Different Strokes

Different Strokes tells the story of four friends, Lydia (portrayed by Mercy Johnson), Dunni (portrayed by Mosun Filani Oduoye), Onyinye (portrayed by Lilian Esoro), and Manila (portrayed by Blessing Jessica), as they grapple with the complexities of marriage and the pursuit of happiness. As they confront various hurdles, the movie unveils the harsh realities and dilemmas each character faces, showcasing that while the desire for marital bliss is universal, the journey towards it is laden with challenges and uncertainties.

Directed by Biodun Stephen, the film delves into the intricate dynamics of love, marriage, and the elusive pursuit of happiness within the confines of relationships. While it treads familiar ground and grapples with weak plotlines, certain performances manage to salvage the overall experience. 

The narrative intertwines four storylines, the first revolving around Lydia, married to Alex Cole (portrayed by Jim Iyke), who struggles with infertility and faces ridicule from her mother-in-law, Shaffy Bello and sister-in-law, Mosun (portrayed by Kie Kie). Despite enduring humiliation, Lydia is torn between societal expectations of submission and her desire to assert herself within her marriage, ultimately striving to make it work against all odds.

The second storyline delves into Dunni’s journey, married to Olayemi (portrayed by Deyemi Okanlawon). Initially, they agree she’ll sacrifice her career to manage the household and children while he provides financially. However, tensions arise when Olayemi loses his job, blaming Dunni for lack of support as he shoulders the financial burden alone.

The third narrative follows Onyinye, married to Khalid (portrayed Daniel Etim Effiong), who becomes increasingly absent due to work overload following a promotion. Meanwhile, Onyinye’s high sexual libido clashes with Khalid’s exhaustion, leading to significant strain on their marriage as they grapple with balancing work and sexual life.

In the fourth storyline, we follow Manila’s journey, married to Tade (portrayed by Lateef Adedimeji). Manila’s struggles begin when she loses her pre-pregnancy figure, causing Tade to find her unattractive and eventually engaging in infidelity. This sets Manila on a race not only to reclaim her physical shape but also to care for her ailing child.

While the film tackles important societal issues, it fails to offer any fresh or unique perspective, often retreading familiar ground seen in numerous previous Nollywood productions. The exploration of the impact of a woman’s choice of partner on her journey towards marital harmony is a well-worn theme in Nigerian cinema. Additionally, certain elements of the plot suffer from lazy scripting, such as the implausible scenario of Manila attending a party without her husband’s car but then needing the car key to transport her sick child to the hospital. Such lapses in plausibility detract from the overall credibility of the narrative.

Moreover, the confrontation scene between Manila and Tade after their son’s death lacked emotional depth, failing to capture the weight of their loss. The acting felt forced and exaggerated, with the characters appearing to merely go through the motions. The chemistry between Blessing Jessica and Lateef Adedimeji as a couple did not resonate effectively. Additionally, the use of pidgin English by Blessing’s character raised questions about its necessity and relevance, detracting from her nonverbal performance and undermining the clarity of the dialogue’s purpose, which is to foster understanding.

Furthermore, the portrayal of Manila as a “martyr” in the film raises questions about the writer’s choice of character development. It appears to be a convenient narrative device, suggesting that women must endure extreme suffering to be valued. Also, the missed opportunity to include a scene where Kie Kie and Shaffy Bello’s characters acknowledge their misjudgments regarding Lydia is a glaring oversight. Such a moment could have been a powerful highlight of the film, leaving a lasting impact on the audience. Mercy Johnson’s exceptional performance already immerses viewers in Lydia’s journey, and the decision to exclude a scene where she receives justified recognition robs the audience of a satisfying conclusion.

The consideration of Mosun Fulani to give Deyemi Okanlawon a second chance was inadequately developed in the narrative. Despite Deyemi’s realization, through consultation with Maraj, that his wife’s presence in his life is crucial for his financial stability, he fails to acknowledge this in their discussions. His appeals to his wife to return seem insincere, as he refuses to accept her desire to work for her own independence and respect her decision not to be a full-time housewife anymore. Instead, he continuously promises to provide for her needs if she takes him back, disregarding her need for autonomy and self-sufficiency.

In terms of performances, the ensemble cast delivers as anticipated. Mercy Johnson stands out for bringing authenticity to her character, while Lillian Esoro and Mosun Filani offer believable portrayals, particularly Mosun’s adeptness in delivering Yoruba parables. Lateef Adedimeji’s portrayal lacks distinctiveness, whereas Daniel Etim, Deyemi Okanlawon, and Jim Iyke embody their characters convincingly.

A prominent lesson from the film is the importance of prioritizing self-preservation over the demands of love and marriage. With the exception of Lilian Afegbai’s character, Lateef Adedimeji’s mistress, who ultimately fares better without a partner, the women in the movie demonstrate the necessity of understanding the kind of partner one chooses before committing to marriage. 

Most importantly, Dunni’s decision to reconcile with her husband raises questions about whether she truly needed to return to him. Transitioning from an unappreciated punching bag to a thriving single mother, Dunni’s journey highlights the possibility of finding fulfillment outside traditional marital norms. However, the inclusion of a stereotypical reconciliation in line with Nollywood conventions suggests a reluctance to diverge from expected endings.