A well calculated movie with sparks of real emotions displayed, despite the overt simplicity of its story line. There is a major theme of Love and Lust and all the troubling complications that come with them.
It is beautiful to see a Nigerian angle of hopeless love of a man for a woman, and not just any kind of woman; a married woman.
A lot of moments captured in this movie are memorable, as they reflect some moments of real life; one would be the moment Muyiwa (Jim Iyke) asks Tare (Eyinna Nwigwe) for the name of his cologne (though the appreciation of the perfume should have been established long before the time it was), and few minutes after, when he perceives his wife, there is this look on his face. It seems though that he can perceive a brand-new scent on his wife, and isn’t ready to connect the dots just yet. He looks so confused, yet so convinced.
There are pieces of the puzzle here and there that don’t add up in Muyiwa’s head just yet, till the final blow.
Tare on the other hand might be surprising to this movie’s viewers. What sort of mugu playboy style is this na? Is this what love can do to a man? With how intelligent Tare appears to be right off the bat, and even with the way he goes about the games he plays with Omoye (Joselyn Dumas) throughout the movie, it is expected that his true colours will show in the end. But no, there is no other face of Tare than all that he displays entirely. It is surprising that Nollywood portrayed a man of such nature as sincere, and a victim of his emotional circumstance.
Muyiwa throws jabs at Tare from the balcony of his room, which should hint Tare to slow down or back off, but no, he takes it to greater heights at the night party. Though, it was too convenient, too obvious, and a clear copy of movies from western counterparts, but I guess the filmmaker has to bring the movie to an end somehow.
The beginning of the movie shows how much effort Muyiwa puts into his marriage to make his wife happy, and this effort continues to surface at every moment in the movie, even till the very last point before the resolution. He loves his wife so much, he cannot stop blushing at hearing her repeatedly speak for them, despite her rounds of cheating. These are the kinds of husbands that should be showcased as an example to the society, and not the kind that approves certain behaviors and threatens that every home gets broken.
Omoye and Tare go scot-free for the crime that they committed against her matrimony. Where there is crime, there should be punishment. It seemed like both of them were going to get it bad from Muyiwa at the restaurant, but they do not for clear reasons.
The texture of the picture when flashback comes in is complemented with the costume and make up for the two characters shown in the past. The hair cut Tare has on speaks volumes about his financial bearing at the time, or maybe just his juvenile style. Omoye’s hairdo also sincerely chops off 5 years off the current age.
The production design of the movie is great for the story being told, as there are many beautiful sets in this location that bring life and colour to the picture.
All major actors compliment one another, and tell the story in a convincing manner.
The cinematographer however would have made the movie come out better with better angles and scene transitions, but for a probable conservative budget.
It is not a perfect movie, but it is a good movie, and there are things to take home from here.
Isedehi Aigbogun, also known as ISD, is a staunch academic, holding a B.A., M.A., and PhD (in view) in English Language.
She’s a Screenwriter, Screenplay Analyst, Consultant, and Film Scriptic.