Ijogbon

“Ijogbon”: Kunle Afolayan’s Storytelling Continues to Stagger

“Ijogbon” delves into the narrative of four close friends who stumble upon a pouch filled with diamonds, unwittingly thrusting themselves into a series of life-altering events that nearly ruin their lives. Beyond the contemporary storyline, the film initially introduces us to an old folk tale from bygone days, recounted by the village elders to impart a moral lesson to the younger generation. In this concise parable, we witness a familiar theme of siblings pushed to extremes by their envy and selfishness, even willing to harm their own kin for material gain.

In “Ijogbon,” we meet four friends – Jamiu (Kayode Ojuolape), Oby (Ruby Akubueze), Ranti (Oluwaseyi Ebiesuwa), and Akanji (Fawaz Aina)– who are relentlessly pursued by circumstances they desperately seek to escape. Jamiu aims to avoid the poverty that plagued his father, while Ranti rejects the clerical life his father has predicted, insisting it’s his destiny. Oby’s sole desire is to help her mother, and Akanji, the Prince, seems content with just living. The cinematography underscores this desire for more, portraying the desolation of their arid land.

Nonetheless, the film doesn’t invest much time in developing this aspiration and the characters’ motivations. Instead, it swiftly shifts its focus to dramatic, high-paced conflicts, misunderstandings, and betrayals brought on by the unexpected appearance of the diamonds in the village. At this point, we’ve barely gotten to know these characters, making it challenging to become emotionally invested in their struggles.

The film commences by introducing us to the mischievous lives of these four friends, intending to endear us to their camaraderie. While they are presented to love each other, there’s a lack of tangible action that demonstrates their commitment. To the average viewer, they seem no more than mere schoolmates.In addition to the worrisome character development, the film is plagued by numerous plot holes and actions that don’t quite align with the overarching narrative, often feeling forced to advance the story. For instance, when the kids initially acquire their new iPhone 13s, Jamiu cleverly suggests that he holds onto Akanji’s phone, citing Akanji’s youthfulness and impulsiveness. However, without substantial development or reasoning, he later returns the phone. It’s suggested that this change serves the purpose of Jamiu needing it to contact the others after discovering a gun in the palace, but this feels like a stretch. The story could have maintained consistency by keeping the phone with Akanji from the start, achieving the same narrative outcome without contrivance. The way it’s played feels like a deliberate setup to move to the final act of the film.

The film’s opening sequence, alternating between a chase and quarry work, implies that the diamonds were unearthed from an underground site and subsequently stolen. However, the involvement of Chidera (Adunni Ade) and Banjo (Femi Branch) hints at the fact that the diamonds are intended as a form of untraceable payment, raising further doubts about the plot’s coherence. It becomes apparent that several scenes, like the opening chase, were incorporated primarily for excitement, neglecting significant story development.

Throughout extended segments of the movie, it becomes challenging to pinpoint the specific period in Oyo Oke in which the story unfolds. The alluring sound of Orlando Julius’ “Oni Suru” and specific visual choices seem to point towards Oyo in 2009, yet this is contradicted by the makeup style on Dorathy Bachors’ face and the presence of vintage cars, which suggest a setting closer to the late 90s. Moreover, the inclusion of iPhone 13s implies a setting in 2023. The film fails to address these intricacies, thereby failing to convincingly capture the essence of the era. While the production design aims to infuse the film with a vintage aesthetic, the lack of attention to details continuously leaves the audience with unanswered questions.

Attention to detail serves as a cornerstone of effective storytelling and world-building, enabling a seamless immersion into the narrative’s universe. Every aspect, from the historical context to the intricacies of character behavior, contributes to crafting a believable and engaging storyline. When these details align cohesively, they form the backbone of the setting, allowing viewers to not only understand but also emotionally connect with the world depicted on screen. 

Consistently, Tunde Babalola’s screenplays suffer from the persistent issues of a corrupt and hastily executed third act, a problem that has marred several of his works. The concluding segment of “Ijogbon” follows suit, rushing through the resolution with an unsettling sense of abruptness, leaving viewers dissatisfied and disconnected from the overall narrative. This sense of dissatisfaction is further echoed by the lackluster performances of the leading characters, failing to evoke the necessary emotional resonance crucial for a compelling cinematic experience.

“Ijogbon,” despite its notable storytelling deficiencies and glaring plot holes, effectively weaves a powerful metaphorical narrative illustrating the detrimental impact of material wealth on one’s innate purity and innocence. The film portrays its adolescent characters, with the exception of the prince, as remarkably intelligent individuals who adeptly navigate their circumstances. While they relish a youthful shopping spree, they understand the necessity of concealing their newfound wealth.

As the story progresses, these once-innocent teenagers, much like the adults, succumb to the corrupting influence of the diamonds. What initially appeared to be a blessing for the impoverished children soon transforms them into replicas of the very adults they once sought to escape. Ultimately, they confront a profound dilemma between preserving their childlike innocence and pursuing a seemingly better life, a choice laden with complexity and emotional weight. Afolayan’s adept reversal of these conventional tropes serves as a poignant reminder of the intrinsic value of retaining childlike innocence as a pathway to attaining inner peace and societal harmony. Despite the film’s flaws, this thematic exploration resonates as a profound and compelling message about the transformative power of maintaining purity of spirit amidst life’s temptations and trials.

As the film draws to a close, a palpable sense of uncertainty lingers, both within the trajectory of the characters’ lives and within the minds of the audience. “Ijogbon” proves to be a watchable experience, albeit with only certain segments that capture the viewer’s attention. However, it falls short of achieving the status of a groundbreaking cinematic endeavor. Unlike those unforgettable films that leave a lasting imprint on the viewer’s consciousness, “Ijogbon” fails to instill a sense of longing or a desire to revisit its narrative. Instead, it runs the risk of fading into obscurity, much like the fate of its own characters, soon to be relegated to the forgotten annals of cinematic history.