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A Journey Into Colonial Lagos With Mixed Results
Nollywood continues to explore historical storytelling, and Eleko: Oba Esugbayi is one of the latest attempts to revisit Nigeria’s colonial past. The film dives into the early 1900s, chronicling the reign of Oba Esugbayi and his resistance against British colonial interference—an act that ultimately led to his removal from the throne.
With a star-studded cast featuring veterans like Jide Kosoko, Sola Kosoko, Femi Adebayo, Saidi Balogun, Dele Odule, Yinka Quadri, Yemi Solade, Adebayo Salami, and Jumoke Odetola, alongside entertainers like Broda Shaggi, the film promises a blend of history, drama, and light humour. However, while the ambition is clear, the execution leaves room for improvement.
Plot and Historical Representation
At its core, the film tells a powerful story of resistance, identity, and leadership during a turbulent time in Lagos history. Oba Esugbayi is portrayed as a king unwilling to bow to colonial pressure, choosing instead to defend his people and traditions.
The storyline also introduces key historical figures such as Herbert Macaulay and J.K. Randle, highlighting their contributions and the complexities they faced while navigating colonial influence. Through these characters, the film attempts to show how efforts toward development were sometimes misinterpreted, while opposition to colonial rule was framed as rebellion against progress.
While the narrative has strong historical potential, it often leans heavily on dramatic moments without fully developing its themes, leaving viewers wanting a deeper connection to the story.
Visuals and Production Quality
One of the most noticeable aspects of the film is its attempt to recreate the colonial era. Vintage cars, old-style architecture, and traditional settings help set the stage for the story. However, the visual execution falls short of fully immersing the audience in that period.
The lack of distinct colour grading makes it difficult to differentiate the timeline from modern-day Nollywood productions. A more refined visual tone could have enhanced the storytelling by giving viewers a stronger sense of stepping back in time.
There are also minor inconsistencies that break the illusion. For instance, some costume choices—like the chiefs’ footwear—appear too modern for the era being depicted. Similarly, the condition of the horses used in the film raises questions, as they appear underwhelming for a production of this scale.
Despite these shortcomings, the costume department deserves recognition for its effort in capturing traditional attire. The makeup team also stood out, particularly in scenes involving burn victims, where the effects were impressively realistic.
Performances and Standout Characters
The film benefits from a strong lineup of experienced actors, many of whom deliver solid performances. The actors portraying British colonial officers bring a convincing level of authority and tension to their roles. Notably, the character of Sir Walter Egerton is portrayed with commanding presence, maintaining a sense of control even in challenging moments.
The head of the colonial security team also stands out, effectively conveying a stern and intimidating personality, though some of his subordinates unintentionally introduce comedic elements that dilute the seriousness of certain scenes.
On the lighter side, Broda Shaggi adds comic relief, offering moments of humour that break the intensity of the narrative. Afeez Aiyetoro, popularly known as Saka, also contributes to the comedic tone through his role as an interpreter, bridging communication between the British and the locals.
However, one major drawback is the underutilisation of key actors. Several well-known names appear only briefly, despite being prominently featured in promotional materials. This creates a sense of imbalance, as viewers may expect more significant contributions from these actors.
Storytelling and Overall Impact
While Eleko: Oba Esugbayi carries an important story, its storytelling approach lacks depth. The film leans heavily on continuous dramatic sequences without building enough emotional or narrative layers to leave a lasting impression.
There is a sense that the film had a bigger vision than what was ultimately delivered. Budget limitations may have played a role in restricting its full potential, especially in areas like production design and visual execution.
In the end, the movie feels like a good idea that wasn’t fully realised. It entertains in parts and offers historical insight, but it doesn’t quite achieve the level of impact expected from such a compelling subject.
Final Verdict
Eleko: Oba Esugbayi is not a bad film—it has its moments, particularly in performance and cultural representation. However, it falls short of being memorable due to its uneven execution and lack of depth.
Rating: 5.5/10
It’s a film worth watching for its historical context and performances, but don’t expect it to leave a lasting impression long after the credits roll.
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