Akan (Alexx Ekubo) returns to Nigeria from the US with Sophia (Venita Akpofure) as his fiancée, but his father rejects his son’s choice and arranges for Akan to marry Itoro, a barely educated young lady from their tribe. Akan resists, resulting in conflicts with his father.
Here, the role of the cynical mother-in-law depicted in countless films is transferred to the ‘father-in-law’ and how awkward it is for such an affluent and seemingly exposed man to impose a woman on his son! The pettiness, which comes with the role of a meddlesome person, is more embarrassing when played by a man.
The role of the supportive parent is played by the woman who is sore afraid, or so it seems, to admonish her husband. The portrayal of women as people who hide their opinions before their husbands in films has also been overplayed. In fact, these women behave more like domestic servants rather than wives. The primitiveness even becomes ridiculous when the couple have been married for two or more decades.
It is different when there are conditions that lead to that in a particular marriage, but it is difficult for humans, male or female, to succumb to the whims and caprices of others without a fight. Then, when that person is a married woman, who has children with a man, family politics engineered by the woman; using her children to get her husband to do her bidding; sets in.
Director Desmond Elliot should not have touched the script for Akan because when he was very active as an actor, he must have starred in tens of films which tell the same story as Akan. It is trite repeating the fact that doing a film whose story has been done many times reduces an actor or director’s rating. This fact is corroborated by none other than Akan during a conversation with his mum, where he tells her that he used to watch the imposition of husbands and wives on young people by their parents in many Nigerian movies not knowing he was going to experience it!
It is poor thinking to make a film like Akan, insisting that it is the common man that watches a majority of Nollywood films because apart from offering entertainment to viewers, films also inform and educate, albeit, subtly. Therefore, a film-maker, who descends to a ridiculous depth in order to entertain his audiences loses the chance to make them more enlightened over time.
This analogy may further illustrate this position. Yours truly regularly attends an event in an organization where proceedings begin five minutes before the actual time slated for commencement. In time, one became accustomed to the fact that the event starts at 5.55 p.m. rather than 6.00 p.m. However, for all the other events where ‘African time’ is the order of the day, one feels very comfortable, walking in thirty minutes after the programme is supposed to start, knowing that the event will actually start thirty minutes after one’s arrival.
Akan’s picture quality is poor. Sunny (Ime Umoh) must understand that this antics are monotonous and irritating. Speaking and gesticulating in the same manner in all his films in boring. Akan is awfully uninteresting!