SURPRISINGLY, there has been so much noise, even from unimaginable quarters, over the daring surreal of Beasts of No Nation, BONN, since its outing at the last Venice International Film Festival and series of screenings at the ongoing Toronto International Film Festival (TIFF). However, it is somewhat confounding that many have refused to see what a great film it is.
But could this be due to its violence portrayal of the African race by the West? Or could it be due to the fact that its thematic preoccupation is woven around brutal murders perpetuated by kids, who are caught in a war situation, and how Abraham Attah, who plays Agu, a nine-year-old boy, has to surrender both his childhood and his humanity and then become a monster?
But BONN is not some kind of American action film that leaves no room for sober reflections. Agu’s thoughts, at intervals, are moments for deep reflections. Indeed, his narratives touch the heart of sensitive minds who would never wish for war again in any part of the continent.
Again, BONN is the reality of tales of civil war, rebel warfare, genocide and its likes in Africa, going by past situations in Nigeria, Liberia and Rwanda, among others. And it was just strategic, I think, that Ghana, which has no such history of bloodshed, is played up to forestall anyone relaying the story to African countries with similar history of conflicts.
BONN is a masterpiece, both in terms of advocacy and entertainment. It is even more compelling for its anti-climax that showcases the vanity of greed and selfishness as well as politics of ego and intolerance. Every character in the movie has a strong presence, giving the creative ingenuity of the director so much so that I wish, without taking away any of the elements, albeit the violence, it could be called a fully African film.
With the cast members somewhat new, safe for Idris Elba, BONN still earns its strength even before Elba appears on the scene. Not all films are meant for propaganda or that image that perception managers always try to build around their brands-some are just there to paint the picture in the best way that a message can be relayed-art in art form without pretence.
BONN does not pretend by leaving anything to imagination; and in baring it all, Cary Fukunaga tells that gruesome story of war in Africa, without attaching it to a particular country, albeit drawing the local language and cast from the West African country of Ghana.
The film also maintains the originality of the African accent without subtitles for dialogues in English. Those semi-literate present continuous tenses by Elba and Attah are just part of the artistry that gives verve to the story of foot soldiers in a war situation.
The child soldier narrative is real and only warns about the future of Africa. The story does not celebrate bombings and massacres; it makes them horrifying and dreadful.
BONN highlights the work of the Nigerian-American author, UzodinmaIweala, and brings to the fore great acting talents in Ghana, who will be mentioned in the Oscars and as candidates for global attention. It also offers a defining moment for the career of new entrant, Abraham Attah, and a few other kids in the movie, in the face of perceived dearth of kid actors in West Africa. These, I choose to see, including the settings, foods and music of Africa rather than the perceived negative image of Africa as a continent of darkness and crises.
There are millions of untapped story ideas about Africa. So, if the story of child soldier is what interests the Americans, Africans should not only tell their own stories, but they should tell them better. And if it must be about wars, they should learn from Cary Fukunaga how not to pretend. Why? Pretence, apart from inexperience, I dare say, contributed to the failure of Half of a Yellow Sun, which had the same TIFF platform in 2013, but did not get the same ovation.
However, I think there are some overkills, especially for a first-time killer kid soldier like Agu. The massacre could have ended after the first onslaught. The Commandant gives more brainwashing words than orders, and that supposedly gives Agu the verve to strike. But he is not meant to be ardent just yet, and retrieving after the first assault couldn’t have removed anything from the story, especially when his colleague, Striker, is there to finish the job. This, however, is still a subject of the director’s creative license.
We asked for child actors; now, we have one-even more. So, let’s ‘pop Champagne’ in celebrations!
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