HOUSE OF GAA: OVERRATED OR INDEED AN EPIC TO RECKON WITH?
Iviero Blessing
Bolanle Austen Peters, who recently released the popular movie Fumilayo Ransome Kuti, has again released another thrilling movie titled House of Gaa, which has got people talking. House of Gaa is set in the 18th century, during the height of the Oyo Empire’s power in West Africa. The story centers on Bashir, the head of the Oyo Mesi, known for his ruthless ambition and tyrannical governance. His reign was marked by the execution of several Alaafins who opposed him.
The story begins with Femi Branch, playing Bashorun Gaa, who, along with his sons, brother, and the Aare Ona Kankanfo, lead a successful war against the Nupes. After the victory, Gaa assigns tasks to his sons and sends the Aare Ona Kankanfo away, creating tension between them. Upon returning to Oyo, Gaa is named Bashorun, giving him supreme authority as the head of the Oyomesi, the kingmakers.
After being initiated into the cult, Bashorun Gaa begins to defy the king’s commands, even killing two members of the council of chiefs sent to deliver the king’s message. It is revealed that Gaa’s actions were driven by revenge for his elder brother’s death at the king’s hands. He orchestrates the deposition of the king, who subsequently committed suicide. This illustrates the significant power of the kingmakers over the king and highlights the checks and balances inherent in the old Yoruba empire’s system.
Bashorun Gaa, intoxicated by power, begins to install and control kings, imposing humiliating demands and executing those who defied him. His rule continues until he appoints a stronger king, leading to the death of his own son. In a failed attempt to kill this new king, Gaa is ultimately successful but is left paralyzed by a charm. He then installs another king, a peaceful ruler and his son-in-law. Desperate for a cure, Gaa used his daughter-in-law who happens to be his brother late’ wife now his wife and his lastborn son’s long-time lover as sacrifice.
When Bashorun Gaa’s lastborn son, Oyemekun, learns of his father’s actions, he kills Gaa’s herbalist, leaving Gaa vulnerable. Meanwhile, the king, whose daughter has been sacrificed by Gaa, and the Aare Ona Kankanfo conspire to eliminate Gaa and his family. They succeed in capturing Gaa, who is sentenced to be burned alive. The only survivors are Oyemekun, who changes his name, and his nephew, a grandson of the king.
Let’s get into the cast. Femi Branch’s performance as Bashorun Gaa is outstanding, firmly establishing him as a top actor. His skillful use of facial expressions, combined with his ability to balance comic relief and cruelty, truly brings the character to life. From the start, Gaa appears as a coward who lets others do his dirty work and exploits others for his gain, but he later reveals a complex nature, showing audacity even in his relationships, notably making a former slave his favorite wife but the slave had too much audacity. Branch’s exceptional work deserves recognition, and he is likely to receive nominations and possibly awards at AMAA and AMVCA.
Funke Akindele (Ayinba) and Toyin Abraham (Edan Asiko) were major draws for many fans eager to see this film, especially since they reunited on screen after nearly a decade. Despite their star power, their screen time didn’t meet expectations. Funke’s role as Gaa’s senior wife is strong, effectively managing the younger wives, while Toyin plays his protective sister. Interestingly, although their characters crossed paths twice, they never interact directly. The film hints at Ayinba’s disapproval of Gaa’s actions and Edan Asiko’s admiration for him. It would have been compelling to see a dramatic scene where their characters clash over Gaa’s controversial decisions, adding depth to their roles and offering fans a chance to compare their acting skills.
Mr Austen, Ibrahim Chatta’s talent often seems underappreciated, which is frustrating, especially since his performance in this film, though strong, might not be his best. His role as a powerful herbalist ending in such a way feels disappointing. It’s clear that Chatta deserves more recognition, and it’s high time he took the lead in a major film ensemble to truly showcase his exceptional abilities at their peak.
Lateef Adedimeji killed his role in the aid of the death of Gaa’s eldest son(Olaotan) and this gives a moral that betrayals does not last long but that is quite disturbing. How is it possible that you can’t kill someone when they are in their armour and the armour in question is leather, and in the end kill him by using an object which makes the staging obvious? It didn’t show any reality at all.
Noteworthy performances in the film include those by the sons of Gaa, the Nupe slave-turned-wife, as well as Bimbo Manuel and Yemi Blaq. One puzzling aspect is Oyemekun’s failure to publicly declare his intentions towards the princess, which might have averted the tragic downfall of the House of Gaa.
On a more positive note, the film highlights a strong women empowerment theme during the attack. Instead of cowering, the wives bravely take up arms and fight alongside the warriors. Additionally, the portrayal of Yoruba warriors not riding horses in battle, a recurring element in Yoruba epic films, adds authenticity to the depiction of traditional warfare.
