It’s late on a Wednesday evening when the conversation begins. From somewhere in London, his charismatic voice seeps in on the phone, its silky, energetic accent dousing any fatigue left of the dying day. The personality behind the voice is Owobo Ogunde, the youngest son of late Hubert Ogunde who is the doyen of Nigerian theater.
In 1944, Hubert Ogunde produced his first opera The Garden of Eden and The Throne of God with sponsorship from Church of the Lord, Ebute Metta. Afterwards, in 1945, he pioneered the first professional theatrical company in Nigeria, the African Music Research Party, which would become Ogunde Theater Party in 1947. He produced his first opera, Tiger’s Empire, as a professional thespian in 1946. Decades after, following a series of theatrical successes, he ventured into film with the release of Aiye in 1979. But at that time, while the Nigerian film industry relied on 18mm analog camera, Ogunde was already shooting with a 35mm analog camera. This distinguished him as an excellent artist.
Owobo Ogunde grew up acting with his parents and featured in a number of his father’s plays including Aropin T’Enia, Aiye, Jaiyesimi and Ayanmo. His experience as a trained thespian spans both stage and film. Having last performed in a stage play at the National Theatre in 1992, he recently made an unexpected comeback in Kunle Afolayan’s Netflix series, Aníkúlápó: Rise of the Spectre, as arch-villain Baṣorun Ogunjimi.
The character of Baṣorun Ogunjimi is woven for the first time into the franchise as an Oyo war general who is in quest of the protagonist Saro’s resurrection powers to facilitate his ambition of becoming the most revered figure across the kingdoms.
In this conversation, Owobo Ogunde delves into his experience on the set of Aníkúlápó: Rise of the Spectre, divulging the secrets to playing his character and delivering a performance that has left Nollywood cinephiles wanting more of him.
You captivated the audience with your portrayal of Baṣorun Ogunjimi in the Aníkúlápó series, an overambitious warlord whose actions result in his demise. What informed your decision to key into the vision of the project?
This decision was fundamentally created by the relationship that existed between my father, Chief Hubert Ogunde, and Kunle’s father, Mr. Adeyemi Afolayan. I have known Kunle’s father right from a very young age because he used to come to our house a lot. I remember him as the one who convinced my father to get into the movie business. I acted with him in 1986 in my father’s last film, Ayanmo. I am in for both Kunle and I to continue the relationship the same way as both our fathers. Also, the fact that Kunle is a formidable force and genius in the Nigerian film industry today played a part in influencing my decision.
To what extent did you prepare for your interpretation of your role?
I have heritage. My father is known for preparations and rehearsals. So, I grew up in a house where I was trained to prepare. Preparation is fundamental to acting. I don’t buy into the idea of people who think that in film, you can turn up without any preparation. I watched all the films available on previous interpretations of the role of Baṣorun. I bought several CDs that I could find in a shop in London with stories that had the role of Baṣorun to look at how it’s been interpreted in the past. I went back to those videos we had at home where my father acted to see how he portrayed his characters. I also looked at scenes played by my mother, whom most people don’t know played Iya Dudu in Aiye and Jaiyesimi. I also read through at least ten books on acting, and I did some preparatory work with some coaches in London. When you go to YouTube, search Baṣorun and watch some of the videos. You discover that all the actors that have previously played the role the same way. They were all shouty and unnecessarily aggressive. Sometimes you can’t even hear what they are saying because they are talking so loudly. So, coming in, I knew that, this time around, I was going to break from the past and play Baṣorun differently. It was about taking a fresh look at how to play a villain.
You starred alongside other veterans such as Sola Sobowale (Awarun), Bimbo Ademoye (Arolake), Titi Kuti, Taiwo Hassan (Ogogo) (Alaafin), and Kunle Remi (Saro), all of whose characters were directly linked to Baṣorun. How did you approach creating chemistry with the actors on set and connecting with their characters too?
I read the script over and over until I had a very good understanding of my role. They also had a very good understanding of their roles. Of course, I don’t know these actors quite well. I met Sola Sobowale, Ogogo, Kunle Remi, and Bimbo Ademoye for the first time on set. However, I grew up with veterans such as Oga Bello and Jide Kosoko. I also acted on stage in 1991 with Aluwe, just before my last stage play at the National Theatre in 1992. I have been in the industry even before Nollywood was officially conceived. I grew up in a home of actors. My mum, dad, stepmothers, and siblings were all actors, so I knew how to relate to the actors on set. The moment I met other actors on the Aníkúlápó set, we all clicked as professionals. I had a great time working with everyone on set.
Were there specific memories gleaned from your background as the son of the legendary Hubert Ogunde, the doyen of Nigerian theater, which influenced your interpretation of your role as Baṣorun?
My dad never played the role of a bad guy, unlike the character of Baṣorun which I played. To deliver my role, I didn’t need to connect to any specific memories. Even when my father acted, I saw him as my father instead of an actor. For the first time, while I was preparing for my role as Baṣorun, I thought of my father as an actor. But then, to me, he wasn’t acting. The secret of acting is not to act, but to immerse yourself in a character.
Were there any foreseeable and unexpected challenges during the filming and interpretation of your character on set, and how did you overcome them?
I have lived in England for over 20 years, so when I came to Nigeria for the shooting I needed to acclimatize. One of the things I struggled with is the heat. When you look at the scenes I acted with Ogogo, you will notice I was the only one sweating. It was tiring. I don’t think I got over the heat. I just got on with the job.
Are there choices made by Baṣorun that may or may not resonate with you? How did you reconcile with those choices as an actor?
Let’s start with who Baṣorun is. He is a father, a single parent, a wealthy man, an army general, a prime minister, and a lover. Anyone who is a leader will resonate with how Baṣorun passionately goes after what he wants. Every successful person will have some similar traits to Baṣorun. But the main difference between and most people, including me, is that Baṣorun is willing to stop at nothing until he gets what he wants. He eventually dies, which is what happens to people who do not know the limit. I hope people can learn through this character that there is nothing wrong with pursuing a dream, but there has to be a limit. Unlike Baṣorun who is rude and aggressive, I am a polite person. It was very easy to understand that character because I see people like that every day. But there was nothing to reconcile.
Is there any way your character as Baṣorun and your work with Kunle Afolayan on this grand project has influenced you positively?
I met Kunle Afolayan last year on March 16th in London. I came to the location on May 26th 2023, and that was the second time I met him in my entire life. We were both at the location where we ate and drank together every morning at night. So, the project has brought us together not just as a second generation of legendary actors but also as family. I met his mom, and she was absolutely wonderful and humble. Kunle and I have grown closer ever since the project. Despite not being in the same country, we are constantly communicating.
As the youngest son of Hubert Ogunde, of course, there is no gainsaying that you have a huge responsibility to preserve his legacy. How do you intend to achieve this in the long run?
I want to take one step at a time. Participating in Aníkúlápó is the first step. There are many others to come, so let’s wait and see how things unfold.