Movie review: Lisabi is a mixed bag of history and fantasy

When trailers of movies are released, there is always excitement because expectations are raised and so, you want to see a masterpiece; storytelling in its best form, especially when the trailer heightens your hopes. Does “Lisabi” live up to expectations? 

“Lisabi”, a movie directed by renowned Niyi Akinmolayan, released on Netflix, is a historical drama that attempts to retell the story of the Oyo Empire, but from an angle not expected and not spectacular.

The Plot of “Lisabi”

One of the most frustrating aspects of “Lisabi” is its meandering plot. The film takes its time setting up various storylines, only to abandon them in favour of a more action-oriented second half of about 1o minutes, out of over 120 minutes. Akinmolayan expects the audience to lick their tongues awaiting the sequel. 

The result is a disjointed narrative that fails to cohere into a satisfying whole. The film’s climax is particularly underwhelming, feeling like a non-sequitur that fails to tie together the various threads of the story.

“Lisabi” is a mixed bag of history and fantasy. While it has some strong moments and impressive production values, it ultimately falls short due to its lack of originality and poor pacing. 

No doubt, the film’s themes are thought-provoking, but its execution is often clumsy and confusing. With some tighter editing and a more focused narrative, “Lisabi” could have been something truly special. As it stands, it’s a middling effort that fails to leave a lasting impression.

However, the film’s biggest problem is its lack of originality, as it rehashes familiar stories and themes that have been told over and over. However, the setting and atmosphere of the Oyo Empire are well-crafted, immersing the audience in a rich Yoruba culture where agriculture is a big deal, and crude oil is not in the picture. 

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Characterisation

As with many recent Nollywood movies, it is star-studded (a common marketing strategy), and individual performances are overly dramatic. This is one thing that can draw the audience’s attention, but how does it help the narration? 

For instance, some characters feel underdeveloped, particularly Osokenu, who is killed off while fighting and killing ten men who are supposedly warriors, leaving unanswered questions: “Was he a warrior?” “Where did he learn to fight?” “Were we supposed to pity Osokenu who went on his own to fight off a large group of tribute collectors?” This is not a Chinese film, please. Even Lisabi was surprised Osokenu killed those men. 

On his own, Lisabi, supposedly the leader of the pack – the uprising – seems weak until the end. The story should have given a background to inform how Lisabi will cause ripples through the Empire.

Instead, he is just an ordinary farmer, and when the director thinks it right, he becomes the one who has access to all the gods. That seemed like an afterthought. Besides, it is supposed to be a war among human beings, not of gods and men. 

Sangodeyi, the leader of the tribute collectors, brought the drama and carelessness typical of people in power. His strength and recklessness are seen right from the beginning so the audience is not lost in thought as to how subdued towns and villages would respect or fear him. And since the story’s development is based on a tribute collection, Sangodeyi is as ruthless as he should be. 

Meanwhile, the ‘quiet’ of the women in the film is too obvious to be overlooked. Is that a commentary on the role of women in the Oyo Empire? 

History says that in the Oyo Empire, women held various important roles that contributed to both the social and political life of the society. They held political positions, managed markets and were market leaders – the Iyalodes, women participated in religious practices and rituals and there were amazons among them.

So, why did Akinmolayan gather all those stars just to sit and watch as men stain the battleground with blood? 

There is a hint the women will be more outspoken in the next chapter though.

Besides that, the chemistry between the leads is palpable, and their relationships are convincing, but the supporting characters are often relegated to the background. 

The dialogue is unconvincing

Sigh! The dialogue is often clunky and stilted, with characters speaking in overly formal language that feels unnatural. We look forward to a time when dialogues are so inspiring you could create quotes out of them. 

One of the scenes where the dialogue should not be missed is when Olu Olodan confronts the Alaafin. All we had was a flashback that came too fast. We also had a confrontation with a girl at Sangodeyi’s camp, and it sounded too easy that she was picked on thereafter. 

Impassioned antagonism would have made Sangodeyi stand and walk around her to find out if she had physical strength as much as she had communication skills. 

Any relevance to current events?

One of the film’s biggest strengths is its exploration of themes that are still relevant today – The struggle against oppression and the power of tribute collection is timely and thought-provoking. 

Also, the film’s depiction of rape and abuse at the hands of warriors is a powerful commentary on the treatment of women during that period. These themes are handled with sensitivity and nuance, adding depth and complexity to the story.

However, the film’s use of fantasy elements, such as Lisabi‘s supernatural powers, feels like a cop-out. It’s unclear whether these elements are meant to be taken literally or symbolically, and they often detract from the otherwise grounded historical setting. The film’s reliance on these elements also feels like a way to avoid dealing with the complexities of real-world historical events.

Cinematography 

The cinematography is beautiful, capturing the lush landscapes and vibrant colours of the Oyo Empire. The production design is also impressive, bringing to life the bustling markets – though scantily – and cultural architecture of the era. 

The costumes and makeup are equally impressive, transporting the viewer to a different time and place. Since Nollywood started creating villages for such storytelling, the cinematographers have always had a swell time. 

The special effects are minimal, with only a few instances of CGI used to turn training warriors into monstrous elements. However, these effects are somewhat dated and could have been avoided in favour of more practical solutions. At times, it feels like Akinmolayan is trying to emulate modern-day blockbusters rather than telling a unique story.

We don’t expect to see CGI in an ancient setting where wars were fought with swords, strength, determination and numbers. 

Overall thoughts

The film’s pacing and transitions are where it falters the most. The transitions – which is always a problem with storytelling in Nollywood – between scenes are often abrupt and confusing, leaving the viewer feeling lost and disconnected from the narrative. At times, it feels like the director is trying to cram too many plot points into a single scene, resulting in a jumbled and confusing mess.

A typical example is when Olu Olodan is responding to the Alaafin, and the camera suddenly moves away to a scene when Olodan questions the authority of the empire. You’ll also see Sangodeyi in a setting with his men, and there is an abrupt shift to when a town is burning and people are running everywhere. 

That kind of narration leaves you hanging and wanting for gaps to be filled. 

Akinmolayan’s reliance on slow motion and soundtrack is an attempt to elevate emotions, distract the audience from the clumsy transitions and draw the audience in, but it feels forced and unnecessary.

Rating: 5.5/10