- Considering the forerunning brilliance of Nollywood Yoruba epics like Jagun Jagun and Beasts of Two Worlds, House of Ga’a raises the bar
- House of Ga’a reaffirms Bolanle Austen-Peters’ mastery of cultural storytelling
- The film reflects how history can be made into something didactic and entertaining.
Lights, camera, action! Bolanle Austen-Peters’ House of Ga’a has once again reaffirmed her epic and cultural storytelling mastery to raise the bar in Nollywood.
Storytelling, check. Casting, check. Set design, check. Acting, check. Dialogue, check. Costume, check. The endless list of what went right with House of Ga’a makes it almost impossible to notice its flaws.
Considering the brilliance of Nollywood Yoruba epics like Jagun Jagun & Beasts of Two Worlds, House of Gaa, among other things stands out with its cultural storytelling approach to raise the bar.
The historical epic film released on July 26 seems unassuming at first, but minutes into it, you're lost in the story, and the carefully directed scenes hook you further. With the intent of documenting the old Oyo Empire during the 18th century, Bolanle and the screenwriter, Tunde Babalola, adopt a rather creative emphasis on a tyrant character study, Bashorun Ga’a.
House of Ga'a film poster
The progression of Ga’a’s character in the story suffices with the phrase, absolute power corrupts absolutely. How a defender of the people became a thorn in the flesh is truly an interesting plot twist.
Through the lens of history, the plot portrays Ga’a played by Femi Branch as a celebrated warrior and defender of the people. His honour and status ranked top in the era because of his countless battle victories - one that his sons fought alongside him. The selfish and covetous quest for power eventually drove him to meet his Waterloo.
The story originally stems from the real character of Bashorun Gaha (Ga’a). History notes that he was first a noble and military leader in the Old Oyo Empire during the 18th century. The powerful warrior was loved by his people for always protecting them from oppressors and enemies.
His military prowess earned him the title ‘Bashorun of Oyo.’ Power-drunk and covetous, Ga’a became a tyrant, accumulating all the powers and responsibilities of the Oyo state for himself.
He held the post during the reign of five Alaafins (kings) and was responsible for the deaths of four of them: Labisi, Awonbioju, Agboluaje, and Majeogbe.
By buying the loyalty of Ga’a generals and his younger brother, the last Alaafin Abiodun conquered Ga’a, who is renowned for his unmatched juju powers and made sure to kill all his lineage. Notably, there was a film with the same title by Adebayo Faleti in 2004. However, Bolanle’s recent adaptation might be an unforgettable one.
The narrative structure also deserves a mention. It follows the omniscient (third-person) narrative approach using the perspective of Oyemekun, Ga’a’s youngest son, played by Mike Folarin. This allows the audience to see the intent and emotions of the characters. It also appeared to be the most creative way to curb flooding scenes with backstories. The narrator narrates them to the audience through dialogue instead.
House of Ga’a, with its star-studded acts, also encompasses the Yoruba culture from food, housing, dialogue, attire and worship in a brilliant projection to the world.
One of the greatest lessons from House of Ga’a is that power becomes intoxicating the moment you know you can get away with your actions. Bashorun Ga’a grew into a wicked and heartless tyrant after he assumed the Bashorun role and coveted all powers to himself.
House of Gaa exposes the insatiable quest for power while highlighting the grievous consequences that follow it. The choice truly is yours in the end. The film, overall, reflects how history and cultural stories—no matter how mundane—can be made into something didactic and entertaining in contemporary times.
Bolanle Austen-Peters: How movie director is preserving cultural heritage through Nollywood
Earlier, TheRadar reported that Bolanle Austen-Peters has maintained a significant role in preserving African culture through films, art, and stage plays.
As the founder and director of Terraculture, an art and culture space, she penetrated into the Nigerian film industry, breaking frontiers to document history through her cultural storytelling skills.
