This is a biopic that follows the life and legacy of the Nigerian activist Funmilayo Ransome-Kuti (FRK).
I looooooveeeed this film.
I was not sure what to expect when I started, but it turned out to be a really good one.
The film was thoroughly engrossing; it was a brilliant portrayal of bravery and strength, yet it was also a surprisingly touching love story.
What worked?
The acting and casting worked. I must applaud the performances of the young actors—Iyimide Ayo-Olumoko, who played the role of young Funmilayo, and Iremide Adeoye, who played the role of young Isreal. Their delivery was good and believable. I liked how sweet and innocent the whole thing was. It was good to see Joke Silva in this film; she has this distinguished personality that just worked for the elderly Funmilayo. Suleiman Ibrahim’s portrayal of older Isreal was equally impressive, showcasing the gentle strength, wisdom, and intelligence needed for the role. Special accolades to Kehinde Bankole for another amazing performance. Every time Kehinde Bankole appears on our screen, it is never to prove anything to us but to reiterate what we already know: she is an amazing actress. You know how they say some actors were born to play some roles? I think Kehinde Bankole was born for this role, from the tiny detail of her diastema (gap tooth) to the masterful way she handled the highs and lows in this film, bringing out the nuances of FRK’s character with impressive depth, I was just ….
I liked the setting of this film; the set pieces looked very authentic. Attention to detail was impressive. I liked the cinematography; I felt like the shots helped to evoke very strong emotions as the film progressed because I know I definitely had goosebumps while watching some scenes. I liked their outfits, from the English outfits worn by FRK and the members of the Abeokuta Women’s Club to the Adire worn by the market women and the members of the Abeokuta Women’s Union.
The storytelling was this film’s greatest strength. What do I mean by this? Let me explain. Growing up, we all knew Funmilayo Ransome-Kuti was the first woman to drive a car in Nigeria, but I did not know that she led a protest that forced a traditional ruler to abdicate his throne, ended taxation of women in Abeokuta, and provided seats for women on the local council. I knew so little about FRK before I watched this biopic, and the movie made me want to learn more.
When I say I liked the storytelling, I mean that I appreciated the fact that rather than heading straight to the civil rights work and activism that she was known for, this movie took us through a journey into FRK’s early life, her family, her relationships, and the influences and beliefs that eventually made her into the woman she became.
Liking the storytelling means that I liked the way they balanced the emotions in this film. This film was affectionate without being too sentimental. It tried to show us what a great person she was, but it was not too reverential. That is, even though this film is a tribute to her, they did not paint her as a perfect person. She had flaws, fears, and doubts, and she made mistakes. It was comforting to hear her admit that she knew she could have and should have done better by her husband. She had been too engrossed in her activism and neglected the person that mattered the most.
Several scenes stood out for me. I especially liked the scene where the king sent out the “Oro men” to intimidate the protesters, and the old women came out to stand for them! I cheered! For once, nudity in a Nollywood film was not unnecessary, it was necessary and it was properly delivered. I liked the scene where the protesters sang at night in front of the palace and the one where they eventually stormed the palace. I could go on and on.
Another thing I liked about this film is the fact that it had a specific angle. Biopics are really tricky, and it’s easy to get them wrong because some filmmakers make the error of trying to follow a chronological order (Cradle to Grave), and as a result, they try to say everything all at once but end up saying nothing. Funmilayo Ransome Kuti was so many things and she did so many great things in her lifetime; it is impossible for one movie to do justice to that. So I was glad that they did not try to cover ALL. This movie focused on one major issue, one phase of her life, and as such, it had a very strong angle. It was clear, coherent and the conclusion was satisfactory.
I liked the love story between FRK and Isreal. It was really sweet. Oftentimes, they say behind a successful man is a woman, but what we don’t hear enough is the fact that behind so many successful women are supportive men. For FRK, she first had her father, then her husband. I liked how Isreal supported her and cheered her on. I wish she had been more for him though.
Issues?
FRK was not perfect, but I will tell you for free that I was too engrossed with the film to notice any major issues, and that’s really the goal any movie should try to achieve. But if I were to comment on this aspect of my review , I would say the biggest issue I had with this film was with the use of language. They used the English language too often, even in circumstances where it should not have been used, and this affected the authenticity and delivery a little bit. For example, there were several instances where FRK spoke in English to the market women (union meeting, protest ground, etc.), and I wondered how they understood her point. The chiefs, even the Parakoyi (palace guard) spoke in English when speaking Egba language would have elevated the film greatly.
Some will argue that character development was sorely lacking. The supporting characters were in the background the entire time; none was really relevant enough, and none stood out. Even though this might be true, I wouldn’t say this was an issue because FRK was the focus. There would have been little or no value in shining the lens too closely on the other characters.
I thought the scene where the elderly FRK was visited by her children in the hospital was really awkward, but I’ll forgive this because they are not real actors, and it was great to see some of Funmilayo Ransome-Kuti’s actual offspring feature in this movie that is a tribute to her.
Overall, Funmilayo Ransome-Kuti was a really good watch. A good story about a remarkable woman, a powerhouse performance from the lead actress, and excellent production values. FRK is inspiring, moving, and emotionally resonant—a worthy tribute. I also think it is a film that’ll age well because it paints a picture of not only a great woman but an entire movement and an era.
Quick question: We already know that I strongly believe that Kehinde Bankole deserved the AMVCA award, but my question is why was her role in this film not nominated? Why Adire? 🤔
My Rating: 9/10.
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Read the review of Something like Gold here.
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