“House of Ga’a”: An Ambitious Epic That Brings 18th Century Oyo Empire to Life, Despite Flaws

Bolanle Austen-Peters’ “House of Ga’a” is a bold, sweeping attempt to bring the grandeur and complexity of the 18th century Oyo Empire to the global stage.

This Netflix original, written by Award winning writer Tunde Babalola, focuses on the polarizing figure of Bashorun Ga’a, providing a detailed analysis of the character within the context of a significant period in Nigerian history.

The film’s production values are impressive right from the beginning. The careful focus on costumes, set design, and location choices gives viewers an immersive experience of pre-colonial West Africa. The color grading in the cinematography stands out, adding richness to the visual narrative. These components come together to form a feeling of genuineness that is frequently absent in portrayals of African history in films.

Femi Branch delivers a commanding performance as Bashorun Ga’a, filling the screen with his presence and effectively conveying the character’s complexity. His portrayal captures both the charisma that made Ga’a a beloved figure and the ruthlessness that ultimately led to his downfall.

The film’s pacing is deliberate, building tension slowly as Ga’a’s political maneuverings and spiritual beliefs drive the narrative forward. This approach may test the patience of some viewers, but it allows for a deeper exploration of the cultural and spiritual context that shaped decisions in this era. The third act rewards this patience with heightened drama and action sequences that, while not flawless, are ambitious for Nigerian cinema.

“House of Ga’a” excels in its portrayal of the spiritual world’s importance in 18th century Yoruba culture. The film deftly illustrates how the unseen realm influenced political decisions and personal actions, giving modern audiences insight into the logic and beliefs of the time. This aspect of the film is particularly well-handled, avoiding the trap of portraying these beliefs as mere superstition.

Nevertheless, the movie does have its shortcomings. Many international viewers may not be familiar with Oyo history, which could make it difficult for them to understand the importance of certain events or character motivations. Certain powerful characters being easily defeated can make some narrative decisions seem unrealistic. The movie would have been improved by including additional information about the significance of the Oyo Empire and Ga’a’s ascent to power.

At times, technical glitches disrupt the immersive experience that the film strives to build. The initial fight sequence, with Stan Nze, is marred by CGI and green screen effects that lack realism. In the same way, the artificial appearance of the fire in the final scene is easily noticeable and takes away from the intensity of the moment.

The decision to use Mike Afolarin (Oyemekun) as narrator is questionable, given the actor’s reported difficulty with Yoruba pronunciation. This choice detracts from the film’s otherwise commendable efforts at linguistic and cultural authenticity. The absence of a seasoned voice actor like the late Jimi Solanke, whose narration elevated “Jagun Jagun,” is particularly felt here. An older, more fluent Yoruba speaker might have lent the narration the gravitas it deserved.

Despite these shortcomings, “House of Ga’a” represents an important step forward for Nigerian cinema on the international stage. It tackles a complex historical figure with precision, avoiding simple villainization in favor of a more layered portrayal. The film’s exploration of the interplay between political power and spiritual beliefs in pre-colonial West Africa is particularly compelling.

The inclusion of strong female characters, both in domestic political intrigue and in battle scenes, adds complexity to the narrative and challenges stereotypes about women’s roles in historical African societies. The fight sequences involving women, particularly in Dahomey and during the final assault on Ga’a’s compound, are well-executed and refreshing to see.

“House of Ga’a” provides a visually striking and culturally immersive encounter. Although it doesn’t completely achieve its grand goals, it manages to vividly depict an intriguing part of Nigerian history, establishing itself as a noteworthy, albeit flawed, contribution to the expanding collection of African historical dramas.

With Nigerian cinema gaining global recognition, “House of Ga’a” contributes to the industry’s growing potential. The demonstration suggests that Nollywood has the potential to create historical epics that are on par with international productions in terms of scope and ambition through the proper mix of talent, resources, and vision.

Although there are areas that could be enhanced, particularly in technical aspects and narrative decisions, “House of Ga’a” is a praiseworthy endeavor that should be acknowledged for its success in sharing Nigerian history and culture with an international viewership.

Release Date: 26 July 2024

Streaming service: Netflix

Runtime: 2 hours, 11 seconds

Director: Bolanle Austen Peters

Cast: Femi Branch, Mike Afolarin, Niyi Johnson, Femi Adebayo, Toyin Abraham, Funke Akindele, Ibrahim Chatta, Lateef Adedimeji, Muyiwa Ademola, Stan Nze, Tosin Adeyemi, Gabriel Afolayan, and Jude Oyegbile