(The following contains Spoilers for Jagun Jagun, the Netflix movie)
Femi Adebayo has no interest in squandering that spotlight and character identification obtained from Agesinkole. After the actor made more waves and expanded his Nollywood stardom with King of Thieves in 2022, he decided to follow that up with another leading role in Jagun Jagun a year later.
Similar sartorial recognition, and similar facial demeanour, but that’s probably where the semblance between both films ends. Directed by Tope Adebayo and Adebayo Tijani, Jagun Jagun stars Femi Adebayo alongside Lateef Adedimeji, Bukunmi Oluwashina, and Debo ‘Mr Macaronii’ Adedayo, but most notably is its casting choice of rolling back the years, with the likes of Muyiwa Ademola, Dele Odule, Fathia Balogun, Adebayo Salami, Yinka Quadri, and Peju Ogunmola, among others, appearing.
Such is the way of this movie, that we need not stand on ceremony:
The Good
Jagun Jagun brings with itself an excellent sense of Yoruba identity and identification. Particularly with its dialogue and diction. There’s the sense of richness in the use of language, both verbal and physical, not just in the use proverbs and fabled rhetoric, but also what they mean. Threats are delivered with a sense of authority and wisdom that doesn’t get in the way of clarity, and retorts are given with the same sense. This movie uses dialogue to properly convey every facet of relationship, be it reverence, authority, disdain, fear, supplication, or loss of respect. It almost acts as a substitute for tonal shifts, but in truth it compliments them well.
Jagun Jagun also does well to connect its stories into a central tale. Sometimes, it takes a long road, and spends time highlighting very minor bits to show their relevance, but they’re relevant. For instance, a courtship in another village seems meaningless, and looks to exist just for faux comedy, but without that tiny central line, we don’t really get how Gbotija (played by Lateef Adedimeji) is able to start acquiring stardom.
But the best part of Jagun Jagun is the main story in itself. At times, it can feel like the movie drags, and the first hour might see a sense of intrigue in the audience give way for impatient scepticism, but it more than works. There’s a point where you could see the battle training and hardcore life-and-death drilling, and ask ‘what’s the point of this’, but then you see the characters also ask that question and you realise that’s the point.
Jagun Jagun as a story can serve as a metaphor for deprogramming, and it also serves that up with materiality. It’s one thing if we can see Gbotija go on a journey of realisation and questioning the relevance of it all, but it’s another thing if we see him go through that via hardship, bitter pills to swallow, and immense loss. What better way to shake off indoctrination than see its costs unfold in front of you, time and again?
And the acting in this movie sells it all. It’s not just Lateef Adedimeji screaming in pain at loss, or yelling in rage, it’s the way his muscles twitch at being whipped, the surprise at his charms failing, or the mellowness at pyrrhic victories. It’s the idiosyncratic mannerisms portrayed by Femi Adebayo, and the commitment to the bit from every character.
Then you have the movie’s incredible score, both in its quality and its timing; and extra props to the movie’s use of symbolism, especially in the Alaje massacre, whereby the purity of white in show is sullied by blood, to denote the beginning of brutality and slaughter.
And for the brutality, Jagun Jagun doesn’t really hold back. It does the job of highlighting viciousness without valourising gore and being cut-throat without glorifying anything.
The Bad
Perhaps the biggest flaw of this movie is how almost everything ties to the central/main story. Despite various sub-plots seemingly existing, they only really serve to enhance the Ogundiji-Gbotija story in the end. The second they finish doing that, they’re discarded (case in point the stories involving Ibrahim Yekini Itele’s, Bimbo Ademoye’s, and Aishat Lawal’s characters).
Related to that is the use of Fathia Balogun and Bukunmi Oluwashina, whose characters ultimately serve as motivation/tools for our main protagonist, or just outright mere helping hands. Fridging is still fridging even it has a material reflection to it and helps in deprogramming.
The Ugly
Unless you get to make a cheeky joke on how it’s quite something (with Ogundiji and Erinfunto) that amidst the war, abilities, brutality, and reverence, Yoruba men will still find a way to serve you breakfast, then no notes here.
Conclusion
Jagun Jagun is a bold, direct, brutal, and no-holds barred expression of a movie. All the elements come together in this latest Femi Adebayo-led film, and whatever flaws it does have, this is an undeniable work of art.
On About Nothing Rating: 8/10.
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