Alaye

“Alaye” follows the journey of Catherine, portrayed by Ruth Kadiri. Her life takes an unexpected turn when she brings in a stranger named Funmi, portrayed by Samuel Perry (Broda Shaggi). The situation quickly spirals into chaos, leading to a series of comedic events.

Alaye is a comedy-drama that masterfully balances humor and authenticity, delivering a hilariously engaging experience from the moment its dramatic premise is established. The film’s strength lies in its well-crafted characters and their interactions, particularly between the lead actors, Catherine and Funmi. Great efforts and emphasis are put into exploring Catherine’s inner conflict.

Catherine, portrayed as a sophisticated, wealthy individual, contrasts sharply with Funmi, a streetwise guy from the ghetto striving to make a name for himself. This juxtaposition of characters creates a dynamic that drives much of the film’s comedy and charm. The writer demonstrates a keen understanding of the genre, utilizing elements that make for a compelling and lighthearted film. One of the standout moments is the use of dramatic irony when Catherine expects Funmi to be a woman, only to find out that he is, in fact, a man. This twist sets the stage for a series of humorous and heartfelt interactions.

Catherine is depicted as orderly, well-mannered, cultured, organized, and strict, while Funmi is her polar opposite — carefree, dramatic, and capable of turning any conversation into a comedic moment. This contrast is not just for laughs; it adds depth to their characters and the story. Notably, Catherine is never set up to be the funny one, which helps maintain a balance. If both characters were comedic, it might have led to an excess of humor, overwhelming the narrative. Instead, Catherine’s storyline remains emotionally authentic, and she sticks to her character’s core traits throughout the film. Funmi, on the other hand, stays true to his role as the primary comic relief, providing numerous laugh-out-loud moments.

The film captures a sense of urgency and tension as we understand the stakes for Catherine to support her debtor, combined with humor, making it engaging. However, the lack of backstory prevents us from fully empathizing with Catherine and understanding why she is in such a dangerous situation. From the first scene, it’s clear that Catherine is in distress, but this alone isn’t enough to make the audience root for her. The film compensates for this flaw with the introduction of Broda Shaggi’s character. The element of dealing with a loan shark like Gabby (played by Aloma “Zicsaloma” Isaac) adds relatability. There is a balance between Catherine’s genuine somber moments and the chaotic, light-hearted interactions of Broda Shaggi and Monica Friday.

While the film is predictable, as many in this genre tend to be, this predictability does not detract from its appeal. Comedy-dramas are often more about the journey than the destination. Audiences are drawn to the character’s journeys, their development, and the “how” of the story rather than the “why.” “Alaye” excels in this aspect, delivering a delightful ride towards an expected yet satisfying conclusion.

However, the film is not without its flaws. There are a few scenes that feel unnecessarily long and repetitive, especially in terms of dialogue. Despite this, the humor embedded in these moments makes them tolerable and even enjoyable. The film serves as a form of escapism, offering a pleasant and entertaining journey through its predictable yet enjoyable narrative.

The premise also feels familiar, especially if you’ve seen Broda Shaggi’s role in “Love In A Showroom” directed by Tolu Awobiyi. However, “Alaye’s” storyline is unique, adding a fresh element and a humorous twist, though it lacks the memorable edge needed to truly stand out. I appreciate that the premise is kept simple, avoiding an overload of subplots that might have left loose ends. The film remains committed to its main story. Watching it feels light and pleasant, offering exactly that —nothing more, nothing less. Despite its familiarity, the premise remains interesting, relying heavily on Broda Shaggi’s comedic appeal as expected. It’s worth watching, but don’t expect anything groundbreaking. The clichés are there, but so is the charm.

On performances, Broda Shaggi slips back into his role effortlessly, delivering his signature wit and charm, with every scene packed with humor and complemented by a fitting soundtrack. It’s a treat for both longtime fans and newcomers. His charisma and comedic timing, especially in the film’s final sequence, are as sharp as ever, making him a joy to watch.

One thing I love about Broda Shaggi’s acting is his chemistry with a “strong and silent” type of co-star who balances his goofiness. Ruth Kadiri’s character does this perfectly in the film. While Broda Shaggi is a talented comedian, he’s not quite strong enough to carry a comedy drama by himself. He always shines as a hilarious sidekick but doesn’t have the same impact as a solo lead.

Tega (portrayed by Monica Friday), Ben (portrayed by Eddie Watson), and Eve (portrayed by Rosemary Afuwape) bring their A-game, adding depth and flair to the ensemble cast. The casting director deserves high praise. The chemistry among the characters feels genuine and authentic, particularly between Broda Shaggi and Monica Friday, as well as between Rosemary Afuwape and Ruth Kadiri. The contrast between their worlds is vividly portrayed through their characterizations, and the reason for their worlds clashing feels plausible and organic, stemming naturally from the characters’ needs rather than serving as a mere plot device.

In conclusion, “Alaye” is a comedy-drama that achieves a commendable balance between hilarity and story authenticity. The character contrasts between Catherine and Funmi drive the film’s humor and emotional depth, making it a delightful watch. While it may have a few pacing issues, its charm and comedic elements more than make up for it. “Alaye” is a film that invites viewers to enjoy the ride, laugh along the way, and appreciate the character’s journeys.