One Fine Day
Nina (Bimbo Peters) is scarred by an encounter with a rapist; her subsequent actions embarrass and hurt her parents, Harry and Linda George (Olu Jacobs and Joke Silva) whilst her sister, Tasha (Funke Akindele), is on the verge of losing her fiance, Kunel Ojo (Frederick Leonard), because Nina has identified him as the rapist.
The concept of a victim of a violent crime becoming emotionally damaged is a brilliant one and offers the opportunity to dramatize the psychological trauma inherent in one of the numerous mental health disorders that can result from an enervating encounter like rape. However, for One Fine Day, the anticipation that the audience will be regaled with a thought-provoking tale ends in low expectation because the film is fraught with illogical sequences that ruin the chance of etching the story on the viewers’ minds.
For instance, it is stated that Nina was admitted in a psychiatric hospital. Did the psychiatrist say that Nina’s case defies medical science? Indeed, what was the psychiatrist’s diagnosis? Very vital parts of the story are narrated by one character or another; show, don’t tell! Even the way in which Nina is said to have scuttled Tasha’s two chances of getting married is not related to the audience save for that passing comment. The turn of events is inadequate to convince an audience that Tasha’s hostility towards her only sibling is justified; her reactions seem too exaggerated. Indeed, there are no indications that the siblings were rivals while growing up because no singular incident or series of incidents is indicative of sibling rivalry throughout the film. The viewer only sees animosity that does not seem to have any cause.
A wealthy and sophisticated man like Harry George can afford the best medical care in the world, so why resort to barbaric practices like tying up Nina; making George look like some unexposed man? Sound logic, which should always prevail when depicting occurrences in movies, is lacking One Fine Day. Though the frustration of Nina’s relatives is understandable, reprimanding or harassing an armed and unrestrained mental patient who is threatening to kill herself may mean that she could shoot all of them (her challengers) before ending her own life. There is a way to admonish someone you care about, not the manner Nina’s relatives carry on during that balcony standoff as if they are her adversaries. Their failure to look for the right kind of help for a suicidal individual could also mean that sooner or later, they will come home and be greeted by her corpse. Then, which sensible father keeps his gun in a place where it accessible to a maladjusted daughter?
Surely, Kunle needs more psychiatric help than Nina. That could be the only reason a man who has been openly accused of raping his fiancée’s sister will visit to have sex with the young lady again in a home she shares with her folks. Furthermore, corroborating or contradicting Nina’s story was not a difficult task. Apart from the security man, another evidence of Kunle’s visit is the gift he got for Nina, which she curiously does not show anyone.
Much as it is wrong to spoon-feed the audience, it is also erroneous to give them half-hearted information such that at the end of the film, they are incapable of connecting the dots and deducing why actions and reactions take place. Ultimately, it means the director of the film failed to do a thorough job.
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It is grossly inadequate to centre a film around social problems without properly integrating the societal ill with the tale because in the final analysis, motion pictures are supposed to tell thought-proving but entertaining stories that leave the viewer reflecting on the situations thrown up in the movies; aiding him or her to take a stance and broadening his or her horizon at the same time. In other words, the way a topical issue is handled in storytelling determines whether the film will be resonant or not.
Unfortunately the 84-minute film, One Fine Day, totally fails to achieve this.