REVIEW OF FRANK RAJAH ARASE’S ‘IYORE, THE RETURN’

PRODUCTION COMPANY: Raj and Heroes Films

DIRECTOR: Frank Rajah Arase

PRODUCER: Kwame Boadu

SOUND DESIGNER: Bernie Anti

EDITOR: Afra Marley

CAST

Rita Dominic               -as-                  Osarugwe

Joseph Benjamin         -as-                  Prince Azuwa

Okawa Shaznay           -as-                  Princess Ajoke/Amenze/Onaiwu

Yemi Blaq                    -as-                  Ovie

Paul Obazele               -as-                  Oba

Bukky Wright              -as-                  Queen Adekoya

'Iyore, the return' is a familiar love story garnished with the tale of betrayal, forced marriage, reincarnation and curses. It grants its audience a glimpse of the culture of the Great Benin Kingdom. The film is a great lecture material for filmmakers who wish to use their films to sell their culture or nationality whilst clarifying some stereotypical views held by many against most cultures.

Frank Rajah Arase does bring his ‘A’ game on this wonderful story as its dramatic plots overshadowed most technical blunders. ‘Iyore, the return’ tells the story of a beautiful lady, Osarugwe (Rita Dominic), who even though married to Ovie (Yemi Blaq), is being pressured by her childhood lover, Prince Azuwa (Joseph Benjamin) for her attention. With strict instructions and conditions meted out by his father, the Oba of the Benin Kingdom (Paul Obazele), Prince Azuwa is ever ready to let go of any and all inheritance to spend his life with a “worthless pauper” who has his heart than with a woman who means nothing to him. After his insistence of committing an abominable act of making Osarugwe, a married woman, his soul mate, he worsens his situation with the mention of her (Osarugwe's) pregnancy for him (Prince Azuwa); he is immediately disowned and banished from the kingdom by his father. Adjusting to his sorrowful situation, he lands himself behind bars and is separated from his soul mate, Osarugwe. Frustrated, Osarugwe seeks answers which reveals a generational curse pacified only by her letting go of Prince Azuwa.

With an appalling opening act from the twins of Prince Azuwa (Joseph Benjamin) at his home after spending nineteen (19) years in jail, the film was brought back to life with the usual Frank Rajah Arase’s signature – a long poem which most often than not summarizes than sets the ball rolling for his art pieces. This time, his long poem did not inspire the viewer but compressed a whole course of history lectures on the Great Benin Kingdom. I believe his aim of sharing the story of a great kingdom which happens to be his native land as he stated in an interview was beautifully achieved. Following the works of Frank Rajah Arase over the years, one can attest to the very fact that proverbs do make a substantial portion of his royal art pieces; but its use in ‘Iyore, the return’ is exceptionally beautiful to watch. It does challenge the intellectual capabilities of the viewer and arouses ones interest for more.

I was a bit disappointed with the acts of Joseph and Rita but much impressed with that of Shaznay and Yemi. Okawa Shaznay surprisingly expressed immersed control over her characterizations (as a concubine, young warrior and princess); roles most of her peers would have played and found themselves wanting. Rita, on the other hand, who was the lead character delivers an overall disappointing performance even though she had moments of shine. Yemi's few minutes on the screen as an insecure and indecisive husband (Ovie) is also worth commending. Even though Frank is noted for using new actors (which is well intended) you will expect some level of competence and not be so off with their act.

Art direction in this film was confusing as I constantly struggled to find the era being depicted with the costumes used. Since the story was driven with time, one would have expected to see the changes through costumes and props but it all looked similar from the very beginning to the end; making it very difficult for the viewer to understand.

I am tempted to believe that an ADR (Automatic Dialogue Replacement) was done for this art piece as it constantly neglects ambience in most of its scenes. As much as films concentrate on visuals, the audio drives the interest of the viewer. If that was supposed to be a style, it didn’t work for me.

Personally I have observed that most actors who tend to get more screen time pay less attention to their roles and tend to perform poorly as compared to those who are given minor roles. I would want to believe a director’s decision to use a particular character as his/her lead is because the director believes the supposed actor is much more competent for the role than others. Yet, they tend to offer abysmal acts as compared to these others. It looks like most of the actors tend to fall for the age old problem of complacency. You would expect an actor who commands certain scripts from known directors to meet the standards they have set for themselves over the years, yet they deliver disappointing performances. But it is okay for them because there is always the promise of another script. Well, there is no other option than to watch what is presented right? Of course not! They can do better. They know it, we know it and so they should.

Frank Rajah Arase’s ‘Iyore, the return’ has intelligently crafted a cultural piece that can stand as one of the best films in 2015 even though its art direction is questionable. For this Ghana Cinema Review hands it an 80%.