Kenneth Nnebue’s 1992 blockbuster, Living in Bondage marked the beginning of an era in the Nigerian film industry. The story which follows a man who ritually sacrificed his devoted wife in exchange for quick wealth and fortune was a hit, selling about 750,000 copies in total. Hence, Living in Bondage is considered the pioneer film of the classic Nollywood era, inspiring many other filmmakers at that time to follow suit in plots that reveled in ritualism, horror, and mysticism. In turn, these imitations aimed at commercial prioritization, limited creativity with their recurring production motifs. This was around the decline of cinema lucrativeness due to the introduction of home videos, so the goal gradually shifted from artistry to selling hundreds of thousands of copies and more if possible.
Consequently, the 90s became flooded with supernatural styled films like Nneka the Pretty Serpent (1994) and Diamond Ring (1998). For the 2000s, campus love stories became trendy featuring the likes of Critical Decision (2005), Games Men Play (2006), Girls Cot (2007), and Reloaded (2009); while the 2010s patronized comedies and romantic dramas, furnished with aerial views of the Lekki-Ikoyi link bridge in Lagos.
Nevertheless, viewers enjoyed these films for their humor and ideal portrayal of Nigerian lives, with movies from the classic era of Nollywood being favoured for its nostalgic evocation by young people who grew up watching them. However, little room was given to the few filmmakers in the industry that valued the inclusion of artistic substance and expression in their cinematic creations, such that renowned filmmaker, Amaka Igwe noted that “we (Nigerian producers) ceased to develop our art because we were busy making money.”
Fast-forward to the late 2010s/early 2020s, where Nollywood began to gain international patronage and home-grown actors became common faces on international screens. High-definition cameras and professional exposure tackled technological challenges like poor picture qualities and laughable video effects or “film tricks.” Nollywood’s inclusion on top streaming platforms birthed story-telling innovations, as filmmakers were left with two choices to pick from; up their game or have no game at all. While crowd pleasers with engaging plot stories like King of Boys and Merry Men flamboyantly rocked all types of screens, some others still battled with not-so-rudimental inconsistencies, like Chief Daddy 2, which attracted several levels of criticism on its release.
Despite the economic turmoil and rumblings from the 7th presidential election of the fourth republic, Nollywood did not miss out on delivering edge-of-the-seat films to cinemas and homes in 2023. The year birthed many movie hits like the docudrama, Dark October, Gangs of Lagos, the adventurous Ijogbon, a modern remake of the classic, Domitila, and Merry Men 3; an addition to the famous comedic-crime series. Considering how much of an exciting film year 2023 was, it only seemed right for it to be closed with something special. For a befitting closure, veteran actress and film producer, Funke Akindele, released revolutionary A Tribe Called Judah, which has been described as “a cultural gem that reflects the vibrancy and resilience of Nigerian cinema”.
Witty, Twisty, Cathartic, and Successful. A Tribe Called Judah is a drama built on the intricacies of family, love, trust, individual differences, and unified strength. It follows the story of a single mother, Jedidah Judah (Funke Akindele), who tries to keep up with her 5 sons from different fathers, her not-so-buoyant financial state, and being a philanthropist all at the same time. Obviously, due to the stress she is constantly put through and her chronic alcoholism, she falls sick and requires an arm and leg for her treatment. This becomes more than a task for the tribe of Judah, her children, as they are poised with a new challenge that involves putting their differences aside in order to save their dear mother’s life. The most brilliant plan they could come up with to raise the N18 million needed for Jedidah’s kidney transplant is a heist on her eldest son, Emeka’s former workplace, where his cheapskate boss hoards laundered dollars. Their ploy is almost flawless, until the arrival of a different gang of robbers after the same prize. The Judah boys luckily get away with most of the money and a few gunshot wounds— which unfortunately claims Emeka’s life, (who wasn’t a fan of the plan from the onset).
A Tribe Called Judah is a box-office record breaker, as it became the first Nigerian movie to earn N1 billion in domestic theatres. The movie has received critical acclaim for its intriguing plot, amazing soundtrack, and perfect actors that matched their roles. The film merges humor and drama, offering ludicrous scenes that transform into very intense moments with minimal fuss. However, beyond the lauded theatrics, Funke Akindele has artistically dawned a new filmmaking era in the industry, one that transcends mere entertainment. A Tribe Called Judah combined the necessity of profit maximisation with literary and figurative values through use of simple literary tools like symbolism, satire, and repeated suspense.
The sons of Judah being from different tribes, a biblical allusion to the 12 tribes of Judah and satirical technique of chiding the constant inter-ethnic clashes in Nigeria, with a sublime; “If 5 tribes can rise up in unity to protect their mother, why can’t the 250+ existent ethnic groups in Nigeria eradicate the general crisis in the nation?” The interconnection of several cultural groups in the film is opposed to the aversive norm of Nollywood productions leaning towards one cultural faction of the country, usually within the scope of the three main groups; Igbo, Hausa, and Yoruba.
Funke Akindele also employs an uncommon and complex form of poetic justice, where the evil of the protagonists results in retribution of the antagonists. Although they lose a brother, the Judah boys get away with their robbery of C&K furniture, while Chidokie (Uzor Arukwe), the Chairman of C&K Furniture who gets robbed is apprehended by the economic crime authorities for his money laundering crimes. Not only does this infuse suspense to the plot, it also tactfully satisfies the expectations of most viewers.
Numerous subplots are concisely unraveled during the course of the drama, like Pere’s (Timini Egbuson) kleptomania and secret feud with Emeka, Adamu’s (Uzee Usman) marriage impediment, Shina’s (Tobi Makinde) illiteracy which further explains his thuggery, Ejiro (Olumide Oworu) and Testimony’s (Genovevah Umeh) amusing young romance, and Collette’s (Nse Ikpe Etim) putrid friendship. The little details add up to form a layered narration of the main plot.
A Tribe Called Judah is indeed a cinematic polygon that has a thousand translations for every facet it bears.
Favour Overo is a multifaceted writer, a literary lover, and an acute Logophile. He spends his free time discovering new things, listening to podcasts, and watching the best team in the world; Liverpool Football Club.
