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%.
