Following the success of the biopic Funmilayo Ransome-Kuti, Bolanle Austen-Peters‘ latest offering, House of Ga’a, promised to elevate the genre with its grand historical backdrop. Of course, we expected a new ride. A new ride on a higher horse.

Anticipations were high for a film that would not only evoke profound emotions but also set a new benchmark in historical drama. However, while House of Ga’a engages with historical themes and storyline, it falls short of delivering the inspirational and immersive experience expected from such a promising premise.

Story

In this historical action drama, House of Ga’a explores the turbulent reign of a ruthless kingmaker who ultimately faces downfall at the hands of his son. The film takes a distinctive approach by delving into the personal and familial aspects of Ga’a’s life. It uniquely centers on the “house” of Ga’a, offering a fresh narrative perspective that emphasizes the internal family dynamics as a central element contributing to his fall.

This novel focus provides an intriguing and unconventional lens through which to view the historical figure’s story.

Plot

Set in the ancient Oyo Empire, House of Ga’a chronicles the rise of Bashorun Ga’a, who gains prominence after a crucial military victory over the Nupe army. Appointed as Prime Minister by the Alaafin, Ga’a’s ascent seems unstoppable. However, his pursuit of power is complicated by his ambition and internal conflicts. As he strives to cement his authority, he encounters increasing resistance from the Oyo Mesi council and faces personal turmoil within his own family.

The plot unfolds chronologically and fluidly, with a twist that, while somewhat predictable, does not significantly detract from the overall potential of the story. The motivation of the protagonist is later revealed which initially posed questions which was established in flashback. The narrative’s smooth progression maintains engagement despite the familiar turn of events.

Technical Aspects

The film excels in crafting a believable setting and accurately depicting the period, showcasing the substantial investment in its production particularly with the location, set design and costumes. However, certain aspects, like the semi-realistic CGI, graphics choices, and visual effects for violence—such as blood and scarring—are less convincing. Despite the film’s portrayal of violence, it lacks the expected visual intensity and gore. Some of the props used in the film also appear very unrealistic and inconsistent with the setting of the film.

However, a notable moment involves a spiritual encounter scene where the masquerade’s movements are intentionally lagged in post-production. This bit of creativity fuels the audience’s sense of the “spiritual” era the film is set in. It seemed like the most visually enticing part of the film. However, this choice, while creative, affects the scene’s overall impact and highlights questionable decisions in the visual effects, as the transition of Ga’a to an elephant and other CGI effects later appear unrealistic.

Performances

The film is quite star-studded. It features the likes of Femi Branch in the lead role, Bimbo Manuel, Toyin Abraham, Femi Adebayo, Funke Akindele, Kevin Atobiloye, Tosin Adeyemi, Bridget Nkem, Muyiwa Ademola, Temilolu Fosudo, Bambam Olawunmi-Adenibuyan, Lateef Adedimeji, Olayode Juliana, William Benson, Adeniyi Johnson, Ibrahim Chatta, Jide JBlaze Oyegbile, Mike Afolarin, Toyin Oshinaike, Yemi Blaq, Kunle Coker, Seun Akindele, Ali Nuhu, Teddy A, Stanley ‘Stan Nze’ Nzediegwu, Gbenga Titiloye, Dele Odule, and Peju Ogunmola.

Femi Branch delivers a standout performance as Bashorun Ga’a, embodying the character with intensity and depth. His portrayal is marked by a convincing display of physicality and emotional weight, particularly in scenes where his character is vulnerable and reliant on others. Branch’s dedication to making Ga’a’s predicament feel authentic is impressive. His background and experience in theatre add layers to his performance, making it multi-faceted and compelling.

Tosin Adeyemi as Zeinab performs excellently, her experience in theatre clearly shining through. Her knowledge and expertise are evident in her nuanced and expressive performance. Funke Akindele’s performance(as Ayinba) is noteworthy as she breaks away from her usual comedic roles.

The inclusion of both Toyin Abraham (as Edan Asiko, Ga’a’s sister) and Funke Akindele, in one film is interesting to look at. Especially given their well-known off-screen dynamics. While some audiences might have anticipated some on-screen tension or drama between them, the film strategically avoids this, which could be seen as a clever move by the casting team to manage expectations.

Both actresses deliver solid performances, though a noticeable moment occurs when Toyin Abraham’s character is abruptly cut off mid-speech—a decision that seems to address her tendency for lengthy dialogues that slightly disrupts the flow.

The rest of the cast delivers performances that meet expectations. Each actor demonstrates a solid understanding of their character and fulfills their roles competently. Lateef Adedimeji, in particular, provides a commendable performance. However, he is once again typecast as a comedic relief, albeit in a less exaggerated manner than in his previous roles. Despite this, the intention behind his character was to be unpredictable, but with the drama, his motivation is exposed.

Final Thoughts

House of Ga’a attempts to reframe the historical tale of Bashorun Ga’a as an intimate drama rather than a traditional epic. This fresh angle offers an interesting perspective but the implementation does not fully capitalize on the potential for grandeur. While the film includes the historical downfall of Ga’a, its focus on personal and familial dynamics, which are not deeply explored, shifts it away from the expected epic narrative.

The film’s approach is expansive and it doesn’t fully utilize it. It offers entertainment but lacks the emotional resonance one might expect from the perspective it even comes from. Despite incorporating essential dramatic elements, the film fails to engage on a profound emotional level. The familial and personal conflicts, while present, are not deeply felt or sufficiently explored.

Some plot points appear underdeveloped or confusing, and certain conflicts could have been resolved through simple dialogue.

On the good side, it was quite interesting to see women in a fight sequence, which is not commonly portrayed. However, despite the numerous fight scenes, they were unconvincing. The film’s portrayal of violence was not as impactful as expected. The believability of the violence was lacking. The swords used in the fight sequences appeared rigid and lacked the natural flow, making it evident that they were props typically used for theater.

The actors tried to compensate by adding believability to the action, but the visual effect of the film is mostly unconvincing. This significantly detracted from the overall impact of the fight scenes and the film’s depiction of violence.

Verdict

Ultimately, House of Ga’a delivers a moderate viewing experience. While it may captivate viewers with its historical context and dramatic moments, it falls short of creating a compelling emotional journey. The film’s focus on personal dynamics with epic background was a good opportunity that wasn’t well explored for intensity.

House of Ga’a is available on Netflix.

Rating: 3.5/5