As I approach the task of reviewing the Yoruba epic movie “Lísàbí,” I find it essential to express my thoughts succinctly yet comprehensively.
The landscape of Nollywood has evolved remarkably over the years, particularly with the integration of digital advancements that have enhanced production quality. “Lísàbí” stands as a testament to the immense efforts and resources invested in contemporary filmmaking, showcasing a notable growth in our cinematic endeavors.
However, despite this positive trajectory, I have observed a recurring pattern in both acting and storytelling that merits discussion.
The influence of Femi Adebayo, a prominent figure in the industry, seems pervasive throughout many recent films, including “Lísàbí.”
As I watched the film, I couldn’t shake the feeling of déjà vu, reminiscent of other works such as “Agesinkole,” “Jagunjagun,” and “Bashorun Gaa.”
This sense of familiarity could stem from the frequent casting of the same set of actors, which inadvertently reinforces similar performances and dynamics across these films. While familiarity can be comforting, it can also lead to a lack of innovation and freshness in storytelling.
A critical aspect of any culturally rooted film is the authenticity of language use.
In “Lísàbí,” I found myself questioning how many actors and actresses truly embodied the Egba dialect with fluency comparable to that of Lateef.
For instance, Odun, who has demonstrated a command of the Egba dialect, might have been better suited for the role of Sokenu rather than Oloyo, particularly as he did not utilize the Oyo dialect at any point in his performance.
Conversely, Ibrahim Chatta, with his presumed proficiency in the Oyo dialect, would likely have delivered a more convincing portrayal as Oloyo rather than being relegated to the role of Olori Ilari. It is perplexing to witness such talent being underutilized, especially given the importance of linguistic accuracy in conveying cultural narratives.
The film’s musical choices also warrant scrutiny. The trend towards modernity in the soundtrack, while appealing to younger audiences, sometimes detracts from the historical and cultural essence that is critical to narratives like “Lísàbí.”
Music serves as a powerful tool for evoking emotion and setting the tone, and I believe our filmmakers could benefit from a deeper understanding of how to integrate traditional elements with contemporary sounds without losing the core of the story.
As I reflect on the film, I cannot overlook the commendable performances, particularly that of Lateef, who has shown remarkable growth over the years. His journey in the world of theatre has established him as a major figure in both the art and craft of acting, and his efforts in “Lísàbí” do not go unnoticed.
His evolution is a source of pride for many who follow the trajectory of Yoruba cinema.
While “Lísàbí” is a commendable effort that showcases the progress of Nollywood, I believe we can do better. The film industry stands at a crossroads, where the fusion of tradition and modernity can yield rich narratives that resonate with audiences both locally and globally.
I urge our filmmakers to delve into the study of dramaturgical sociology, which could enhance their understanding of how to weave performativity with theatrical dramaturgy. By doing so, they can create a more nuanced and layered cinematic experience that honors the cultural heritage we hold dear.
