Retro Nolly: ‘Egg of Life’ is a Drama About Defence of Motherland
Andy Amenechi’s 'Egg of Life' is a film about the lost art of patriotism and risking your life to save your kingdom or country
Retro Nolly is a weekly series of retrospective reviews of classic Nollywood films by Seyi Lasisi. We will be looking at these films with modern eyes, dissecting what made them unique and how they speak to today’s filmmaking, culture and society.
Although I have listed the specific films I intended to write a retrospective review of, I found myself conflicted about which of the listed films to review this week. A chronic indecisive head, choosing is always a chore for me. But, something, unrelated to my intention of starting this retrospective review, compelled me to watch and review this Andy Amenechi’s film. It was an art poster designed by Nigerian designer, Iyebiye Adeitan ‘Kaizen Kreativ’ which I saw at his art exhibition. Reflecting on the poster instills a sense of curiosity in me to watch and write about the film.
Co-written by Kabat Esosa Egbon and Ojiofor Ezeanyaeche, Egg of Life is woven around the story of the ailing prince Ikemefuna, his father, the Igwe (Pete Edochie), and the strenuous quest for a lasting solution. In the Igwe’s quest for a solution, the village priestess (Clarion Chukwura-Abiola), while offering a solution, reveals an unacknowledged truth about the only prince: He’s an Ogbanje, and customary of Ogbanje’s, the appointed time on earth for the prince is drawing closer. To sever the prince’s ties with the spirit world and bring a semblance of comfort to the parents and the kingdom, the titular egg of life must be rescued from the evil forest.
Here comes the story of the seven young maidens: hand-picked by the priestess under the guidance of the gods, they are charged with rescuing the egg of life. Although the film’s narrative circles around the story of Ikemefuna and his troubled father and mother, who often become secondary, the story of the brave maidens who take a look at danger and death and march on for a challenge. Their resilience ultimately saves the prince and the kingdom.
Despite the sense of unity that was prevalent amongst the maidens when they first arrive the evil forest, they gradually succumb not to disunity but to mild conflict. When Buchi, at the point of death, says “Your strength is my strength”, the film teases the sisterly bond that possibly exists between the maidens. Constantly on the move in the forest, with no chance for introspection, their dialogue often carries a sense of duty and patriotism: We are doing this to save our community. This sense of selflessness guides their quest for the egg of life. Though with metaphysical concern, the film is a story of defense. It's a story of women, from time immemorial, sacrificing their lives in defence of their community.
A blend of fantasy and drama, it's easier to see why when the film was released in 2003, it presented a frightening and traumatic view for young audiences. In an age when religious dictates are held sacred in society, as opposed to now where there is a rising detachment from spiritualism, the film’s spiritual landscape is frightening. Bearing a fragment of a psychological thriller, when the seven girls are in the evil forest, the gradual death of the girls happens when any of them give in to their inner fright. The deadly spirits in the forest feast on their traumas, frights, and places of interest for the young maidens. This aspect of the film shows that while as humans we outwardly present a brave and stoic appearance to the world, we are all inwardly fragile, and when tempted, waiting to be unfurled into unrecognisable pieces. While we don't see the girls unfurl into shreds, we witness their successive deaths and the weariness it invites into the midst of the surviving maidens.
The rhythmic variation of the character between English and Igbo language is beautiful to the ears. Uchemba Williams’ acting, though temporal, carries a sense of kinship with the role of Ikemefuna that he plays. The sinister and knowing smile his face casually embraces is akin to that of an innocent child. It's no surprise he became a recurring face in Nollywood films — the talent was always there. Edochie’s transition from a sad father to a frightful king is pleasing to witness. Besides a few characters, there is commendable acting in the film. With Amenechi as the director and Mohammed Abdullahi, the film’s cinematographer credited with shooting other Nollywood classics Domitila, Mr. Ibu, Karashika, and Fidelis Ewata, the film’s editor credited with editing the earlier-mentioned films, there is a reoccurring partnership between the three filmmakers.
Picking the use of the tales-by-moonlight narrative structure, with a narrator occasionally passing commentary, the structure shows how simple life was. Contrary to this fast-paced world where having wonderful family time is fading, thanks to capitalism, this film’s narrative structure shows how intimate life was.
The setting which is mostly in the palace is deprived of the usual accoutrements of a royal setting — guards, maids, and wealth. The conventional bejewelled props are now in sight. The villagers who cower in defiance of the authority of the king are lacking. At certain points, this lack brings to question the sovereign authority of the king and the existence of the supposed kingdom. While these concerns exist, and the film’s visuals do a disservice; although, they don't affect the plot.
In New Nollywood productions, with filmmakers having access to better film equipment and funds, some of the indigent looks of films from Old Nollywood, like Egg of Life, now enjoy a better visual look. The cameras are now available to capture well-light images of actors and props. Gaffers and sound designers now have access to advanced filmmaking equipment which heightens the cinematic landscape of the recently-produced films. However, while today filmmakers are equipped with better gear, the stories they tell are often malnourished. Unlike their patriarch and matriarch, the newly-produced films play out as if less attention went into writing the script. Attention is now safely secured on other things aside from the story.
The latest issue of In Nollywood’s “The Industry” is finally out. It’s our most extensive journal yet, offering a comprehensive report on the Nigerian film ecosystem in 2023, covering streaming, local box office, actors, producers, and audience insights. Download here.
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