๐๐๐ฏ๐๐ง ๐๐จ๐จ๐ซ๐ฌ ๐๐ง๐ ๐๐ก๐ ๐๐ฎ๐๐ญ๐๐ซ๐๐ฎ๐ ๐ ๐๐ ๐๐จ๐ฐ๐๐ซ
Beyond the artistic quality of the movie ๐๐๐ฏ๐๐ง ๐๐จ๐จ๐ซ๐ฌ, and the love and trust in the exhibition of poly-cultural synergy, the power intrigues stood out for me.
In my book ๐ง๐ต๐ผ๐๐ด๐ต๐๐ ๐ผ๐ณ ๐ ๐ฉ๐ถ๐น๐น๐ฎ๐ด๐ฒ ๐๐ผ๐, I espoused the tyranny of ๐๐๐ฌ๐ก๐จ๐ซ๐ฎ๐ง ๐๐๐ as a warning to excessive godfatherism and political insensitivities.
This movie starts with the former king, who not only killed his older brother to ascend to the throne but also sacrificed his seven wives to โelongateโ his reign and, subsequently, his life. He ended up not enjoying the โfruitsโ of these โlabours.โ
Unfortunately, in the spiritual exegesis of generational cords, the lack of knowledge (ignorance) and non-involvement (being not a party to the previous occurrence(s)) may not preclude one from the consequential effects of any ignominious actions of the forebearers.
The battle the new and perhaps the โreluctantโ king had to face is well situated in the above statement.
Like his forebearers, another person desperately desired ascension to the throne. With the active connivance of major Chiefs (three of them and the fourth fringe supporters), he sought all things possible to โsabotageโ the substantial holder of the exalted position. Annexing an opportunity created by the Opa family through bribery and manipulation yet undermining the common good of the people, they sought to โlegitimatelyโ topple the โgovernmentโ of the โchosenโ one.
The top Chiefs in Council, who ordinarily constituted the administrationโs inner circle, were working โcollectivelyโ to bring down the throne for the ascension of their favoured candidature.
As custodians of history not too known to the young king and with an oily handshake with the traditional bearer of the Opa deity, they โclinicallyโ arranged to eliminate whom they considered obstructive to their aims and aspirations. Unfortunately, the king trusted their judgement ab initio by ascending to the coronation of the chieftaincy title.
In the power struggle, it is often not as it seems to all eyes. The Chiefs were for the โprogressโ of the town in words, but in actions, they worked tirelessly for the opposite. They were not sympathetic, let alone empathic, with the young kingโs initial bereavement.
Of course, when touched by retributive justice, they became more combative in the โsabotagingโ business. With an ally in the over-ambitious Prince, it is with dexterity that they were able to plan their subterfuges, thereby undermining what may be regarded as the common good.
Yes, the king escaped the Opa plot through the โsacrificeโ of an older friend, and with the consequences suffered by the Opa bearer, the Chiefs will not rest on their oars to bring their sabotage to fruition.
With a heavier burden on the kingโs shoulders, a change of tactics became necessary. Accenting the ultra-patriarchal requirements for the ๐ฆ๐ฒ๐๐ฒ๐ป ๐๐ผ๐ผ๐ฟ๐ as a means of appeasement to the revengeful gods became necessary.
He had other battles to fight.
A duel with ๐๐ฌ๐ฎ๐ฌ๐ฎ was inevitable for any respite to come to the remaining child of the king, whose family serenity has been altered by yielding to the โcall to serveโ his people.
With the saboteursโ Chiefs present, one could only imagine their prayers. They would have wished that the king had not survived the ordeal.
Power is an unfair game built on intrigue, sabotage, selfish desires, and less concern for the public good.
The movie is a clear reminder of the subterfuge of power. It is an excellent work of Art. Kudos to Femi Adebayo and all who participated in putting such quality work together.
Are we going to learn the lessons in this power play?
ยฉTheVillageBoy.
