All’s Fair In Love

From the poster, it was evident that the story here will infuse a love triangle. All’s Fair In Love revolves around two friends, Demi and Kanla (played by Deyemi Okanlawon and Timini Egbuson), who are thriving in their fashion business. However, everything changes when they both develop feelings for the captivating Mbali (Buhle Samuels), who enters their lives unexpectedly. As they vie for Mbali’s affection, a love triangle unfolds.

To craft an effective love triangle, the characters involved should be distinct, and their interactions should sizzle with chemistry. All’s Fair In Love succeeds at one and fails at the other. The two men vying for Mbali’s heart are both players, but that’s where their similarities end. Demi is pragmatic with a sullen aura and hails from a rich family, while Kanla is carefree and cheerful. Kanla is also the son of Demi’s former housekeeper, so he has humble beginnings. But the story doesn’t key into this distinctness and craft love arcs particular to the characters. It takes a cookie-cutter approach and just gives montages meant to convince us that these characters have chemistry. Buhle and Timini have more chemistry, probably because he has more experience with playing romantic acts, and the cookie-cutter approach serves his character better. As a result, the romantic tension feels manufactured rather than authentic.

Other than the love triangle, the plot also infuses a strained relationship between Demi and his father. This strained relationship leads Demi in the pursuit of independence which almost ends him in trouble. Furthermore, the film showcases a heartwarming bond between Demi and his cousin (Gbubemi Ejeye). Their relationship serves as a beacon of wholesomeness, offering viewers moments of warmth and sincerity.

All’s Fair In Love falls victim to a clichéd plot that fails to offer anything fresh or innovative. The early revelation of Mbali’s intentions robs her character arc of the impact it could have had, leaving little room for suspense or surprise. Additionally, the involvement of the FCC diminishes any sense of impending danger for the characters, resulting in a lack of genuine tension in the final act. The ending is disappointingly neat and predictable, following a routine path that fails to leave a lasting impression. Moreover, the decision for Kanla to pursue Mbali at the end of the kidnapping scene after her malicious intentions are exposed feels out of place.

There are also some character portrayals to discuss. Unfortunately, the depiction of effeminate men in Nollywood often leans towards shallow stereotypes rather than offering depth or nuance. These characters are frequently used for comedic effect, lacking the complexity and authenticity they deserve. The effeminate man here is a copy and paste of Akah Nnani‘s Sisqo from She Must Be Obeyed, but lacking the comedic timing Akah at least had.

There are also cases where things are added to sell an act that ends up making the act overdone. A notable example is when the detective (Oprah Okereke) uses a ball to emphasize her concentration, despite her facial expressions already conveying the necessary focus. This additional prop feels forced and overdone, bordering on theatricality rather than enhancing the realism of the scene. Embellishments aren’t always needed.

All’s Fair In Love also suffers from some technical issues. Ad Libbed footstep sounds are very unnecessary especially when they don’t serve a purpose. They can be distracting from the scene, especially because if such scenes occur in real life they won’t be noticeable, except if the person is either stomping or dragging their feet. Other than the usage here being unnecessary, they are also uneven. In some scenes, some characters get these sounds and some don’t; the uneven implementation of these sounds raises questions about consistency and attention to detail. Editing issues are also apparent, like video and audio mismatch, with audio also not being picked up in some parts.

The performances here range from good to underutilized. There honestly isn’t any sort of bad acting, but the script sometimes hinders the actors. Buhle Samuels physically embodies her role as the temptress with captivating allure, and her portrayal is clean as she plays the men deliciously. Timini Egbuson excels as a romantic lead, and even though it’s nice to see him portray varied character types (like in A Tribe Called Judah), there can’t be complaints when he delivers a good romantic character. Deyemi Okanlawon on the other hand delivers dramatic acts better, so he’s relatively not at home here and the script doesn’t bring out the best in his character. Ireti Doyle is always a brilliant villain but with the limited screen time she gets, it’s hard to reconcile with the terrific act she delivers. Although a minor character, Lateef Adedimeji delivers a comical flair to his frustrated tailor portrayal that’s fresh and makes him a scene stealer.

In conclusion, All’s Fair In Love presents a familiar tale of love and betrayal wrapped in a glossy package. While the performances are generally solid, particularly from Buhle Samuels and Timini Egbuson, the film falls short in delivering depth to its characters and exploring the complexities of its love triangle. Technical issues and stereotypical portrayals further detract from the viewing experience. Despite its shortcomings, the movie offers moments of charm and humour, making it a decent option for those seeking a light-hearted romantic drama. However, for audiences craving innovation and depth, All’s Fair In Love may leave them wanting more.