In life, during our trying moments, we often talk about things that hold great importance to us. Every viewer loves a happy ending in a film—a conclusion that suggests a continuation of the characters’ stories
. It’s not unreasonable to ask for this, as it makes viewers happy, and there’s nothing wrong with that.
We often forget that actors are humans first, even before they take on the realities of their characters. Given this thematic preoccupation, it’s natural for them to get tired—after all, humans do.
I’ve seen films that aren’t properly scripted or have a loose plot. Believe me, if it’s poor, I’ll say it is. We often criticise because we have high expectations, and when these aren’t met, we criticise the craft, citing plot issues as the main contention.
Recently, I watched the Netflix-marketed film “Kesari” and, to some extent, enjoyed the plot. After watching the film, I read several reactions from people who claimed the plot was underdeveloped.
I don’t blame them—they had high expectations. The scriptwriters did an amazing job, developing a character spanning three generations, which is no easy feat. However, my perspective is based on my experience, and not everyone will have the same experience.
“Kesari (The King)” is a captivating Yoruba drama/action film directed by the talented duo Ibrahim Yekini and Tope Adebayo. With a running time of 1 hour and 40 minutes, the film offers a compelling blend of dramatic intensity and action-packed sequences, providing viewers with an engaging cinematic experience.
Available for streaming on Netflix, “Kesari” is a testament to the rich storytelling traditions of Yoruba cinema, skillfully brought to life by an exceptional cast.
The film features a stellar lineup of actors, including Ibrahim Yekini, Odunlade Adeoka, Deyemi Adedimeji, Femi Adebayo, Adebowale Adedayo, Boma Akpore, Femi Branch, Yinka Quadri, Bolaji Ogunmola, Yvonne Jegede, Kevin Ikeduba, and Dele Odunle. Each actor delivers a remarkable performance, contributing to the film’s depth and emotional resonance.
His nuanced performance is complemented by Odunlade Adeoka’s dynamic screen presence and Deyemi Adedimeji’s compelling acting skills. The ensemble cast brings a diversity of talent and charisma, enhancing the film’s overall appeal.
“Kesari” weaves a rich narrative that spans generations, showcasing the complexities of human relationships and the enduring struggle for power and justice.
The directors’ adept storytelling and the cast’s outstanding performances make this film a noteworthy addition to the Yoruba drama/action genre.
Whether you are a fan of intense dramas or thrilling action films, “Kesari” promises to be a memorable viewing experience.
The movie ‘Kesari (The King)’ begins in ancient times with Aronimoja (Odunlade Adeoka) invading a town. He confronts Aribidesi, who had previously agreed to provide enslaved people and children every six months in exchange for settling on the land. When Aronimoja demands Aribidesi’s only daughter, Wuraola, Aribidesi refuses, resulting in Wuraola’s tragic death at Aronimoja’s hands.
Devastated, Aribidesi takes his daughter’s body to a sacred tree representing the deity Kesari, pleading for vengeance. Kesari emerges from the tree, defeats Aronimoja, and retreats to the mountains.
The story then shifts to a pregnant woman, Iya Abiye, and her husband, Ifadowo. Ifadowo gives her a leaf and instructs her to praise it for a safe delivery.
As she does, the deity Kesari enters her womb, leading to the rebirth of Kesari as their son, Ifadola. However, Iya Abiye dies during childbirth.
Upon Ifadola’s birth, the messengers of Orunmila (gods’ messengers) prophesy his greatness but warn Ifadowo never to touch his head in anger. As Ifadola grows, he falls in love with Amoke, who urges him to pursue an education, which he resists. Quick to anger, Ifadola uses his powers against anyone who offends him, accidentally killing one of Orunmila’s messengers in one incident.
Furious, Ifadowo scolds Ifadola and, in a moment of anger, hits his head. This action transforms Ifadola into the deity Kesari, causing Ifadowo to vanish. Ifadola’s head turns to gold and begins floating in the air, attracting the attention of authorities and criminals.
A gang of robbers, including Sky, Internet, Coaster, and Water, plots to steal the floating golden head. During their attempt, the head transforms back into Kesari and vanishes. Later, Kesari reappears and becomes the gang’s leader, known for robbing the rich to help the poor.
Kesari’s activities draw the attention of the authorities, setting up a conflict as they try to capture him and his gang.
There are several lessons to be learned in the film. One can’t say yet if the producers intend to make this film a series, but I am keeping my fingers crossed.
Expectations vs Realism
We see things differently but I always refer to one of my literary professors, Busyi Mekusi, who tends to say that “we can either undertell a story or overtell a story,’ meaning it is never too much and it is never going to be enough, ,depending on where we are standing to digest the story.
Extracting from that perspective, I feel the storyline is amazing; it is not distracting. Since the film is eponymous, the scriptwriters focused on the lead, Ibrahim Yekini, as Kesari himself.
The storyline compelled the audience to follow his development as he meets different characters, which aided his growth.
However, in reality, one would have expected to learn more about his girlfriend’s background, her development while in school, and aspects like whether Sky, Internet, and Water really have family members, etc.
However, I hold the perspective that since the film is eponymous, one should expect less focus on the supporting characters.
Speaking of costumes, it is one of the toughest aspects of interpreting a role and a film. I believe the costumes were properly allocated, especially Ibrahim Yekini’s.
However, the depiction of the police officers lacks verisimilitude; our police officers don’t dress like that, and it should not have been portrayed as such.
Furthermore, the epic set involving Kesari emerging from the woods should not have featured Timberland boots. A sandal would have better conveyed the old transitional experience.
Diction is also very necessary to discuss here. I’ve seen vampire series where a certain character dies about four centuries ago and, according to the film, when this character returns, he still speaks contemporary English—no “thee” or “thou.” Instantly, he blends linguistically into his given society.
Citing this analogy refutes the claim that Kesari should not be able to speak well when he joins the armed robbers. He can, to some extent, express himself in simple English. Being a being with special powers, learning wouldn’t be difficult for him.
In the yoruba mythology , there are two powerful names that are reflected in the film, it is Àkàndá ( meaning someone who is created uniquely ) and Àtàndá ( someone whose birth spurs from history ) These two key words are evident in the storyline yet we also get reminded that no human is ever perfect.
The film also projects that there is always a narrative in every given circumstance; even Kesari was robing to make sure the middle class existed.
The political narrative was that he is the enemy of the people and this is a microcosm of our human society . Public opinion is key and it becomes an ideology along the line .
It is deliberate for the script writers to keep the refrain “ give what belongs to Cesar to Cesar” in different contexts; one could say that what belongs to the masses should not be taken by all .
Kesari has yet again reiterated that the liberation of people lies in comradeship and such a person will, ,no doubt, first be the enemy of the government, ,especially the corrupt government.
I have enjoyed the film and I believe that the message is loud and clear .
It is 8/10 and I look forward to seeing a more conscious story line .
