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“Other Side of History” Review: Chukwuemeka Odumegwu Ojukwu’s Biopic Is Narratively Flawed

“Other Side of History” Review: Chukwuemeka Odumegwu Ojukwu’s Biopic Is Narratively Flawed

Still from Other Side of History

The inception of Other Side of History’s downfall lies in its heavy reliance on capturing factual anecdotes, encounters, and dialogues, which doesn’t add to the story being told.

By Seyi Lasisi 

Nigerian writer and filmmaker, Onyeka Nwelue’s biopic, Other Side of History, a dissenting narrative on the late Chukwuemeka Odumegwu Ojukwu, had its world premiere at the Toronto International Film Festival (TIFF) on 12 September 2024. Inspired by a 2012 Vanguard newspaper article by Uduma Kalu, titled, “Ojukwu: Sexcapades of the Biafran Leader”, Nwelue’s biopic focuses on Ojukwu’s life between 1954 and 1960, leading up to Nigeria’s Independence.

Jointly written by Odega Shawa and Nwelue, Other Side of History follows the story of Emeka Ojukwu (played by Greg Ojefua) as he spends his leisure time cavorting with various women, hosting extravagant parties with friends from literary circles, and dealing with Stephen (Juice Egah), who resents him for ‘claiming’ his girlfriend, Ego (Rachael Okonkwo). 

It’s into this deeply personal world that the biopic invites viewers. Through these parties, we encounter characters modelled after prominent Nigerian historical and political figures. Despite the significance of these characters, it’s Ojukwu’s strained relationship with Stephen that occasionally stands out. However, as crucial as this storyline is, it’s the one given the least attention. 

Other Side of History
Other Side of History

The inception of Other Side of History’s downfall lies in its heavy reliance on capturing factual anecdotes, encounters, and dialogues, which doesn’t add to the story being told. These historical fragments leave the biopic feeling bloated, distancing viewers from the core story of Emeka. As I watched, I was dismayed by how women are stripped of agency in the film. Through Emeka’s dialogue and remarks from his literary friends, women are portrayed merely as objects to be won over with money. 

There is no trace of agency for the women in Other Side of History. The film repeatedly emphasises that Emeka’s privileged background and his eloquent use of language were what attracted women, yet we never witness him employing this so-called poetic charm. 

The actors’ performances aim for the elegance of theatrical expression and the subtlety required for on-screen delivery, but they never quite achieve either. From Makinde Adeniran’s portrayal of Wole Soyinka, to Emeka Darlington as Chinua Achebe, Jammal Ibrahim as Yakubu Gowon, and Obodoakor as JP Clark, none of their performances leave a lasting impression.  

Still from Other Side of History

Occasionally, Hero Daniels, who plays Chris Okigbo, adds a breath of life to his performance.  However, as enjoyable as these fleeting moments are, they remain few and far between. 

As noted earlier, the characters’ reliance on historically accurate dialogue and conversation detracts from the narrative leaving it lengthy and boring. Additionally,  it makes the characters, who might be undoubtedly skilled, appear dull and doll-like.

Understandably, these characters are modelled after well-known political, cultural, and historical figures (Nnamdi Azikiwe, JP Clark, Christopher Okigbo, Chinua Achebe, ET Mensah, Wole Soyinka, Flora Nwampa and others); but, the actors’ flawed imagination or maybe the director’s resistance to allowing the actors give nuanced performances leaves them stilted. 

The characters’ propensity towards reeling out historical dates and accounts in conversation, creates the impression that  the filmmakers had unrestricted access to archival resources. Which inspires the question: why isn’t Other Side of History produced as a documentary with talking heads? Or as a dramatised documentary? Maybe this might have salvaged the inherent narrative holes in the biopic.

Emeka is frequently described as brash, proud, and insatiable with women, yet the film fails to depict these traits. There aren’t any scenes that justify his brashness and bloated personality. It’s sad because though Emeka is largely present throughout the film, it appears as if he is a passive passenger in a story that he is actively recounting. 

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Present in almost all the scenes the conversation revolves around his person in the scenes where he is not. The biopic accommodates the decades-long conversations around self-determination, but this falters as it doesn’t flow seamlessly as a narrative. 

Onyeka Nwelue
Onyeka Nwelue

The director has spoken at length about the literary incidents that motivated the making of the biopic. The filmmaker had said he would “venture to say that Other Side of History is a portrayal of an odd story of competing egos coexisting with filial love.”

Thus, for history nerds, the biopic offers intriguing details about Emeka’s personal life. Conclusively, we should commend Nwelue for his dedication to providing this unique perspective on Emeka’s life and history. 

Also, narrative flaws aside, it is commendable that Other Side of History presents a visual archive that distances Ojukwu from the unsmiling and grenade-throwing general. Rather, the film presents Emeka as a human with inherently flawed traits and habits.

Over time, Ojukwu’s identity as a fearless general has received mainstream attention, while his other personality has been largely overlooked. It can be anticipated that this biopic will inspire a broader understanding of this lesser-known aspect of Emeka’s history.  

Other Side of History was selected for its world premiere at the Toronto International Film Festival on 7 September 2024.

Seyi Lasisi is a Nigerian creative with an obsessive interest in Nigerian and African films as an art form. His film criticism aspires to engage the subtle and obvious politics, sentiments, and opinions of the filmmaker to see how they align with reality. He tweets @SeyiVortex. Email: seyi.lasisi@afrocritik.com.

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