“Lakatabu”: It’s All Déjà Vu

Odunlade Adekola is the poster boy for star roles in Yoruba films of the home video era. One such archetype, which he has embodied in different so-called Yoruba Nollywood productions over a career spanning decades, is the conceited, “bad boy” protagonist. This protagonist, full of irredeemable pride, is usually a rogue who possesses some form of diabolical power which he exerts and misuses in his relationships and dealings with other characters. The shenanigans of the protagonist persist until he eventually meets his waterloo. We have seen scenarios like this play out in films like Sunday Dagboru, Mufu Oloosha Oko and Alani Pamolekun where Odunlade Adekola portrays the eponymous protagonists. All three films have some things in common: they are written, produced, and directed by Odunlade Adekola; their protagonists are feared gang leaders or armed robbers; the protagonists are powered by self-aggrandizement; the protagonists learn their lessons the hard way. Another Yoruba film of a similar pattern, Oyenusi, whose story is credited to Sharafadeen Olabode, stars Odunlade in the titular role of an infamous bandit of historical significance to Nigeria. Last year, Odunlade released Orisa, a film that follows the story of a king whose prideful behavior puts him at loggerheads with the gods.

Lakatabu, Odunlade’s latest film is written, produced, and directed by himself. Not only that, it also has the actor playing the lead role, reprising similar performances and traits as in his previous films. Presenting a recycled and tired storyline, Lakatabu reflects the reality of another armed bandit who fortifies himself with spiritual powers which he uses to terrorize the community, killing and raping at will. Like previous Odunlade roles, the titular bandit is eventually conquered and the story ends on a moral note—typical of classic Nollywood productions that rewarded good and evil commensurately.

Besides the largely unoriginal plot, the script of the film is questionably crafted while most of the characters are sparsely developed. At the expense of aesthetic and narrative authenticity, the production rides on the wave of a star-studded cast that includes Ibrahim Chatta, Femi Adebayo, Lateef Adedimeji, Tina Mba, Akin Lewis, Bolanle Ninalowo, Samuel Perry a.k.a Brodda Shaggi, Eniola Ajao, Yomi Fash-Lanso and Adunni Ade. The film leaves many loose ends that creates a feeling of unfulfillment and is likely to leave the audience dissatisfied with the performances of the actors—thanks to their bland character dialogues. Compared to his delivery on more memorable projects of his, Odunlade’s acting in the film pales as he often fails to evoke the intense emotions needed to reinforce his personality as a sadist. What it seems is that the actor relies on the strength of his experience as a veteran without putting extra efforts to deliver a performance that can rival or outclass his precedents.

We do not understand the motivations behind the titular character’s appallingly ruthless actions throughout the story—whereas a proper backstory in the form of flashback could have been used to explain how and why he became a hardened criminal. For a film that is so much about Lakatabu himself it reveals too little about him. This makes him come off as one-dimensional and flat, with the audience barely knowing anything about his personal life. Wearing a serious visage throughout the narrative and given no room to explore his fun side and vulnerabilities, Lakatabu appears rather exaggeratedly stoic and inaccessible. There are scanty attempts to humanize him, such as in the scene where he proves loyalty to King Folagbade (Akin Lewis) before he is betrayed and the moments that Lakatabu hesitates to kill Tunmise (Adunni Ade)—but these are not sufficient to farm impressions. It also appears that Lakatabu derives special pleasure in raping women before killing them, an act that should be rooted in some explanation, possibly traceable to an unhealed trauma, but the film overlooks and trivializes this.

Lateef Adedimeji reprises his familiar acting game of the underdog who remains fierce and unyielding in the face of oppression. As in some of his recent characters, such as Abegunde in King of Thieves, Gbotija in Jagun Jagun and Lisabi in Lisabi: The Uprising, that are pitched against formidable forces, the actor portrays the character of Prince Adetola who confronts Lakatabu and puts his powers to the test. However, unlike other aforementioned characters of Adedimeji, Prince Adetola is outsmarted as he loses his life in the hands of his enemy. Adunni Ade is Tunmise, wife to Prince Adetola, who is portrayed, until the final act, as vulnerable and helpless. Her performance is reminiscent of her character as Iya Mulika in Tokunbo, a helpless woman that becomes the plaything of gang leader Gaza. In Lakatabu, Tunmise’s revenge mission is superficially crafted—hanging over a chance encounter with Lakatabu—and her involvement in the downfall of the protagonist becomes predictable right from the moment he decides against killing her. It is also not particularly clear how Tunmise discovers Lakatabu’s Achilles heel. Ibrahim Chatta’s role as medicine man and an accomplice to Lakatabu’s criminal run is reminiscent of his characters in epics like House of Ga’a (Sasa Laniyan) and Lisabi: The Uprising (Olori Ilari), where he plays second fiddle to Ga’a and the Alaafin respectively.

In most Nollywood films, as we have repeatedly seen, the bad guy dies or faces a serious loss, caught up in his evil deeds. When the character is spiritually fortified, his downfall follows the breach of a taboo. Odunlade’s unrepentantly flawed character-roles in his own films obey this unwritten rule. In Orisa, the haughty and irresponsible Oba Adefolarin loses favor in the sight of terrestrial forces as he is eventually rendered invalid and forced to commit suicide in when told to abdicate the throne. In Alani Pamolekun, the eponymous protagonist dies by the bullet of a policeman after the abominable act of spilling a hundred palm kernel nuts soaked in oil on his body. In a similar vein, in Lakatabu, the protagonist loses his immortality when Tunmise pours his feces on him.

Lakatabu fails to excite because it recalls familiar troupes and treats issues that have been overemphasized across many Yoruba Nollywood films. Without making any effort to stand out, the production pales and becomes even more suitable for the home video era of Nollywood than it is in the present day of streaming platforms. The film does not reflect the grit or will of a filmmaker or storyteller hoping to set new cinematic standards. What it rather connotes is a filmmaker at ease with his own comfort zone, pleased with his previous accomplishments and lacking the ambition to evolve beyond his acting prowess of yore.

Lakatabu is currently showing on Prime Video.