Unlocking Femi Adebayo’s “Seven Doors” By Olusegun Ajayi
At the point the main conflict in Femi Adebayo’s Seven Doors begins to impact, hardly would a curious mind resist the urge to accentuate the legendary clash of tradition and modernity that dominates the film. Aficionados of Yoruba cultural practices may be unfazed by Oba Adedunjoye’s (Femi Adebayo) softness after the oracle decreed he had to marry seven wives to atone for the sin of his progenitor, Oba Adejuwon (Kola Ajeyemi). Adejuwon had sacrificed his seven wives to procure a life-longetivity charm. The king’s desire to live long was met, but without content. To queen Amaka (Chioma Apotha) Adedunjoye’s prompting to heed the oracle’s pronouncement literally puts a knife to the cord that binds them. For her, the king’s action is tantamount to a betrayal of his marital vow.
For the discerning, which should prevail? Sustaining indivisible love or obeying oracular pronouncements that will make love possible? It’s unfortunate Adedunjoye have to bear the family burden of breaking a foundational curse placed on his lineage by Esusu (Aliu Gafar). Recall Esusu was ignominiously exiled from Ilara by Adejuwon who felt duped by the former after wasting seven lives. These are the intriguing plots intricately weaved via flashback technique and sets the tone for audience’s interrogation of the power of love versus the strength of culture and tradition. Fast forward, you could be tempted also, to blame the script writer for watering down Yoruba royalty at the point Adedunjoye almost on his knees, pleaded with Olori Amaka to show understanding in the present circumstance. Recall Olojongbodu (Gafar Nafiu) had disclosed to Adedunjoye he must marry seven wives to atone the souls of Adejuwon’s slain queens. Customarily, Yoruba Obas issue commands, they don’t bargain their decisions (Ase loba n’pa, Oba ki d’aba). Elders and custodians of Yoruba beliefs will also allude to the fact, Oba maa n’ba l’ori ohun gbogbo ni (A king is at liberty to perch on anything that catches his fancy). The question then arises, when have our Kabiesis become lover boys, jellies who stoop to seek their oloris favour to keep a harem. In traditional societies, having multiple oloris is a vestige of royalty and considering the period of the film (early 70s) monogamy had not been entrenched in Yoruba palaces as it is today. While the film projects monogamy as an emblem of modern marriages, it has become expedient that aspirants to obaship stools be properly schooled that marrying multiple wives is culturally legit for our royal fathers and that expediencies of life and royalty can actually instigate that.
On the flip side, tribalists, feminists will read a different meaning to Adedunjoye’s action had he gone dictatorial. Onilara could have been tagged a chauvinist, a cheat who exploited Amaka’s non-indigene status to cheat on her. The provocation continues over Adedunjoye’s failure to act fast in curbing the excesses of his new wives.
On further interrogation of the seven wives’ revolt, Onilara is culpable of dereliction of his conjugal duties to the ladies. To abandon their chambers is hurtful and detracts from their womanhood. Sending them packing eventually does not help either. Rather than ensure peace, more troubles ensue in the palace. Adedunjoye, heeding oracular advice quickly restored the estranged oloris, knocked on the “seven doors”, and warmed the beds therein. Before then, the vengeful demon had gone on rampage, afflicting Onilara’s surviving son, Ademidun. The ferocious demon was bent on wiping out every child in Adejuwon family line.
Sadly too, disgruntled elements within Olopade family, led by Opayemi (Gabriel Afolayan) made themselves wiling tools of rival Prince Adeoye (Muyiwa Ademola) in his plot to cut short Adedunjoye’s reign. The failed attempt and other disturbances in the community culminated in the people’s revolt against the reigning king. The chain of problems that confront the young king when juxtaposed with his life outside the palace can be a disincentive to prospective heirs to Yoruba traditional stools. Seven Doors is a fictional work of creativity and the writer deserves his flowers.
Fast foward is Orisa aganju’s refusal to accept Adedunjoye’s sacrifice and stem evil tide in the land, birthed a chain of events that climaxed in a final showdown between Adedunjoye and the malevolent Esusu. Reminiscent of rituals of communal cleansing highlighted in Wole Soyinka’s ” The Strong Breed”and Hubert Ogunde’s “Jayesimi”as examples, Adedunjoye offers himself for the epic fight. Like a tragic hero, the king puts his life on the line to restore the health of his ailing son, break a foundational curse and restore peace to Ilaraland.
“Seven Doors” is a mature story and parades many A-list actors in Nollywood (Yoruba) genre. Femi keeps honing his craft with every new work. Aside the main subjects of love, romance, tradition and cruelty of fate, there is the problem of a decadent society ridden with bribery and corruption which Onilara must clean up. It is also Instructive to see Ilara as a microcosm of a larger society where good leadership, oftentimes is rewarded with persecution other than adulation. I must commend Femi for his proclivity for research and attention to details.
The film is set in the early 70s and you would be amazed at the producer’s consistency in his choice of locales, set designing, costuming, make up and properties. The work is replete with aesthetic shots and strict control of the filmic environment. This consumate production parades every component that make African drama total. The film is full of suspense such that you are glued to the screen all through. Casting into roles is meaningful even as the drama is rich in dialogue, dance and music, conventional costumes and props. Can one conclude “Seven Doors” is deficient in comic reliefs? While comic relief in some Yoruba films are sometimes pigeonholed as jesting and clowning, I see Adedunjoye’s seven wives offer some forms of comic reliefs with their local mannerisms. All said, I find it condescending in the final scene, the presence of Ibo dibia at the fortification rites for Adedunjoye ahead of the grueling fight with Esusu.
Inasmuch as I appreciate Femi’s intention to bridge a cultural gap, conservatives may perceive the appearance of dibias’ on the scene as trivializing the battle ahead. After all, they are strangers to Ilara traditions and myths such that their charms and evocations would not carry weight. On the flip side, liberals will see the dibias as principally on a solidarity mission to their kinswoman, Amaka and not to usurp the traditional duty of Olojongbodu (Gafar Nafiu) and his ilks who actually take centre stage. Be that as it may, the final action that features Amaka dashing forward to support her injured husband is instructive. Nothing conquers the theme of true love; the premise on which “Seven doors” is built.
–Ajayi is a journalist and former Arts and Culture Editor of The Sun Newspaper
