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Frank Rajah Arase’s epic tale of love, loss and reincarnation – Iyore [which literally translates to “The Return: Life After Life”] opened on 8^th May 2015. To be honest, seeing it was a spur of the moment decision, partly fuelled by the trailer. Have a look.

https://www.youtube.com/watch?v=y_ZPkIDv3NY

I was immediately intrigued by the fluid choreography of the combat scenes, as well as the apparent poignancy of dialogue and heartfelt performances. Here are my thoughts on Iyore, post-viewing.

The Plot

 Like I said, Iyore details the story of two ill-fated lovers, who discover that they are living the reincarnated reflection of their ancestors’ lives. It mixes historical facts with fiction in order to explore the rich and ancient culture of the pre-colonial Benin Kingdom. Under normal circumstances, I’d be happy to write this plot off as predictable and prosaic. However, Arase’s use of time-jumps, a clear narrative, and his omission of the signature climax of ‘binding the evil spirit (of reincarnation) with the power of prayer’ prove invaluable to the film. That said, the crescendo of the plot could have been just a bit more gradual and ominous, focusing more on the lead characters’ realization of what is happening to them. Furthermore, it’s easy to get lost in the time-jumps, which are quite abrupt, giving no clear distinction between present time and flashbacks. Personally, I am delighted at Arase’s departure from unnecessary scenes and infinite instalments, having once watched a film with 6 parts! (Curiously, Part 3 was comprised entirely of a flashback, and by Part 4, the film’s title has changed, only to be reinstated in Parts 5 and 6. WORST!) Iyore does, however, give the impression at certain points that Arase attempted to do too much in a short space of time. A longer, paced film generally works better than a hurried, busy one.

The Soundtrack 

The film’s soundtrack largely comprises a somewhat mournful folk song sung by the Oba’s Aka Eronwmon (Thank you, Antoinette). This is both ironic and unsettling, as the Aka Eronwmon has the duty of ushering the Oba into and out of the presence of others, with praises. In the film, this echoing chant lends to the mood and builds tension for the audience – a big plus – much better than some of the horrendous intermittent ballads to which we’ve become accustomed (*side eye* *cue music* “Django is a murderer….Django is a killer”). I would have preferred the chant to swell into an overshadowing voice-over with the singer concealed from view. It probably helps to have someone who can actually sing too, though I know that this can prove problematic especially when the primary goal is authenticity. In my opinion, it’s worth the money and the trouble to find a professional who can learn the lyrics of the folk songs, rather than cast an amateur who is familiar with the lyrics. Hollywood movies tend to use the music of A-list celebrities, so their soundtracks can be quite costly. Nigeria is, however, a goldmine of affordable talent and Arase did state that Iyore’s budget is the second highest of any of his films, so I would’ve expected a semi-professional or professional singer for the soundtrack.

The Dialogue/Language

Some bloggers have described the language in Iyore as Shakespearean, others placing it in the “same category as Things Fall Apart“. While I wouldn’t go so far as to draw comparisons between Arase’s work and that of Old Bill, I must admit that most of the dialogue in the film actually sounds as it should – scripted. I’ve seen entire Nollywood sagas that were surely the product of (VERY BAD) improvisation, so it’s always refreshing to see some deliberation and intent on screen. Iyore’s dialogue is classy and regal, but Arase’s good intentions are sometimes let down by excessive use of rhetoric and proverbs. Watch out for what I think is a hilarious and almost farcical exchange of proverbs between the Oba and his son. Also, why do I get the feeling that Arase may have watched the film, Troy about…erm…shall we say maybe…300 times pre-production? Hehe. See if you can spot the line I’m talking about. There’s a need to work more intensively with some of the cameos and extras on grammar and diction.

Notable performances

Particularly compelling performances from Rita Dominic (Osarugue) and Joseph Benjamin (Prince Eweka/Azuwa). Dominic’s ability to cry on cue, as well as her natural delivery of lines endear the audience to her and cause them to empathize with her character. Benjamin is charming and balanced in his execution. Not surprising since he’s held roles in well-known Nollywood films such as Tango With Me, and even featured in the UK medical drama, Holby City. He’s a true professional. Yemi Blaq, who played Osarugue’s husband flaunted his ability to depict intense emotion with few or no words. I‘m a big fan of this, as opposed to Nollywood’s typical use of soliloquy or monologuing. Paul Obazele (The Oba) was a bit too rigid for me, but this may have resulted from direction whilst shooting. I’m just saying, I have it on good authority that the Obas of old DID make eye contact from time to time *sips tea*.

All in all, Iyore shows off Arase’s storytelling and directorial talents, and is clearly fuelled by a desire to deliver quality. Arase had apparently stated previously that he put in extra effort as it was the first of his films to be shot in “the land of his birth”. He further stated that the inspiration for the film was borne out of his interest in “telling an African tale with a rich cultural background”, and I’d say he’s done just that. Several bloggers have commented on the authenticity of the set and costumes, the latter bagging the film an award at the 2014 Golden Icons Academy Movie Awards –

Iyore is now showing at Silverbird Cinemas nationwide. It’s a good watch, especially if you like historical films, though I’d manage my expectations. At the very least, I now have an urge to know more about the great Benin empire. Let’s just say Iyore is not a film we’ll be … ‘returning’ to sender anytime soon.

That’s it from me guys. Till next time, Houselites up!