Ahmad Adedimeji Amobi: Here’s What I Think After Watching “House of Ga’a”

House of Ga’a. Femi Branch in House of Ga’a. Cr. Courtesy of Netflix © 2024

It’s coming faintly to me now, but it’s been many years since I watched “Bashorun Gaa”, an old Nollywood epic movie that explores the Oyo empire and the influence of Bashorun Gaa in the 16th and 17th centuries. So when I saw the trailer of Bolanle Austin Peters’ “House of Ga’a”, I was expecting a remake or neo-adaptation of the old “Bashorun Gaa.” Well, it wasn’t. Not entirely. 

“House of Ga’a” opens with Gaa, played by Femi Branch, conquering a war battle against the Nupe folk. This battle, and the many others won by Gaa, impresses the Oyo empire and they show their appreciation by appointing him as the Bashorun, making him the leader of the Oyomesi, a board of people who are regarded as the kingmakers. In an expected turn – as it is in history – Gaa becomes power-drunk and personalises the post by appointing his children and family members to head the kingdoms under the Oyo Empire. Gaa becomes so powerful the king bends to his rules. 

While the old “Bashorun Gaa” and “House Ga’a” share similar narrations like Ga’a personalising the Bashorun chieftaincy, considered responsible for the death of 4 kings and being deposed by his son, there is a thin line of difference: “Bashorun Gaa” focuses on the Oyo Empire while exposing the powerfulness of Gaa and how his influence challenged the trajectory of the empire. Meanwhile, “House of Ga’a” focuses on the internal issues or narrations inside the house of Ga’a and his family. Unlike “House of Ga’a,” the old “Bashorun Gaa” does not deeply narrate the story of the maid, Zeinab, played by Tosin Adeyemi, or how Ga’a marries off Agbonyin, played by Bridget Nkem to Olukuoye, played by Femi Adebayo, or when Oyemekun, played by Mike Afolarin, is jailed for attempting to kill Ga’a for sacrificing his lover for his health. Simply, “Bashorun Gaa” focuses on the external life of Gaa while “House of Ga’a” focuses on the internal affairs of Gaa.

It is commendable that Nollywood filmmakers are bringing history to our screens, especially at a time when a lot of young people are oblivious to the knowledge of their cultural heritage. But, in doing so, I believe accuracy is also important to its core. When a piece of historical allusion lacks that accuracy, it leaves the viewers with a lot of questions. The production of “House of Ga’a” is excellent in terms of cinematography. Every emotion is vibrant and well-pronounced. We can see, without telling, when Gaa is angry or when community members are quite surprised about the turn of events.

However, for anyone who is unfamiliar with Oyo’s history, “House of Ga’a” does not seem provocative enough to nudge one towards research. What is played for over two hours could be summarised into a 50-minute play and still hold the same meaning. Probably due to the slow performance of the characters or how it tries to brush through the surface of a historical moment, it’s the kind of movie you finish and say, “Okay, now what?”

For some, the question might begin when they see Stan Nze in a supposed Yoruba movie, who, to the knowledge of everyone, is Igbo. Now, it doesn’t take away Stan Nze’s artistry, but it’s the same question one would ask when we see Jennifer Lopez acting Serena Willaims in Serena Williams’s biopic. It’s not about the acting execution; it’s about how serious one would take a movie in terms of proper representation. 

I believe “House of Ga’a” achieved its purpose in terms of entertainment. It’s a fun watch, especially with the comical characterisation of Bashorun himself and the drunk Olubu, played by Lateef Adedimeji, yet drops in its historical depth and nuance. While Bolanle Austin Peters’ direction shines in bringing emotions to life on screen, the film doesn’t push audiences, or me anyway, to engage with the rich history of the Oyo Empire as deeply as it could have. Despite its strong performances, and being star-studded, the film’s pacing and absence of historical rigour leave it feeling incomplete. Again, “House of Ga’a” succeeds in entertaining, no doubt, but it misses the opportunity to fully explore its historical significance.