A battle between generations gets to Netflix. Boomers face-off with Gen Zers in “The Black Book”
Having pulled off a balanced cast, it was refreshing to see The Black Book, keeping a close eye on the audio experience, likewise leaving no room for gender bias.
By Ayodele Johnson
At first, Editi Effiong’s “The Black Book”, a Netflix original projecting an ongoing shift of orientation, felt like the familiar prologue ushering a blood-rushing pilot showing the temporarily reformed hitman, “John Wick” taking on belligerent criminal gangs from the underworld that he once shared a bed with. They dared to take away symbolic prized possessions that he holds dear – a black 1969 Mustang Mach 1 and a puppy he called Daisy that was gifted to him by his deceased wife to keep as a memory. This malicious robbery was the catalyst that unleashed the old monster that eternally lives in him.
In The Black Book, Richard Mofe Damijo’s delivery playing Deacon Paul Edima who was turning his back on assassination orders given to him by the powerful men he worked for looked like Wick in the beginning if not for past guilts catching up to him. This is reflected in the watchful figure of an inquisitive journalist Vic Kalu, acted by actress Ade Laoye. Her relentless yearning for the truth about Deacon Edima’s murdered son, Damilola (Olumide Oworu), let out worms that sought to consume his conscience bit by bit.
A curious dive into The Black Book, which hit the streaming platform on 22 September, displayed Effiong’s uncowed appetite for what is becoming a common theme among film producers of now. The searchlight swings persistently to the dark alley in a society where the older generation of boomers maintains a firm grip on several seats of leadership. With this, the outcome is a blown-out clash with the younger generation represented by the resilient Gen Zers who are going all in with the hope of turning against the tide; they are shouldered by their insatiable thirst for accountability.
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Gen Zers are the tech-inclined generation who channel their creativity in the field of artificial intelligence and programming – the hair becoming an exclusive emblem of their identity to never back down. This representation of beauty and awareness often becomes a tool for profiling, which The Black Book sought to explore in a manner that has never been exemplified through a modern work of art. This is the common path that RMD built on as the father of a boy filled with life. This life was cut short when he became a sacrificial lamb that was slain by the notorious SAKS state security entity so as to further the whims of the privileged and mighty in perpetuity. But the atmosphere soon darkens into a motivation for revenge that brings tyranny to a halt.
It is an interesting build-up to the climax yet this is not the only connotation being offered here. In the corners that ought to exhibit light, the film showed flashing images. Such as the ones found around the paper trails of the newsroom. The viewers will find to their surprise that this sacred domain that by nature typically houses the truth has shockingly been infiltrated by insidious plans shielding devilish schemes. This is how the reporter Vic Kalu throws in her weight in the movie by becoming the voice of the voiceless, but those she aims to speak for don’t want to be heard.
Could it be the result of rotting skeletons in their closet that must be kept away from view? That is what the two-hour-long picture tried to expose to audiences watching all over the world. Vic Kalu’s curiousness was not helped by a female newsroom editor (Taiwo Ajayi-Lycett) who goes against professional ethics, therefore, secretly undermining her effort to reveal the truth about criminals. When Vic drifts closer to the rough edges of crime, she is warned off. The usual line she receives from her boss hides under the umbrella of a guardian offering protection to a vulnerable ward. But the ruse will soon lose its charm as the dedicated journalist keeps biting hard on the bone. It would lead her to a gross, sad discovery – she had been helping the very man who killed her mother.
Not so long ago, it was “Jagun Jagun”, a Yoruba epic that busied itself investigating the dynamics of power in the Nigerian context. On the TV screen, it showed through the ruthless ambitions of young warlords as they satisfy the craving of a few old rulers who never get tired of control. As its reward, the epic gained the attention of global viewers by charting the top spots across countries that stretched too far into the ends of the world including Europe, Asia and North America. On the home turf, the performance was expectedly much better as streamers binged on the competent representation of culture and their identity in huge numbers.
ALSO READ: “Jagun Jagun” scores 2 million global views and still counting
It is The Black Book’s hour to enjoy a top spot moment while “Jagun Jagun” is relegated down to the 10th position on Netflix’s Top Ten by Country list. Black Book shows results that are equally commendable on the Global Top Ten; there, it mans the fourth position on the list although it is only the first week since the release.
Out there on social media, director Editi Effiong cannot completely digest his unprecedented first time out flirting with success as a film director. This brought on a comment from him where he is delighted about the outcomes so far.
“I am simply blown away! Thank you to my cast and crew, thank you for making this journey with me. I hope you are proud,” reads a message from him that was recently posted on Instagram.
Quite encouraging too reading from members of the cast. Richard Mofe Damijo, for instance, has found himself living in delayed gratification because of his rule. Being that the Black Book was released directly to a streaming platform, it meant that glamourous red carpet nights that introduce a new film work have been skipped.
“Without premieres, I don’t like watching my own films so I’ve still not seen it. But if the reactions are anything to go by, then I think we’ve a winner. My biggest surprise though is that people have been calling me to say they cried. Not once not twice and I’m wondering where and why?”
If you are reading here, RMD, you won’t need to wonder why there have been tears. One should thank director Editi Effiong for that. His gift of foresight, as well as the capacity and interest to shine a light on what has been a gruelling concern for the young audiences bestowed well-deserved glory to this artistic endeavour. The costuming also played a part thanks to Denola Grey (Jesú) looking good in bright-coloured suits.
Too many times it has been reported in the local news, how techies face harassment by the disbanded Special Anti-Robbery Squad (SARS) whose operatives have made life a living hell for innovative minds like software developers and creatives who were busy checking off remarkable milestones in the information technology industry.
They end up getting the negative label assigned to Yahoo boys so as to facilitate their extortion by the police. This close link between internet fraudsters and genuine techies sadly leads them to unfortunate dealings via roadblocks or when they are walking down the road around the megacity of Lagos wearing an outrageous haircut similar to the appearance of sports stars. It hasn’t been fair to the smart working techies whose enterprise has rightly yielded enviable incomes that mirror the payload observable in their investment-driven industry, yet they are made the targets. So, when the directorial debut of a young creative entrepreneur tells these stories on the screens, there is bound to be a lot of appreciation.
Although in the Black Book, the discussion was fixed on ending the addictive control exerted by the older crops, in the acting, the boomers had an important role to play in passing out the message. Taiwo Ajayi-Lycett was the symbol of age-long onscreen practice that emphasised the urgency of changing the old guard, and as an attachment, an obsolete self-centred approach that seemingly characterises elders. General Isa, played by Alex Usifo Omiagbo revealed ruthlessness and no qualms manipulating the youths by their leaders. The fusion of these actors alongside the younger ones is what made Black Book a well-rounded thought that was able to highlight all the poles of tyranny and criminality that pervade Nigerian society. From start to finish, the audience will see this production hovering over the pinnacle of success. The intense cinematic sound effects are another area where Effiong’s exhibition saw further accomplishments.
Even when they have secured a relevant story to tell, sometimes filmmakers leave loopholes and room for condemnation because of neglect to cover the sound aspects. Having pulled off a balanced cast, it was refreshing to see Black Book, keeping a close eye on the audio experience, likewise leaving no room for gender bias. After all, what hope in terms of acceptance is there for a movie that seeks to inspire a revised consciousness if it ignores equity among its cast? Ireti Doyle was featured as the incorruptible police commissioner who cared about performing her job with dignity and ensuring that justice was served to evil minds.
On the other side of the aisle was the prominent singer Shaffy Bello from ‘Love Me Jeje’ giving the womenfolk a different interpretation as strong heads. In The Black Book, Bello was cast as Big Daddy. A courageous personality who had grown a reputation as the one to depend on in a time of serious trouble. Big Daddy assisted the repentant Paul Edima when he was feeling stuck trying to restore his dead son’s honour. The deceased was framed as a kidnapper to cover the tracks of devious individuals who kidnapped the family of a judge (Bimbo Akintola) in the early scenes. While it is only still the early days of The Black Book’s release, the optics show a production deserving of all the radiant ratings it has received. In our review of Editi Effiong’s first outing as a filmmaker, we score his work ⅘ because we truly believe that about the estimated $1 million movie.
Ayodelé is a Lagos-based journalist and the Content and Editorial Coordinator at Meiza. All around the megacity, I am steering diverse lifestyle magazine audiences with ingenious hacks and insights that spur fast, informed decisions in their busy lives.
