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𝐄π₯𝐞𝐬𝐑𝐒𝐧 πŽπ›πš π“π«πšπ―πžπ₯𝐬 𝐋𝐒𝐠𝐑𝐭 𝐟𝐫𝐨𝐦 𝐏𝐚𝐠𝐞 𝐭𝐨 π’π­πšπ πž 𝐭𝐨 π’πœπ«πžπžπ§: 𝐍𝐨π₯π₯𝐲𝐰𝐨𝐨𝐝 𝐚𝐧𝐝 𝐅𝐒π₯𝐦 π€ππšπ©π­πšπ­π’π¨π§

By: Ranks-Staff

Date:

𝐄π₯𝐞𝐬𝐑𝐒𝐧 πŽπ›πš π“π«πšπ―πžπ₯𝐬 𝐋𝐒𝐠𝐑𝐭 𝐟𝐫𝐨𝐦 𝐏𝐚𝐠𝐞 𝐭𝐨 π’π­πšπ πž 𝐭𝐨 π’πœπ«πžπžπ§: 𝐍𝐨π₯π₯𝐲𝐰𝐨𝐨𝐝 𝐚𝐧𝐝 𝐅𝐒π₯𝐦 π€ππšπ©π­πšπ­π’π¨π§

π‘†π‘–π‘Ÿ, β„Žπ‘Žπ‘£π‘’ π‘¦π‘œπ‘’ π‘€π‘Žπ‘‘π‘β„Žπ‘’π‘‘ π‘‘β„Žπ‘’ π‘“π‘–π‘™π‘š?
π‘Šβ„Žπ‘Žπ‘‘ π‘“π‘–π‘™π‘š?
πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž.
π‘Œπ‘’π‘ .
π‘‡β„Žπ‘’ π‘“π‘–π‘™π‘š 𝑖𝑠 π‘ π‘œπ‘šπ‘’β„Žπ‘œπ‘€.
π»π‘œπ‘€ π‘ π‘œπ‘šπ‘’β„Žπ‘œπ‘€?
πΈπ‘šβ€¦π‘’π‘šβ€¦π‘†π‘œπ‘šπ‘’β„Žπ‘œπ‘€ π‘ β„Žπ‘Ž!

Wole Soyinka’s π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› (1975) is not an ordinary play, and it is not written for ordinary folks. It may have ordinary folks but not ordinary issues. The issues are beyond the ordinary and they require a higher intellect to be fully appreciated. They are beyond the β€œclash of cultures” and above the β€œclash of civilizations”. They are esoteric philosophical discourses demanding the brains that are ready and willing to dare the transition. They require brave hearts that are prepared to fill the lacuna between the transitions from the world of the living to the dead and to the unborn. They are not for lilliputians with no chthonic power to bridge the planes across the gulf and into the abyss. They are for pathfinders with the Ogunian spirit to dare the crucibles of the Fourth stage. They are….

π»π‘Žπ‘Žπ‘Ž! 𝐸 π‘”π‘π‘Ž π‘šπ‘–! πΎπ‘–π‘™π‘œπ‘‘π‘’! π΄β„Žπ‘Ž, π‘˜π‘– π‘™π‘Ž 𝑔𝑏𝑒, π‘˜π‘– 𝑙𝑒 𝑗𝑒? π‘†π‘–π‘Ÿ, π‘Žπ‘π‘’π‘”, π‘‘π‘Žπ‘˜π‘’ 𝑖𝑑 π‘’π‘Žπ‘ π‘¦β€¦π‘π‘œπ‘šπ‘’ π‘‘π‘œ π‘šπ‘¦ 𝑙𝑒𝑣𝑒𝑙.
π‘†π‘œπ‘Ÿπ‘Ÿπ‘¦, π‘π‘™π‘’π‘Žπ‘ π‘’. 𝐼𝑑’𝑠 π‘›π‘œπ‘‘ π‘šπ‘¦ π‘“π‘Žπ‘’π‘™π‘‘. 𝐼𝑑 𝑖𝑠 π‘‘β„Žπ‘’ π‘π‘™π‘Žπ‘¦β€¦
π‘†π‘–π‘Ÿ, 𝑖𝑑 π‘ π‘’π‘’π‘šπ‘  𝑀𝑒 π‘Žπ‘Ÿπ‘’ π‘›π‘œπ‘‘ π‘‘π‘Žπ‘™π‘˜π‘–π‘›π‘” π‘Žπ‘π‘œπ‘’π‘‘ π‘‘β„Žπ‘’ π‘ π‘Žπ‘šπ‘’ π‘‘β„Žπ‘–π‘›π‘”.
π‘Šβ„Žπ‘Žπ‘‘ π‘Žπ‘Ÿπ‘’ π‘¦π‘œπ‘’ π‘‘π‘Žπ‘™π‘˜π‘–π‘›π‘” π‘Žπ‘π‘œπ‘’π‘‘?
πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›, π‘‘β„Žπ‘’ π‘šπ‘œπ‘£π‘–π‘’ π‘œπ‘› 𝑁𝑒𝑑𝑓𝑙𝑖π‘₯ π‘‘π‘–π‘Ÿπ‘’π‘π‘‘π‘’π‘‘ 𝑏𝑦 𝐡𝑖𝑦𝑖 π΅π‘Žπ‘›π‘‘π‘’π‘™π‘’
π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› π‘€π‘Ÿπ‘–π‘‘π‘‘π‘’π‘› 𝑏𝑦 π‘Šπ‘œπ‘™π‘’ π‘†π‘œπ‘¦π‘–π‘›π‘˜π‘Ž
π‘†π‘–π‘Ÿ, π‘‘β„Žπ‘–π‘  π‘œπ‘›π‘’ π‘œπ‘› 𝑁𝑒𝑑𝑓𝑙𝑖π‘₯ 𝑖𝑠 π‘›π‘œπ‘‘ π‘€π‘Ÿπ‘–π‘‘π‘‘π‘’π‘› 𝑏𝑦 π‘†π‘œπ‘¦π‘–π‘›π‘˜π‘Ž π‘œ
πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž π‘Žπ‘›π‘‘ π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› π‘Žπ‘Ÿπ‘’ π‘‘β„Žπ‘’ π‘ π‘Žπ‘šπ‘’.
π΄π‘Ÿπ‘’ π‘‘β„Žπ‘’π‘¦?
π‘Šπ‘’π‘™π‘™, 𝑦𝑒𝑠 π‘Žπ‘›π‘‘ π‘›π‘œ. 𝐿𝑒𝑑 π‘šπ‘’ 𝑒π‘₯π‘π‘™π‘Žπ‘–π‘›.

πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› (2022) is a film adaptation of Soyinka’s π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›. Film Adaptation has been in existence for several centuries. From around 200BC to 300AD, many classical Roman playwrights such as Livius Andronicus, Gnaeus Naevius, and Plautus adapted classical Greek plays just as the Renaissance playwrights like Williams Shakespeare and Christopher Marlowe adapted both the classical Greek and Roman plays. In fact, William Shakespeare’s plays have been adapted in all the eras after the Renaissance and they have been translated into several languages. His plays have been adapted for cinemas, home movies, radio dramas, cartoons, and films. In fact, most great playwrights and movie directors are involved in one form of play adaptation or film adaptation. From Hollywood to Ghallywood, and Bollywood to Borehamwood, all nations of the world take pride in their histories of film adaptations. Film adaptations … from π‘‡π‘–π‘‘π‘Žπ‘›π‘–π‘ to π‘‡β„Žπ‘’ π·π‘Ž 𝑉𝑖𝑛𝑐𝑖 πΆπ‘œπ‘‘π‘’, from π‘‚π‘šπ‘˜π‘Žπ‘Ÿπ‘Ž to π‘†π‘™π‘’π‘šπ‘‘π‘œπ‘” π‘€π‘–π‘™π‘™π‘–π‘œπ‘›π‘Žπ‘–π‘Ÿπ‘’ and from Achebe’s π‘‡β„Žπ‘–π‘›π‘”π‘  πΉπ‘Žπ‘™π‘™ π΄π‘π‘Žπ‘Ÿπ‘‘ to Saro-Wiwa’s π΅π‘Žπ‘ π‘– π‘Žπ‘›π‘‘ πΆπ‘œπ‘šπ‘π‘Žπ‘›π‘¦ and Wale Ogunyemi’s πΈπ‘›π‘–π‘¦π‘Žπ‘›. Film Adaptation … film adaptation is….

π‘†π‘–π‘Ÿ, π‘€β„Žπ‘Žπ‘‘ 𝑖𝑠 π‘‘β„Žπ‘–π‘  π‘“π‘–π‘™π‘š π‘Žπ‘‘π‘Žπ‘π‘‘π‘Žπ‘‘π‘–π‘œπ‘› π‘”π‘Žπ‘›π‘”π‘Žπ‘›?
𝐼𝑑 𝑖𝑠 π‘™π‘–π‘˜π‘’ π‘’π‘Žπ‘‘π‘–π‘›π‘” π‘‘π‘’π‘€π‘œπ‘› π‘ β„Žπ‘–π‘›π‘˜π‘Žπ‘“π‘Ž π‘œπ‘Ÿ π‘Žπ‘šπ‘Žπ‘™π‘Ž π‘€π‘–π‘‘β„Ž π‘“π‘œπ‘Ÿπ‘˜ π‘ π‘π‘œπ‘œπ‘› π‘œπ‘Ÿ π‘β„Žπ‘œπ‘π‘ π‘‘π‘–π‘π‘˜ π‘‘π‘œ π‘šπ‘Žπ‘˜π‘’ π΄π‘šπ‘’π‘Ÿπ‘–π‘π‘Žπ‘›π‘  π‘Žπ‘›π‘‘ πΆβ„Žπ‘–π‘›π‘’π‘ π‘’ π‘ π‘Žπ‘™π‘–π‘£π‘Žπ‘‘π‘’.
π‘Œπ‘œπ‘’ π‘‘π‘œπ‘›β€™π‘‘ π‘šπ‘’π‘Žπ‘› 𝑖𝑑, π‘†π‘–π‘Ÿ?
𝐼𝑑 𝑖𝑠 π‘™π‘–π‘˜π‘’ π‘ π‘€π‘Žπ‘π‘π‘–π‘›π‘” π΅π‘Ÿπ‘’π‘π‘’ 𝐿𝑒𝑒 π‘Žπ‘›π‘‘ π½π‘Žπ‘π‘˜π‘¦ πΆβ„Žπ‘Žπ‘› π‘“π‘œπ‘Ÿ π΄π‘˜π‘– π‘Žπ‘›π‘‘ π‘ƒπ‘Žπ‘€π‘π‘Žπ‘€ π‘‘π‘œ π‘šπ‘Žπ‘˜π‘’ π‘‘β„Žπ‘’π‘š π‘Žπ‘π‘π‘’π‘Žπ‘™π‘–π‘›π‘” π‘Žπ‘›π‘‘ π‘’π‘›π‘‘π‘’π‘Ÿπ‘ π‘‘π‘œπ‘œπ‘‘ π‘‘π‘œ π‘‘β„Žπ‘’ π‘π‘–π‘”π‘’π‘Ÿπ‘–π‘Žπ‘› π‘Žπ‘’π‘‘π‘–π‘’π‘›π‘π‘’π‘ .
π‘†π‘–π‘Ÿ, π‘π‘™π‘’π‘Žπ‘ π‘’ 𝑏𝑒 π‘ π‘’π‘Ÿπ‘–π‘œπ‘’π‘ .
𝐼𝑑 𝑖𝑠 π‘‘β„Žπ‘’ π‘Žπ‘π‘‘ π‘œπ‘“ π‘‘π‘’π‘Ÿπ‘›π‘–π‘›π‘” π‘π‘Ÿπ‘’-𝑒π‘₯𝑖𝑠𝑑𝑖𝑛𝑔 π‘ π‘‘π‘œπ‘Ÿπ‘–π‘’π‘  π‘œπ‘Ÿ π‘–π‘‘π‘’π‘Žπ‘  π‘“π‘Ÿπ‘œπ‘š π‘€π‘Ÿπ‘–π‘‘π‘‘π‘’π‘› π‘€π‘œπ‘Ÿπ‘˜π‘  π‘™π‘–π‘˜π‘’ π‘›π‘œπ‘£π‘’π‘™, π‘π‘œπ‘’π‘š, π‘Žπ‘›π‘‘ π‘‘π‘Ÿπ‘Žπ‘šπ‘Ž π‘–π‘›π‘‘π‘œ π‘Ž π‘“π‘–π‘™π‘š, π‘‘π‘’π‘™π‘’π‘£π‘–π‘ π‘–π‘œπ‘› π‘‘π‘Ÿπ‘Žπ‘šπ‘Ž π‘Žπ‘›π‘‘ π‘“π‘œπ‘Ÿ π‘π‘–π‘›π‘’π‘šπ‘Ž
π‘†π‘–π‘Ÿ, 𝐼 π‘‘β„Žπ‘–π‘›π‘˜ π‘‘β„Žπ‘Žπ‘‘ 𝑖𝑠 π‘ π‘‘π‘’π‘Žπ‘™π‘–π‘›π‘” π‘œπ‘“ π‘ π‘œπ‘šπ‘’π‘œπ‘›π‘’ 𝑒𝑙𝑠𝑒’𝑠 π‘–π‘‘π‘’π‘Ž.
π‘π‘œ. 𝐼𝑑’𝑠 π‘›π‘œπ‘‘.
𝐼𝑓 𝐼 π‘Žπ‘š π‘†π‘œπ‘¦π‘–π‘›π‘˜π‘Ž, 𝐼 𝑀𝑖𝑙𝑙 𝑠𝑒𝑒 π‘‘β„Žπ‘’π‘š.

I saw the picture taken in 2018 when Mo Abudu and Professor Soyinka agreed to turn his literary work into a film. So, it must have been done with his consent. And Soyinka is not the first person whose play would be adapted for film in Nigeria. Film adaptation in Nigeria predated Nollywood. Folktales, stories, novels, poems, and songs have been adapted as far back as the time of Hubert Ogunde, Moses Olaiya (Baba Sala), and Adeyemi Afolayan (Ade Love) (1940-1996). Chinua Achebe’s π‘‡β„Žπ‘–π‘›π‘”π‘  πΉπ‘Žπ‘™π‘™ π΄π‘π‘Žπ‘Ÿπ‘‘ (1958) was adapted for radio drama in 1961 and released for movies in 1972. Adebayo Faleti’s novel πΌπ‘—π‘Ž π‘‚π‘šπ‘–π‘›π‘–π‘Ÿπ‘Ž was adapted for Yoruba film by Ola Balogun in 1979. Fast forward to the 1990s and the emergence of the Nigerian film industry, Nollywood, film adaptation became regular features of the repertoire of Nigerian movies. In 1995, Tunde Kelani adapted for film, π‘†π‘Žπ‘€π‘œπ‘Ÿπ‘œπ‘–π‘‘π‘’ a novel by Akinwunmi Ishola. In 1998, a novel, π‘‡β„Žπ‘’ π‘‰π‘–π‘Ÿπ‘”π‘–π‘› by Bayo Adebowale was adapted for film, π‘‡β„Žπ‘’ π‘Šβ„Žπ‘–π‘‘π‘’ π»π‘Žπ‘›π‘‘π‘˜π‘’π‘Ÿπ‘β„Žπ‘–π‘’π‘“ by Tunde Kelani. Kola Akinlade’s novel, π‘‚π‘€π‘œ 𝐸𝑗𝑒 was adapted for film in 2005 by Yemi Aodu and Remi Ibitila. Other writers whose literary works have been adapted for film include Femi Osofisan’s π‘€π‘Žπ‘Žπ‘šπ‘– released in 2011; Chimamanda Aditche’s π»π‘Žπ‘™π‘“ π‘œπ‘“ π‘Ž π‘Œπ‘’π‘™π‘™π‘œπ‘€ 𝑆𝑒𝑛 adapted for film in 2013; Sefi Atta’s π‘†π‘€π‘Žπ‘™π‘™π‘œπ‘€ (2008) adapted for film by Kunle Afolayan in 2021; Ebi Akpeti’s π‘‡β„Žπ‘’ π‘ƒπ‘’π‘Ÿπ‘“π‘’π‘π‘‘ πΆβ„Žπ‘’π‘Ÿπ‘β„Ž (2010) adapted for film by Wale Adenuga Productions in 2011; Olayinka Egbokhare’s π‘‡β„Žπ‘’ π·π‘Žπ‘§π‘§π‘™π‘–π‘›π‘” π‘€π‘–π‘Ÿπ‘Žπ‘”π‘’ (2007) adapted for film by Tunde Kelani in 2015. Lest I forget, π‘Žπ‘¦π‘– π‘π‘Ž π‘€π‘œπ‘› 𝑠𝑖 𝑛𝑖𝑏𝑒 𝑛𝑖 π‘Žπ‘¦π‘– π‘π‘Žπ‘€π‘œπ‘› π‘‘π‘Ž 𝑠𝑖, I have also contributed two literary works to the story of Nollywood film adaptation. My play, π‘Šβ„Žπ‘’π‘› π‘‘β„Žπ‘’ π·π‘Ÿπ‘’π‘Žπ‘š 𝐷𝑖𝑒𝑠 (2005) was adapted for Yoruba film and titled, 𝑇𝑖 π΄π‘™π‘Ž π΅π‘Žπ‘Žπ‘˜π‘’ by Saheed Salami and Kehinde Salami in 2008; In 2013, π‘‡β„Žπ‘’ πΊπ‘œπ‘‘π‘  π‘Žπ‘Ÿπ‘’ 𝑆𝑑𝑖𝑙𝑙 π‘›π‘œπ‘‘ π‘‘π‘œ π΅π‘™π‘Žπ‘šπ‘’ (2012) was adapted for film by Funke Fayoyin. Go and verify!

𝐡𝑒𝑑 π‘†π‘–π‘Ÿ, 𝑖𝑓 𝑖𝑑 𝑖𝑠 π‘›π‘œπ‘‘ π‘ƒπ‘Žπ‘›π‘Žπ‘‘π‘œπ‘™, 𝑖𝑑 π‘π‘Žπ‘›π‘›π‘œπ‘‘ 𝑏𝑒 π‘™π‘–π‘˜π‘’ π‘ƒπ‘Žπ‘›π‘Žπ‘‘π‘œπ‘™.
π‘Šπ‘’π‘™π‘™, π‘¦π‘œπ‘’ π‘Žπ‘Ÿπ‘’ π‘Ÿπ‘–π‘”β„Žπ‘‘ π‘Žπ‘›π‘‘ π‘€π‘Ÿπ‘œπ‘›π‘”.
π‘†π‘–π‘Ÿ, π‘Žπ‘‘ 𝑏𝑒𝑠𝑑, 𝑖𝑑 π‘π‘Žπ‘› π‘œπ‘›π‘™π‘¦ 𝑏𝑒 π‘™π‘–π‘˜π‘’ π‘ƒβ„Žπ‘’π‘›π‘ π‘–π‘ π‘œπ‘Ÿ πΌπ‘π‘Ÿπ‘’π‘π‘œπ‘“π‘’π‘›
𝐴𝑑 π‘™π‘’π‘Žπ‘ π‘‘, π‘‘β„Žπ‘’π‘¦ 𝑀𝑖𝑙𝑙 π‘ π‘’π‘Ÿπ‘£π‘’ π‘‘β„Žπ‘’ π‘ π‘Žπ‘šπ‘’ π‘π‘’π‘Ÿπ‘π‘œπ‘ π‘’ π‘Žπ‘›π‘‘ π‘šπ‘œπ‘Ÿπ‘’β€¦
π‘†π‘–π‘Ÿ, 𝑖𝑑 𝑖𝑠 π‘›π‘œπ‘‘ π‘π‘œπ‘ π‘ π‘–π‘π‘™π‘’. 𝑆𝑖𝑑𝑒 π‘β„Žπ‘–π‘π‘˜ π‘Žπ‘›π‘‘ 𝑀𝑖𝑓𝑒 π‘π‘Žπ‘›π‘›π‘œπ‘‘ π‘ π‘’π‘Ÿπ‘£π‘’ π‘‘β„Žπ‘’ π‘ π‘Žπ‘šπ‘’ π‘π‘’π‘Ÿπ‘π‘œπ‘ π‘’β€¦
π‘Šπ‘’π‘™π‘™, π‘›π‘œ π‘‘π‘€π‘œ β„Žπ‘’π‘šπ‘Žπ‘› 𝑏𝑒𝑖𝑛𝑔𝑠 π‘Žπ‘Ÿπ‘’ π‘‘β„Žπ‘’ π‘ π‘Žπ‘šπ‘’, 𝑒𝑣𝑒𝑛 𝑖𝑓 π‘‘β„Žπ‘’π‘¦ π‘Žπ‘Ÿπ‘’ π‘†π‘–π‘Žπ‘šπ‘’π‘ π‘’ 𝑑𝑀𝑖𝑛𝑠

The original work and its adaptation may serve the same purpose. They may be like Siamese twins but occupying different spaces, places, and mediums just like πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› and π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›. They may be faithful to each other, they may be separated but not divorced and they may be divorced, separated, and not on talking terms. The β€˜dialogic processes’ between them may reveal their filial relationships, hatred of each other, and betrayal, violation, and desecration of each other. They may be done to clarify the similarities and differences or agreements and disagreements that they have with each other. πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› is obviously in love with π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›, and it is very proud to flaunt their filial relationship. Its desire is to be faithful, truthful, honest, and resemble π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› in every way possible regardless of whose ox is gored, and regardless of whether those watching their relationship are close friends, acquaintances, or total strangers. πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› is more concerned about transposition and less worried about commentary and analogy. It should however be stated that a relationship will be boring if one of the parties brings nothing to the relationship table. Therefore, both parties must bring something new to sustain interest in the relationship. As Morris Beja in πΉπ‘–π‘™π‘š π‘Žπ‘›π‘‘ πΏπ‘–π‘‘π‘’π‘Ÿπ‘Žπ‘‘π‘’π‘Ÿπ‘’: 𝐴𝑛 πΌπ‘›π‘‘π‘Ÿπ‘œπ‘‘π‘’π‘π‘‘π‘–π‘œπ‘› (1979) rightly observed, β€œ’Of course what a film takes from a book matters; but so does what it brings to a book.” (88) The major thing which πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› brings to the table and not shy to present to π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› is its voice, sound, and music. Much as it tries to please and emulate π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›, it realizes the importance of maintaining one’s voice and spicing it up with esoteric diegetic and non-diegetic sounds. Appropriate music dots every significant difference between πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› and π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›, even as it is obvious that the β€˜π„π₯𝐞𝐬𝐑𝐒𝐧 πŽπ›πšβ€™ is not a virtuoso dancer. It however pays for that deficiency in the way it perfectly showcases their shared colonial heritages through well-researched characterization and appropriately designed settings. The characters on the pages are mirror images of the characters on the screen just like the architectural design of the colonial residence. Although, critics may wonder why everything happens in a day with most of the events happening in a market. It is as it is in the original text and it is in keeping with the Yoruba worldview, π‘œπ‘—π‘Ž 𝑛𝑖 π‘Žπ‘¦π‘’ (Life is a market). Also important is the bond of agreement of the subject matter and thematic focus of both πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› and π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›. As difficult as it is, the director and designers struggle not to give the reductive impression that the play is about the clash of cultures or clash of civilizations. It is indeed a daunting and tricky plot to capture. Soyinka himself states in the β€˜Author’s Note’ that, β€œThe confrontation in the play is largely metaphysical, contained in the human vehicle which is Eleshin and the universe of the Yoruba mind- the world of the living, the dead and the unborn, and the numinous passage which links all: transition.” (Soyinka, π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›; 305)

To do justice in the criticism of πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› requires an understanding of the rules of engagement in the film adaptation. It is not π‘–π‘Ÿπ‘’ π‘€π‘Ž, π‘œπ‘”π‘–π‘Ÿπ‘– π‘€π‘Ž π‘œπ‘Ÿ π‘”π‘π‘œπ‘”π‘π‘œ π‘’π‘Ÿπ‘œ (all comers) criticism lacking in measure, perspective, and focus. Critics of πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› must bear in mind the four paradigms noted by Kline Karen in β€œThe Accidental Tourist on Page and on Screen: Interrogating Normative Theories about Film Adaptation” (1996). Klein advises critics of film adaptation to tailor their criticism from the following perspectives: (1) “Translation”; (2) “Pluralist”; (3) “Transformation”; and (4) “Materialist. Justice can only be served to πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› if it is criticized from the perspective of β€œTransition” because the aim of the producer, Mo Abudu and the director, Biyi Bamdele of blessed memory is its fidelity to π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›. Criticism of the film from the Pluralist perspective can also be justified since there are obvious similarities and some departures between it and π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›. Criticism of πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› through the lens of β€œTransformation” may be right but the original material is not merely a source or raw material but its mirror image, heart, and soul. πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› may be seen as a distinct art form, but full justice may not be served to the creative efforts of the producer, the director, the crew, and the actors. This is not to state that film adaptation is a lesser art. Speaking from personal experience, Film Adaptation can be much more difficult than producing an original film. Lastly, examining πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› from the β€œMaterialist” perspective may take away the shine from π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› to extraneous and irrelevant factors. πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› is a play whose producer strongly believes the Yoruba adage, π‘‚π‘‘π‘œΜ€ 𝑑𝑖́ π‘œΜ π‘π‘ŽΜ π‘”π‘π‘ŽΜ€π‘”π‘π‘’Μ π‘œπ‘Ÿπ‘–Μπ‘ π‘’π‘› π‘¦π‘œΜπ‘œΜ€ 𝑔𝑏𝑒̣. (A river that forgets its source will dry up).

Soyinka’s π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› is a ritual drama. A ritual is any act that is done at a particular or specific time and follows a particular or specific order, sequence, and mode. The dialogues and actions in the play are ritual metaphors for the initiates and masses. This is in line with Soyinka’s position that β€œritual is the language of the masses”. (Soyinka’s β€œDrama and the Revolutionary Ideal”; 87) This is also in line with Martin Esslin’s statement that, β€œOne can look at ritual as a dramatic, theatrical event – and one can look at drama as ritual.” (Martin Esslin, 𝐴𝑛 π΄π‘›π‘Žπ‘‘π‘œπ‘šπ‘¦ π‘œπ‘“ π·π‘Ÿπ‘Žπ‘šπ‘Ž; 27). It is from this perspective that one should appreciate the pathfinding Dionysian and Ogunian daring and theatrical inputs of Mo Abudu, Biyi Bandele, Adeola Osunkojo, Odunlade Adekola, Deyemi Okanlawon, Shaffy Bello, Mark Elderkin, Omawumi Dada, Brymo Olawale, Langley Kirkwood, Jenny Stead, Jide Kosoko, Debbie Ohiri, Omololu Shodiya, Michael Okorie, Biodun Adefila, Seun Awobajo, and Ifenaike Abiodun.

Mo Abudu and Prof. Wole Soyinka

π‘¬π’π’†π’”π’‰π’Šπ’ 𝑢𝒃𝒂: 𝑻𝒉𝒆 π‘²π’Šπ’π’ˆβ€™π’” π‘―π’π’“π’”π’†π’Žπ’‚π’ is another affirmative statement on the improving quality of the Nollywood movies. It is now on Netflix. Approach it with caution. Be sure to have popcorn with a nice wine by your side as you watch how β€˜π„π₯𝐞𝐬𝐑𝐒𝐧 πŽπ›πšβ€™ travels light from page to stage and to screen.
#ElesinOba
π‘πžπŸπžπ«πžπ§πœπžπ¬
Beja, Morris. πΉπ‘–π‘™π‘š π‘Žπ‘›π‘‘ πΏπ‘–π‘‘π‘’π‘Ÿπ‘Žπ‘‘π‘’π‘Ÿπ‘’: 𝐴𝑛 πΌπ‘›π‘‘π‘Ÿπ‘œπ‘‘π‘’π‘π‘‘π‘–π‘œπ‘›. New York: Longman, 1979.
Biyi, Bandele (dir) πΈπ‘™π‘’π‘ β„Žπ‘–π‘› π‘‚π‘π‘Ž: π‘‡β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘› (film). Netflix. 2022.
Esslin, Martin. An Anatomy of Drama. 1 America: Hill and Wang, 1976.
Geoffrey A. Wagner. π‘‡β„Žπ‘’ π‘π‘œπ‘£π‘’π‘™ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ πΆπ‘–π‘›π‘’π‘šπ‘Ž. Fairleigh Dickinson University Press, Rutherford, N.J., 1975.
Kline, Karen E. β€œThe Accidental Tourist on Page and on Screen: Interrogating Normative Theories about Film Adaptation.” Literature-film Quarterly 24 (1996): 70. 1996.
Soyinka, Wole. π·π‘’π‘Žπ‘‘β„Ž π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝐾𝑖𝑛𝑔’𝑠 π»π‘œπ‘Ÿπ‘ π‘’π‘šπ‘Žπ‘›. London: Eyre Methuen, 1975.
Soyinka, Wole. π‘€π‘¦π‘‘β„Ž, πΏπ‘–π‘‘π‘’π‘Ÿπ‘Žπ‘‘π‘’π‘Ÿπ‘’ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ π΄π‘“π‘Ÿπ‘–π‘π‘Žπ‘› π‘Šπ‘œπ‘Ÿπ‘™π‘‘. Cambridge: Cambridge University Press, 1976.
Soyinka, Wole. β€œThe Fourth Stage: Through the Mysteries of Ogun to the Origins of Yoruba Tragedy,” in π‘€π‘¦π‘‘β„Ž, πΏπ‘–π‘‘π‘’π‘Ÿπ‘Žπ‘‘π‘’π‘Ÿπ‘’ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ π΄π‘“π‘Ÿπ‘–π‘π‘Žπ‘› π‘Šπ‘œπ‘Ÿπ‘™π‘‘ (Cambridge: Cambridge University Press, 1976), 140–60. 1976.
Stam Robert. πΏπ‘–π‘‘π‘’π‘Ÿπ‘Žπ‘‘π‘’π‘Ÿπ‘’ π‘‘β„Žπ‘Ÿπ‘œπ‘’π‘”β„Ž πΉπ‘–π‘™π‘š: π‘…π‘’π‘Žπ‘™π‘–π‘ π‘š, π‘€π‘Žπ‘”π‘–π‘ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ π΄π‘Ÿπ‘‘ π‘œπ‘“ π΄π‘‘π‘Žπ‘π‘‘π‘Žπ‘‘π‘–π‘œπ‘›. Blackwell. 2005.
Wagner, Geoffrey Atheling. π‘‡β„Žπ‘’ π‘π‘œπ‘£π‘’π‘™ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ πΆπ‘–π‘›π‘’π‘šπ‘Ž. Rutherford, N.J: Fairleigh Dickinson University Press, 1975.

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