The House of Secrets

In “The House of Secrets,” we are introduced to Sarah (Najite Dede), an elderly woman who endured a harrowing ordeal of torture and unjust imprisonment due to her husband Panna (Shawn Faqua) uncovering and concealing information that could potentially expose a high-ranking military figure, General Sanni (Keppy Ekpenyong). As the story unfolds, Sarah gradually recovers her memories and unravels the mystery of her past, shedding light on her identity and the circumstances that led her to her current situation.

Premise-wise, The House of Secrets is truly one of the most original storylines we have seen in a while. The writing style, beginning in the present and gradually unveiling the story of Sarah, was masterfully suited to the narrative. Moreover, the seamless incorporation of these flashbacks enhanced and reinforced the story. The flashbacks serve as the heart and essence of this film, and they are enhanced by the breathtaking cinematography, possibly unparalleled in the history of Nollywood. The actors, in turn, skillfully bring to life the visual brilliance crafted by the cinematographers. One particular scene that stands out is the introduction of Efe Irele’s character, young Sarah, in “The House of Secrets” (T.H.O.S). This shot is bound to be referenced for months, if not years, to come. The way she turns towards the camera, and how the camera captures not only her objective beauty but also the beauty observed by the character of Panna Peters, is truly mesmerizing.Furthermore, the prowess of the cinematography extends beyond that point. In every scene, especially during the flashback sequences, the cinematography in this film manages to enhance the impact of the events unfolding on the screen, adding an additional layer of depth and intensity.

The cast of this movie was carefully selected, ensuring that the actors’ understanding of their craft would not compromise the overall quality of the film. Among them, the remarkable duo of Efe Irele and Shawn Faqua truly stands out. It is challenging to determine who outperformed the other because their scenes shine due to the genuine chemistry they have developed, which propels the story forward. This was a wise decision by the filmmakers as the audience’s investment in the present-day events heavily relies on the chemistry between these two characters. Najite Dede effortlessly portrays the older Sarah, effectively capturing the profound confusion her character experiences while trying to comprehend her surroundings and recollect her past. In the early scenes, some of the supporting actors, including Femi Jacobs and Funlola, display overtly forceful mannerisms. While it can be argued that such intensity was necessary for their characters, there could have been a more seamless approach to conveying it. However, it is difficult to blame the actors for this, as when multiple seasoned actors exhibit the same flaw, it suggests that they are being directed to perform in that manner.

Nevertheless, the movie is not exempt from its flaws, one of which becomes particularly noticeable in the opening scenes where we meet young Sarah, sporting a noticeably voluminous straight lace front wig. Initially, the black and white nature of the scene helps to mask the fact that it is a lace-front wig, but in subsequent scenes, its artificial nature becomes more apparent. This choice of hairstyle raises questions about its historical accuracy for the time period depicted.

Another significant flaw in the film lies in its fight scenes. The inclusion of these scenes feels somewhat arbitrary, as if a decision had been made to include fight sequences without proper consideration given to the events leading up to them. Even in the long-awaited “train scene,” the striking beauty of the cinematography contrasts sharply with the chaotic nature of the fight choreography.

Furthermore, the depiction of fires in the movie leaves much to be desired. It appears that Niyi Akinmolayan’s film company, perhaps influenced by their work in animations, assumes that they can use brush strokes to represent fire and smoke on the screen, expecting the audience to accept it as a realistic portrayal of a burning building without raising any questions.

The movie is concluded hastily as revelations conveniently occur at the necessary time and despite the other side having more ruthlessness and resources, Sarah and her team are still able to very easily achieve what needs to be achieved to arrive at the necessary end.

The House of Secrets stands as a captivating work of art that showcases the current artistic potential of Nollywood and instills hope for the industry’s future. While certain aspects of the film could have been further developed, and the sequence of events could have been more engrossing and less clichéd, there are moments that could have been condensed to reach pivotal points more efficiently. Nevertheless, T.H.O.S remains a worthwhile watch and offers a truly delightful viewing experience.