Anikulapo: Rise of the Spectre

Anikulapo: Rise of the Spectre continues the saga from the movie, with Arolake (portrayed by Bimbo Ademoye) once again on the run and Saro (portrayed by Kunle Remi) journeying to the afterlife for the second time. The series boldly expands its world-building from the outset, introducing new subplots alongside the main narrative of Saro and Arolake. With deliberate pacing, the storyline flows smoothly, seamlessly connecting scenes and maintaining a brisk pace. The narrative intricately weaves multiple subplots like concentric circles, all centered around Alafin Oyo (portrayed by Taiwo Hassan), the focal point of the story. However, viewers expecting similarities to the 2022 film may be disappointed, as the series diverges from its predecessor’s plot. The shift away from Saro leaves lingering questions about his fate and the resolution of his mission, leaving viewers wondering about the untold events.

The first episode of the series sets up a brilliant dramatic premise, executed visually, technically, and narratively. Foreshadowing Balogun’s character as a challenger to the King of Oyo is commendable, heightening audience expectations. The dynamic between Saro and the three ghosts adds depth, with high stakes making the series promising. While transitioning from film to series is challenging, Anikulapo’s expansion into six episodes adds complexity. However, the intricate plot sometimes confuses, overshadowing the original story. Yet, with patience, Anikulapo remains enjoyable, as a pure drama, nothing more, nothing less.

The makers, including the screenwriter, showcased their prowess with the first episode of the series, setting a high standard. However, the subsequent five episodes suffer from inconsistencies, though the determination to make the series a success is evident. Despite the excellence of the first episode both narratively and technically, there are noticeable flaws that, while minor, detract from the overall experience. For instance, a scene depicting Saro as a wandering spirit includes an oversight where his head bumps into the roof of a hut, causing it to move. While such mistakes may be overlooked by the makers, they are not unnoticed by the audience.

Beyond the major narrative shortcomings of the series, which I’ll highlights subsequently. For enthusiasts of culture and tradition, “Anikulapo” presents a captivating blend of historical accuracy, Yoruba mysticism, magical realism, and mythology. Kunle Afolayan skillfully weaves these intricate elements into a compelling narrative, appealing particularly to art-inclined audiences. 

The film’s cinematography and sound design are flawless, enhancing its immersive experience, by its artistic quality and visual appeal. Dialogue and language are good, contributing to its authenticity. With authentic costumes and settings, “Anikulapo” emerges as visually stunning and culturally rich cinematic masterpiece. By embracing its cultural essence and contemplating its themes, viewers can glean valuable insights and deepen their understanding of Yoruba culture, history, and folklore.

The series’ shortcomings stem from its additional narratives, which often serve as mere plot devices without thorough exploration, leading to gaps in the storyline. For example, the concept of a ghost burying itself raises questions about plausibility and lacks adequate explanation. Similarly, Arolake’s sudden wealth with the assistance of a spirit being raises ethical concerns according to Yoruba beliefs, where spiritual wealth typically involves a law of exchange. The absence of reciprocity raises questions about the consequences and moral implications of her newfound prosperity. While Arolake’s wealth serves a narrative purpose, its acquisition through supernatural means lacks ethical justification. Also, what’s the relevance of Arolake going back to be a Queen in Oyo? Being a side chick to the king?

Additionally, the inconsistency of Saro’s people maintaining a relationship with “Akundaya” contradicts Yoruba belief, as “Akundaya” should vanish upon sensing familiar presences. In the final scenes set in heaven, Saro’s absence, particularly in his role as leader guiding the souls he had influenced, leaves a noticeable gap in the narrative. Many viewers may anticipate this crucial moment, only to be left disappointed. Another significant narrative flaw emerges from the initial setup in the first episode, where calamities befall Oyo’s people due to the anger of the mystical bird “Eye Akala.” Despite the urgency established, subsequent scenes fail to evoke empathy for the villagers, as there is a lack of consistent portrayal of their distress beyond the initial chaos caused by the bird’s appearance.

Furthermore, the few fighting scenes lack proper choreography, which, although not significantly impacting the overall film experience, is a notable oversight considering the high production value of the film. However, a major narrative flaw diminishes the resolution of the series, diluting established interest and complicating the storyline unnecessarily. This flaw revolves around the role of the Ifa priest, whose lack of assertiveness and acceptance of Balogun’s intentions to kill Arolake undermines the story’s coherence and leaves viewers questioning the character’s decisions.

The cast of the series is commendable, with Kunle Remi delivering a deliberate and grounded performance in the sequel. The natural comedic relief provided by Saro’s ghostly companions adds a delightful touch, it’s a brilliant narrative decision. The ensemble cast excels, displaying fantastic chemistry that ignites the screen. Sola Sobowale (Awarun) and Owobo Ogunde (Bashorun) shine as lovers, while Bimbo Ademoye and Gabriel Afolayan exhibit a great dynamic character interplay, same as the characters of the King’s daughter, Princess Omowunmi (portrayed by Eyiyemi Afolayan) and Bashorun’s son, Awolarin (portrayed by Lateef Adedimeji). The introduction and the setup of the character of Kuranga (portrayed by Uzee Usman) also added an interesting layer to the overall narrative, especially when the series is steering towards predictability and his performance, along with Lateef Adedimeji is solid. 

However, the standout performance comes from Owo Ogunde as the complex and multidimensional Bashorun Ogunjimi. His portrayal steals the spotlight, especially during moments when the narrative loses momentum. Whether quietly scheming or explosively raging, his magnetic screen presence captivates. The rich Yoruba dialogue adds poetic charm, although some scenes feel overly prolonged, affecting the few actors’ delivery. While veteran actors initially lend gravitas to the cast, their diminishing roles as the story unfolds relegate them to mere background adornments.