earliest years of filmmaking in the 1950s. The plot, therefore, has no significant impact on the viewership journey of moviegoers, who would easily hint at the next scene.
The introduction of the character was rushed up. Within the first few scenes one can tell what everyone was about, without no significant emotional attachment. This is except for the character Mr Macroni played, which the script smartly deployed the ‘hint and tell later’ technique to unveil. The ultimate theme of morality comes straight at you from the start and you can quickly relate with the style of Dr Faleke’s previous projects.
In a similar manner to the exposition element of the plot, the rising action mounts quite quickly and holds the viewers’ to a long wait for the climax, which only comes at the tail-end of the movie.
The falling action is silent and can even be missed, as the writers went for emphasizing the denouement (closure), which is a normal technique in Yoruba storytelling.
Analyses of creative elements
Music and sound design for this work is very poor. It is as low-standard as the lighting, set design, and cinematography. One would wonder how it ever made it to the cinema. This may make reason for how Nollytrailers was the only person in the hall at Viva Cinema, Ikeja when he went to see the movie.
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Though the casting is great for marketing, with all the big names across three key sectors of the entertainment and media industries, the fitting of the roles is very questionable. Besides the excellent delivery of Akin Lewis, Mr Macaroni and Arugba, most other major actors, inclusive of the main cast himself, were amateurish.
Wole Agba’s acting was terrible, his costume and make-up, even worse. He looks like a child acting like a 42 or 45 year old elder brother. This is no comedy skit, this movie was purposed for the big screen!
Adigun’s character was not fully explored and the emotive part was poorly executed. For instance, the scene where Adigun was caught by the police and was being interrogated; he obviously wailed without a single tear. Another scene that points to the abysmal roleplaying was when he was at the bar with his friend (Mr Macroni) discussing his predicament and was advised to take the offer from Senator Ipadeola; Dr Faleke was to interpret the character of an enraged Adigun rebuking his friend, but acted more like an indulgent parent scolding a four-year old.
Wole Agba and Dr Faleke’s scene on Adigun’s visit to his supposed wife’s elder brother to beg for his wife’s return was a charade! The attempt at interplaying comedy and pain fell flat on the floor.
Though the story is trite and sometimes outrightly unbelievable – like the assertion by the Political Strategist that Adigun and his fan base can earn Senator Ipadeola 70% of the votes (impracticable in reality), some parts are brilliantly interpreted to earn a niche medal. One of that brilliance is seen in how they played Yinka Ayefele as a prophet without the stereotype of singing in a wheelchair. It is noteworthy also that the entertainer did a good job with the script.
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The story’s touch on the menace of upcoming artiste bribing to get their songs played on radio is also a commendable effort to spotlight societal ills. This short cutaway in the movie raises attention to the long-standing debate on copyright infringements between musical artistes and broadcast stations.
Praiseworthy also is the attention on the evil of religious leaders availing themselves as political levers, helping our evil leaders cow the masses. The attempt to ‘enter’ Adigun through his prophet (Yinka Ayefele) by donating to the church project and the bible verses bartering between Adigun and the prophet is a brilliant messaging to the church.
The writers also did well with the twist when Adunni, Adigun’s new housemaid was caught with a bundle of cash while attempting to run away after her boss was caught and detained for having an unregistered rifle. At that moment, you would just roll your eyes, thinking ‘what a bland falling action’, until it turns out that she only stole, she wasn’t the one who planted the gun!
Laudable also was the projection of Adigun’s wife as supportive in the face of tribulation. Despite the fact that they were separated, she fervently prayed for him, held to and propagated the firm belief in her husband’s integrity, and sort out help that eventually got him off the hook.
The final parts of the movie also silently communicated the sad reality of life; that in the constellations of evil, greed, love for bad news and exaggerated rumour mongering in Nigeria, when retribution comes knocking, some evil people will manage to escape. That is the case for Adigun’s colleague at Kakaki FM, who Adigun had found out was taking bribes from musical artistes to play their songs, reported his matter to GM and was allowed to slide because it was a syndicate of bribe-taking the GM himself chaired. The same colleague venomously wrote an exaggerated news report to announce Adigun’s arrest on their station. Well, after Adigun’s triumph over his travesty, reinstatement to Kaakaki FM, and promotion to the position of GM, the very guy was one of those that welcomed him back with a big smile, like nothing ever happened! Smaller bad eggs often survive the tsunami of change.
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In the film, there were several attempts to slide in comic reliefs, but failed brutally (Woli Agba was not just delivering). But there’s one scene that will really get you cracking and it is another occasion when Wole Agba and Bukola (Arugba) quarreled over the travail of her husband and her brother’s trivialization of the matter. She was praying when he walks in and mockingly joined her, then she had to reprimand him. After few back and forth ‘jabbing’, Wole Agba goes, “As you were praying I remembered when God called me and I didn’t write down the date, oh, if only I did…now I am seeing angels in this asbestos ceilings…” Lol.
Verdict
The overall production quality of this movie is far lower than the current industry standard. It falls short in many ways.
Directing, for instance, could have been much better. The director, Ade Jerry, who featured himself was not quite impressive. A lot of the scenes ought to have been reshot. More importantly, the flow of the story is a bit distorted; How do you reconcile that Adigun, who was portrayed as a very homely man, after being told that the wife was behind his release from prison, did not meet and reconcile with her until she suddenly shows up in the last scene, when he was reinstated back and being celebrated at Kakaki FM. This was a typical Yoruba movie way of not leaving anything to the imagination; make sure all doors opened in the course of the story must be closed at the end.
For the few comic reliefs and the important messages in this film, viewers can take a shot at seeing it. Maybe their judgment may be different.
“Love in Every Word” is a charming Nigerian romantic comedy directed by Stanley Obi, featuring compelling performances from Bam Bam Olawunmi Adenibuyan and Uzor Arukwe. This review delves into the film’s exploration of love, family complexities, and the vibrant portrayal of Igbo culture in a modern Lagos setting
“Chioma, a beautiful and classy working-class woman, finds her romantic relationships affected by a strained connection with her father. However, she encounters a man who attracts her, yet embodies everything she found challenging in her father.”
Bam Bam Adenibuyan as Chioma: A vibrant, beautiful, and diligent young woman residing in Lagos. She grapples with demanding superiors and the frustration of seemingly financially supporting her romantic partners. Her steadfast friends, Ify and Ivie, are her unwavering support system. Haunted by ‘father issues’, Chioma subconsciously gravitates towards men who are financially dependent, despite her discontent. During a trip back to her hometown for a family wedding, she meets someone different. Even her mother is determined this connection will flourish. However, Chioma must navigate the unique demands this relationship brings.
Uzor Arukwe as Chief Obiora: A highly confident and culturally proud, affluent man – a true ‘Odogwu Paranran’ in every sense. Although he reminds Chioma of her father, he remains resolute in his desire to marry her, even if it means travelling to Lagos to claim his ‘Achalugo’ (wife).
Thelma Chukwunwen as Chioma’s Mother: She is unwavering in her efforts to persuade her daughter to marry Chief Obiora.
Susan Jimah as Chioma’s Boss: An exploitative and unappreciative employer, oblivious to Chioma’s dedication.
DanielRocky Obiora: The final disappointing experience Chioma endured with financially reliant men.
Osereme Inegbenebor as Ify: Chioma’s lifelong friend and legal counsel. She possesses a deep understanding of Chioma’s pattern in choosing romantic partners.
Amanda Iriekpen as Ivie: Chioma’s other loyal friend who provides consistent support.
Bambam Adenibuyan, with her customary ease, breathed life into the character of a stylish working woman in Lagos navigating a complicated love life. She effectively conveyed the necessary femininity and charm the narrative required.
Uzor Arukwe delivered a beautiful portrayal of Igbo culture, embodying a delightful blend of boldness and persistence often associated with Igbo men. His character’s wealth also played a significant role.
Thelma Chukwunwen authentically captured maternal concern, embodying the typical traits of an African mother.
Susan Jimah convincingly portrayed the behaviour and demeanour of an abusive boss.
DanielRocky Obiora, despite limited screen time, effectively embodied the role of an irresponsible boyfriend and man.
Osereme Inegbenebor showcased her talent as a promising actress. Her confident and skilled portrayal of a supportive friend who is also a lawyer was spot on.
Amanda Iriekpen delivered a simple yet effective performance, maintaining a subtle presence.
Cinematography and Sound Design:
The cinematography was indeed impeccable, authentically showcasing Igbo culture through attire and setting.
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The sound design was also excellent, encompassing the soundtrack, dialogue, and ambient sounds. It effectively established a sense of place and atmosphere, enhancing the viewers’ connection with the story.
Costume: It is important to highlight the well-curated traditional attire and the sophisticated corporate wear worn by Chioma, both crucial in defining her character and role.
Budget: Filmed across two primary locations – the opulent house and vehicles representing Obiora’s wealth – the film’s budget was clearly evident in the production value.
Resolution: Chioma and Obiora ultimately confront their true feelings after Chioma takes a courageous step to overcome her anxieties.
A perfect blend of rich culture, comedy, romance, and career dynamics.
“The Homecoming” is a compelling Nigerian film blending romance and drama, starring Bimbo Ademoye and Timini Egbuson. This review highlights its relatable themes, strong performances, and valuable life lessons
Movie Title: The Homecoming Director: Great-Valentine Edochie Release Date: 24th December 2024 Starring: Bimbo Ademoye, Timini Egbuson, Bisola Aiyeola Genre: Romance, Drama
Dieko, a driven young woman juggling the demands of work and family, strives to achieve her aspirations while navigating various life challenges.
Dieko (played by Bimbo Ademoye): In this film, she embodies an orphaned character who works tirelessly to become an accountant while caring for her visually impaired grandfather. She serves as the protagonist of the story.
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Uduak (played by Bisola Aiyeola): The stern CEO of Eazzy Group, a fashion enterprise. She functions as both an antagonist and a catalyst for Dieko’s personal development.
Luther (played by Timini Egbuson): He introduces emotional equilibrium to this romantic narrative, developing a profound and initially unconscious connection with Dieko.
ANALYSIS
General Performance of the Actors:
Bimbo Ademoye truly embodies her character as a determined young woman striving to make ends meet. She effectively portrays both her desperation and her resilience as a diligent worker.
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Bisola Aiyeola, in her role as the ‘strict boss’, also delivered a compelling performance. She accurately depicted the characteristics of an unapproachable and unsympathetic superior.
Timini Egbuson, known for his ‘lover boy’ roles, was once again convincing in this film. His portrayal of Luther provided a sense of ease for Dieko in her professional relationship with his sister, Uduak.
Cinematography and Sound Design:
The lighting and camera angles were impeccably executed. The overall sound experience was also excellent, featuring appropriate music for specific scenes from talented songwriters Progress and Chidii.
Costume Design: The costumes were thoughtfully and meticulously selected. A significant and noteworthy transition is seen in Dieko’s attire, evolving from that of a ‘struggling job seeker’ to that of a personal assistant to Uduak, the CEO of Eazzy Group. Each stage of her journey was accurately represented through her clothing. Uduak, as a high-profile fashion figure, also maintained consistently stylish looks throughout the movie.
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Budget: This was clearly not a low-budget production, evident in the expenditure on costumes, travel, and the engagement of renowned actors. A considerable amount of investment was dedicated to the making of this film.
Resolution: Dieko ultimately achieves her independence and decides to build the life she desires, free from her demanding boss, Uduak. Her connection with Luther deepens, nurturing the spark between them.
A highly recommended watch! This film offers a compelling blend of drama and romance, with relatable scenarios and valuable life lessons to take away.