Unarguably, fast-rising thespian Funke Akindele has further proven her dramatic ingenuity to the attestation of even the most fastidious movie critic with her latest movie entitled Ã¢â‚¬ËœApaadiÃ¢â‚¬â„¢ which literal translation means broken clay pot.
From the dawn of the play, suspense as the prominent dramatic device employed holds the attention of the viewers even as it steadies and reinforces the playÃ¢â‚¬â„¢s action and dialogue.
In fact, this same device has been dramatically structured to resonate in the theatrics of the carefully selected dramatists ranging from Yinka Quadri, Adebayo Salami, Taiwo Hassan, Kareem Adepoju, Ayo Mogaji, Peju Ogunnmola to Peter Fatomilola.
The story-Proud prince Aderemi (Femi Adebayo) who is the heir apparent is dying. And his mystery ailment is linked to the aftermath of using his status to oppress, disrespect, desecrate, intimidate and dehumanize everybody and anything that crosses his path and catches his fancy. Even his siblings are not spared.
The conflict is built when he smashes a clay pot on the head of a female pots seller and only child of Ã¢â‚¬â€œ (Peju Ogunmola) Kikelomo who dies instantly at a market square while haggling to purchase a new pot to pacify his heartthrob Kayinsola (Doris Simeon) whose mates led by Alaba inadvertently break her pot during taunts-exchange at the streamside.
The only remedy, as revealed by the oracle priest Opewusi (Peter Fatomilola) , is for his seven blood sisters to sojourn an evil forest to retrieve a piece of the broken pot for sacrifice on which hangs his survival.
The mothers of the kingÃ¢â‚¬â„¢s daughters vehemently refuse to allow them embark on the journey particularly when they recall the princeÃ¢â‚¬â„¢s haughtiness and palpable hatred, mutual distrust and strife among themselves.
However, the tension is doused as the king (Yinka Quadri) succeeds in convincing them. There is also a surge of catharsis which put the viewers on a meditative and sober mood as the daughters sorrowfully embark on the arduous and dangerous journey.
Humour is creatively deployed in the play without overshadowing the sober tone intended by the playwright in the didactic movie.
With an organic plot, rural setting having a temporal background in the pre-colonial era, elaborate costuming and scenery and proverbial language rich in Yoruba traditions, the play maintains a sincere verisimilitude which places it on a distinct dramaturgical level far above others in its genre.
Indeed, the playwright would have to weave uncommon screen craft in the denouement as the play probably ends in the second part. This is very vital because the dramatic tempo set in the first part must be sustained in order to foreground the work in the realm of eternal relevance.