“On The Edge” Review: A Satirical Stake on Ambition and Power

Power, when poorly managed, becomes intoxicating and leads to the downfall of great men. Historical and religious drama and events—such as Hitler’s leadership in Nazi regime in Germany, Macbeth’s ruthless rise in the Shakespearean world and Solomon’s regal reign in Christian epistemology—account for people of noble status whose abuse of power in different ways contributes to their doom. Nollywood productions are not left behind in the representation of the abuse of power. We have recently seen traditional epics like Femi Adebayo’s Jagun Jagun where the antagonist Ogundiji’s unchallenged monopoly of military authority across the villages pushes him to take malicious decisions that later haunt him, and Odunlade Adekola’s Orisa where a king’s hubris makes him vulnerable to the terrestrial forces that orchestrate his downfall. The political crime drama, On The Edge, follows a similar path as it explores power and ambition through the excesses of its ill-fated protagonist.

Directed by Temitope Bolade-Akinbode, On The Edge tells the story of Korede Williams (Uzor Arukwe), a gubernatorial aspirant whose selfish actions lead to a personal loss and taints his political ambition. Having pimped his wife Lola  (Zainab Balogun) to his political godfather Honorable George (Patrick Doyle) in return for favors—a decision that gnaws at him and inspires animosity towards his wife—Korede seeks adventure through Mira (Oluchi Amajuoyi), a lady he becomes obsessed with so much that he hurts her in the most painful way when she rebels. Not too long after the film begins, it reveals the duplicitous nature of politicians. While Korede and his wife maintain a perfect pair in the public during campaigns, there is no love lost between the couple—thus their outwardly unity contradicts the marital crisis that rocks their home. Even within political circles of common interests, as revealed in the film, relationships are fickle and no permanent allegiances exist. An instance is when Honorable George, in one of their party meetings, imposes a new prospective Commissioner of Finance caring less about a promise made to someone else and disregarding the feelings of the party flag bearer Korede. Apparently, both Korede and his collaborator Chief Osho (Femi Branch) have an inbred spite for the godfather, which they let out in due time and in the most vicious manner.

In African politics, the political godfather wields a lot of influence over the party and government of the day. Though an elder statesman, the godfather is often a scheming and manipulative figure who looks after his personal interest. This character isn’t unprecedented in Nollywood stories. Kemi Adetiba’s King of Boys has a good example, Aare Akinwande, in New Nollywood. In On The Edge Honorable George doesn’t mind maintaining a sexual relationship with Lola as a reward for his endorsement of Korede’s dreams. But then, underlings like Korede also evolve to a point where they become as dangerous—a testament of the cutthroat world of Nigerian politics.

As much as the story is set against the backdrop of dirty Nigerian politics, it mirrors the moral dilemma that impoverished people in society are often faced with. The likes of Mira, her genuine lover Tomisin (Olumide Oworu) and Tomisin’s friends Jolomi (Charles Born) and Abe (Chimezie Imo) are usually at the mercy of the powerful people around them as they often have to make tough, moral decisions. Maria’s quest for a better life makes her stay with Korede whom she has no emotional attraction for. When Jolomi gives in to the sexual advances of his boss’ wife, it’s a shot at bettering his prospects and having access to privileges—though luck outruns him. Abe is caught up between embracing the superficial allure of street life and daring to be ambitious in a dysfunctional society. Tomisin, whose moral uprightness is never compromised, suffers the fate of a sacrificial lamb as he loses his life helplessly. Life, indeed, the film proves, can be unfair  even to the fair-minded. 

In On The Edge, the plot is not necessarily fastidious, yet the play makes a commendable attempt at appearing unpredictable to the end. Mira’s split-second decision to kill the wife and daughter of Korede comes as a sudden one. One would have expected revenge to take its course directly on the tormentor himself, just as in a typical old Nollywood scenario where moral justice is encouraged. But again, the film proves to us that the actions of a man may have a ripple effect on his loved ones. On The Edge, however, fails to convince us of  its orchestration of Honorable George’s death. It is as though  Korede’s connivance with Chief Osho is met with no difficulty. For a man as influential as the godfather, the film fails to show any serious investigation into his death—at least to prove that the deceased is not  a mere commoner.