Abeni and Akanni, two childhood sweethearts in Nigeria, are separated forever when an embarrassing incident at Abeni's 10th birthday party convinces her boyfriend's father to relocate the family to Benin and a new life. A chance meeting brings the two together many years later and they waste little time in picking up where they left off. The possibility of marriage however is threatened by Abeni's father, who hasn't forgotten the sins of the past and vows to stop the union at all costs.
'Abeni' was a film I decided to watch purely because I hadn't seen Beninois cinema. Technically, I still haven't, for although it is a Benin-Nigeria co-production, 'Abeni' is more accurately a product of the unstoppable Nollywood juggernaut. Nonetheless, much of the story is set and filmed in Benin, which gave me some insight into a country of which I know little. Due to the nature of the storyline, one even gains an idea of the incredible disparity of wealth in both locations, and, if the film reports correctly, a certain cultural prejudice between the two states.
And yet by analysing these background themes, I feel myself elevating 'Abeni's discourse far higher than it deserves, for beneath the colourful splendour of these West African nations lies an incredibly average romance tale of the type that Nollywood, Bollywood, and indeed those masters of formulaic rubbish in Hollywood churn out on a regular basis like supermarket-brand crackers because they know this tired and worn-out dime-store mediocrity sells. The foreign viewer may find themselves distracted by the different cultural presentation of the formula, but dross does not lose its pallor simply for wearing a different-shaped hat. A continual desire to get up and make cups of tea throughout the duration despite a lack of thirst may also indicate how little my body was willing to cooperate with the screening.
Certainly, the cultural landscape in which the conflict operated went some way towards making the story interesting, dealing as it does with a massive generation gap wherein arranged marriage is acceptable to the elders, while their Westernised descendants struggle for personal choice. Intermingled with this are the designs of wealthy families more concerned with empire-building than individual happiness. Handled in a considered, intelligent way, these themes would make for a good story and one that doubtless rings true with anyone who has ever had to face disapproving potential in-laws. However, 'Abeni' is clearly another pre-packaged entry on the production line in which if one takes even a single step backward to view the larger picture, they will find many similar such offerings.
Conflict arising from the plot elements mentioned is never built up with any real seriousness that would give it meaning and the ending doesn't even bother to follow through with the resolution that is employed. I found myself wondering as the credits rolled if perhaps my copy of the film had a scene missing. Alas, it merely seems to be an example of cheap melodrama on the part of a director who presumably can't be bothered anymore. Add to this a bizarrely-inappropriate soundtrack, which in its levity, sends the exact same message – that and the fact that it seems to be more about shoehorning in the popular chart entry of the moment. Indeed, upon closer inspection, one finds the name Abdel Hakim Amzat in the credits not only as star beau Akanni, but also as head honcho of the music department and as a producer. The priorities of this vanity project are abundantly clear.
It may come as no surprise then that much of the characterisation is stereotypical in form and annoyingly realised on screen as a result. While the two leads are probably best-served and peroxide shiny for the youth market, the script divests the antagonists of all but two dimensions – not that the others can boast a multitude of depth, either. Kareem Odepoju plays Abeni's father with a disregard for subtlety that reminds me of why pantomime is so awful, while Ayo Badmus as Ogogu, the paternally-approved rival for Abeni's affections, clearly felt the best way to depict his character's reckless behavior was to enact mental instability. Ogogu, we learn, was sent by his wealthy parents to the U.S, presumably so he could study how to be a cretin – an interesting snapshot into Nigerian perceptions of American culture that would be amusing if Ogogu weren't so expertly irritating.
Quite a shame therefore that 'Abeni' fails to be an interesting snapshot into any of the leitmotifs presented, though the Nollywood fan might perhaps argue that this would be like expecting to find the qualities of Perrier in grey water. It is ultimately little more than a hackneyed star vehicle for its leads – the filmic equivalent of a Happy Meal – no different to that one sees in Western cinema with monotonous regularity, but with that audience, the chimera of 'ethnic' unconventionality.
'Abeni' was a film I decided to watch purely because I hadn't seen Beninois cinema. Technically, I still haven't, for although it is a Benin-Nigeria co-production, 'Abeni' is more accurately a product of the unstoppable Nollywood juggernaut. Nonetheless, much of the story is set and filmed in Benin, which gave me some insight into a country of which I know little. Due to the nature of the storyline, one even gains an idea of the incredible disparity of wealth in both locations, and, if the film reports correctly, a certain cultural prejudice between the two states.
And yet by analysing these background themes, I feel myself elevating 'Abeni's discourse far higher than it deserves, for beneath the colourful splendour of these West African nations lies an incredibly average romance tale of the type that Nollywood, Bollywood, and indeed those masters of formulaic rubbish in Hollywood churn out on a regular basis like supermarket-brand crackers because they know this tired and worn-out dime-store mediocrity sells. The foreign viewer may find themselves distracted by the different cultural presentation of the formula, but dross does not lose its pallor simply for wearing a different-shaped hat. A continual desire to get up and make cups of tea throughout the duration despite a lack of thirst may also indicate how little my body was willing to cooperate with the screening.
Certainly, the cultural landscape in which the conflict operated went some way towards making the story interesting, dealing as it does with a massive generation gap wherein arranged marriage is acceptable to the elders, while their Westernised descendants struggle for personal choice. Intermingled with this are the designs of wealthy families more concerned with empire-building than individual happiness. Handled in a considered, intelligent way, these themes would make for a good story and one that doubtless rings true with anyone who has ever had to face disapproving potential in-laws. However, 'Abeni' is clearly another pre-packaged entry on the production line in which if one takes even a single step backward to view the larger picture, they will find many similar such offerings.
Conflict arising from the plot elements mentioned is never built up with any real seriousness that would give it meaning and the ending doesn't even bother to follow through with the resolution that is employed. I found myself wondering as the credits rolled if perhaps my copy of the film had a scene missing. Alas, it merely seems to be an example of cheap melodrama on the part of a director who presumably can't be bothered anymore. Add to this a bizarrely-inappropriate soundtrack, which in its levity, sends the exact same message – that and the fact that it seems to be more about shoehorning in the popular chart entry of the moment. Indeed, upon closer inspection, one finds the name Abdel Hakim Amzat in the credits not only as star beau Akanni, but also as head honcho of the music department and as a producer. The priorities of this vanity project are abundantly clear.
It may come as no surprise then that much of the characterisation is stereotypical in form and annoyingly realised on screen as a result. While the two leads are probably best-served and peroxide shiny for the youth market, the script divests the antagonists of all but two dimensions – not that the others can boast a multitude of depth, either. Kareem Odepoju plays Abeni's father with a disregard for subtlety that reminds me of why pantomime is so awful, while Ayo Badmus as Ogogu, the paternally-approved rival for Abeni's affections, clearly felt the best way to depict his character's reckless behavior was to enact mental instability. Ogogu, we learn, was sent by his wealthy parents to the U.S, presumably so he could study how to be a cretin – an interesting snapshot into Nigerian perceptions of American culture that would be amusing if Ogogu weren't so expertly irritating.
Quite a shame therefore that 'Abeni' fails to be an interesting snapshot into any of the leitmotifs presented, though the Nollywood fan might perhaps argue that this would be like expecting to find the qualities of Perrier in grey water. It is ultimately little more than a hackneyed star vehicle for its leads – the filmic equivalent of a Happy Meal – no different to that one sees in Western cinema with monotonous regularity, but with that audience, the chimera of 'ethnic' unconventionality.
