MOVIE REVIEW: Orisa: Shaffy Bello is driving force of this gripping, instructive Yoruba tale

Movie Title: Orisa

Release Date: 21 July 2023

Director: Odunlade Adekola

Runtime: 1 hour 45 minutes

Cast: Odunlade Adekola, Femi Adebayo, Shaffy Bello, Jide Kosoko, Dele Odule, Muyiwa Ademola, and Eniola Ajao.

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July 2023 was one to remember in the context of filmmaking.

Moviegoers experienced cases of “Barbie fever” thanks to the producer’s colossal marketing budget; fans of Opphemiere and Barbie were caught up in a digital face-off; Femi Adebayo sent thrills down our spines with the trailer of his new epic movie, Jagun Jagun; and Odunlade Adekola brought old Yourba glam to the red carpet during the premiere of his film, Orisa.

When discussing the evolution of Nollywood, one can’t help but reflect on the vast array of Yoruba films watched while growing up, be it Abeni or Maami.

It is why viewers experience a sense of nostalgia and are impressed when film producers such as Odunlade tell indigenous stories. The latest addition to the catalogue of Nollywood films that shun westernised depictions of Nigerian culture is Orisa.

With a line-up of both veterans and newbies in the film industry, Orisa takes viewers on an epic journey into a world that offers a solid moral lesson. However, this journey is cut short as it does not provide enough dramatic events to intrigue viewers.

While the film keeps viewers on the edge of their seats as fingers are crossed in anticipation of what might occur to the protagonist, the film is structured in a way that misses the gaps in the plot progression.

It also doesn’t allude to strong motivation for characters’ actions, and has some unnecessary details that could have been easily edited out.

Orisa is saved by the costumes, production designs, acting performances, and dialogues that immerse viewers in a rich cultural experience.

The Plot

The film begins with the narrator telling the tale of a king. We see the king, Adefolarin (Odunlade Adekola), being summoned to a witches’ coven, where he is accused of being disrespectful and proud. Showing no remorse, the witches decide to punish him with insanity.

The kingdom is thrown into chaos as news of the king’s madness spreads like wildfire. This catches the ears of a long-term nemesis, Komokomo (Femi Adebayo), who uses the opportunity to infiltrate the kingdom and abduct villagers. However, the thrill of destroying lives isn’t enough, so he challenges the king for the throne.

Appalled, members of the royal council begin to figure out a way out of the mess, searching for a solution to the king’s ordeal. They are oblivious that one of the royal family members is responsible for the illness.

Once the traitor’s action is brought to light, the king is healed, but at a price. This leaves him facing Komokomo in an epic battle where only one can survive.

The Good

It would be hypocritical not to applaud the film’s scripting vis-à-vis the dialogues. Although primarily premised on a dark tone, the writer found ways to include comic relief that didn’t seem forced.

The exchange added to the believability of the characters. It did not reflect Yoruba language at a glance but provided an in-depth view, especially with proverbs.

The actors also brought their characters and the dialogue to life, as their ability to convey the required emotion for each scene is remarkable. A good example would be the witches’ scene; the tussle for power was not downplayed, with the witches and the king verbally fighting tooth and nail to see who comes out on top.

Shaffy Bello stands out among the cast as she accurately portrays a grieving wife who grows weary of her husband’s situation.

Her speech towards her daughter is tear-moving and temporarily dismisses her from the list of suspected traitors. Odunlade Adekola offers a relatively good performance as a mad king; Femi Adebayo incites fear in viewers as a ruthless leader; and Woli Awole, despite being in a few scenes, gave us a healthy dose of laughter.

Many elements, from the cinematography to the costumes, make Orisa a contender for an award in the indigenous film category. A lot of attention went into refining the final edits on our screens.

The Bad

Let’s begin with the least problematic. Undoubtedly, the editing in Nollywood films is improving, but it needs more work. The Computer Generated-Imagery (CGI) in Orisa was a bit unprofessional and a letdown considering it was aimed at a cinematic-inclined audience.

Honestly, the plot dragged out a lot. There were several unnecessary scenes in the movie. For example, in the beginning, we see King Afolarin become a madman. We watched him act insane for about five minutes. It was almost like the writer downplayed the audience’s intelligence by reminding us of his madness. It also did not help that his rage is often referred to throughout the movie. Remember, “show, don’t tell.”

While the costumes are great, the makeup is not so much. The tribal marks on the characters in the early scene felt like they were drawn with an eye pencil. It wasn’t until the later stage that you would notice it looked real.

The majority of the problems with Orisa lie in the motives of the characters. First, we have Komokomo. His reason for becoming king of the village felt weak; there was no dramatic explanation. This made him less of a formidable villain, even after he killed the Balogun. The only people with strong motives are the witches, whose thirst for revenge is understandable.

Lastly, the execution, storytelling-wise, was a huge miss. Characters kept referring to King Adefolarin as a tyrant and fearful king, but there was no in-depth explanation as to what actions conferred him with such attributes. It would have been great if there had been a flashback of him ruling the village with an iron fist.

Final Verdict

7/10. Orisa is similar to an average Yourba movie, but what makes it stand out is its stellar cast, the teaching of a mother’s love, and a solid moral lesson on “Pride goeth before fall.”

Orisa is now showing at cinemas.