Movie Review – Husna Ko Huzna 

Director: Falalu A. Dorayi
Producer: Tahir I. Tahir
Story: M.M. Haruna
Language: Hausa
Year: 2017
Company: M.M. Haruna Film Production, Kano

The film, Husna ko Huzna, comes with quite a number of novelties. Notably, it was not hurriedly produced as were many films in Kannywood film industry. I can remember being told of its pre-production and production phases almost a year ago. The post production, too, took unconventional period before it’s finished. This is replete in the handling of the special effects (SFx) used in the film. The advertorial is yet another well-planned thing, for every now and then, listeners of different radio stations in Kano, and probably beyond, were informed about the film. The voiceover adds a freebie to the prospective viewers that the film was carefully subtitled in Standard English unlike other films. Many viewers would not expect anything short of this as the executive producer cum screenwriter, M.M. Haruna, is a well-known English teacher in Kano.

Plot Summary
(Warning: this section contains spoilers)
The semi-horror, fantasy is an old wine in a new bottle; it repackages a usual love-triangle story. Husna (Jamila Nagudu) and Abdul (Adam A. Zango) are set to wed, while a certain kolanut and groundnut hawking lady, Huzna (Fati Washa), tries everything possible to stop that from happening as she deeply loves Abdul. She does everything, follows him everywhere but he, time after time, rebuffs her. There was a time his friend and his other friends beat her up to deter her from bothering her heartthrob.

It eventually appears that Huzna is a genie. Her schemes nearly break the duo’s relationship midway in the film. It takes Husna’s mother, and their friends’ assistance and insistence for them to patch up. Tired of the drama, one day Husna steals a deadly chemical from their school laboratory and pours it on Huzna’s face, not knowing that she is not human. However, Huzna turns up at their house the next day to avenge the attack. After several plea, Huzna ‘murders’ her rival by possessing her soul.

After several failed attempts to woo Abdul, Huzna is goaded into violent action; she kills a guy who attempts to offer her a ride, and then Abdul’s friend who beat her earlier. Now in Husna’s form, Huzna arranges with some fellow genies to bring her to the former’s house. They cooked up a story that she is not dead when they buried her. Husna’s parents grudgingly accept their ‘reincarnated’ daughter. Soon afterwards, nonetheless, her nocturnal, bizarre behaviours give her away. They eventually discover her real identity. She kills the mother for that and nearly killed the father, too, but for the appearance of a more powerful genie.

Huzna is actually betrothed to the genie for the past 600 years; she however chooses to marry a human. He therefore takes her away. She soon returns to finish Husna’s father. An Islamic cleric exorcises the nurse she possesses to execute her mission at a hospital he’s receiving treatment. Her engaged genie reappears. He begs the cleric to stop, and that he is also a Muslim and respects the Noble Qur’an. He brings back Husna alive who was never killed in the first place and forcibly takes Huzna away.

Husna and Abdul are finally married. The newly wed couple are preparing to eat when they yet again discover Huzna’s kolanut and other assorted wares on their dining table. They are surprised and shocked to see that. The film ends with a caption thus: “the struggle begins…”

The special effect artist of the film did quite well. By and large, and in accordance with the Kannywood ‘standard’, the work deserves commendation. The transmogrification of Huzna to Husna or vice versa is so swift and superb; the acid scene, and the way Huzna stretches her hand and alters her eyeballs when attacking her prey, among other scenes, are equally well crafted. Generally, the finishing leaves little to be desired in a film industry infamous for its dearth of professionals and producing poor to average films like Kannywood.
As it is with any art work, Husna ko Huzna is not as impeccable as one might think. The biggest blooper in the film is the M.M. Haruna English Academy scene. The whole scene could, and of course should, be either completely avoided or shown differently. Now, it is unnecessarily lengthy, too detailed, and its idolization by the actors adds less than little or no substance to neither the plot development nor the centre in the real world. The thumb rule is: one must not feature in their sponsored movie, or covertly advertise their product therein.

Again, the last caption doesn’t hold up, for the struggle has begun since the very first scene of the film. The struggle rather continues. That is perhaps what the filmmakers have on mind. The reappearance of Huzna’s stuff in their peaceful, well-furnished house marks a beginning of yet another struggle, while everyone thought that it had ended with the stern warning by the cleric and her eviction from the human world by the senior, more powerful husband-to-be genie.

On the whole, Husan ko Huzna is not a bad piece of work. For most women, I guess, the seemingly original story is en edge-of-the-seat semi-horror, for its marital tug-of-war over a charming prince motif. The actors, all of them, have done very well, with the performance of Washa lady occupying the highest position. The film crew, particularly the director, followed by the camera team, have done a praiseworthy job as well. The angles are carefully selected and taken; the light fits, and so on and so forth. I therefore rate it 3.5/5.0. It could be higher but for the insipidness of love-triangle-story in Kannywood and the overt, avoidable advertorial of the executive producer’s enterprise.

Reviewed by:
Muhsin Ibrahim
Bayero University, Kano

From www.muhsin. in

Movie Review – Mansoor 

“Something different? Not a love story” was the director’s response when he was asked what surprise would audience expect from his latest movie Mansoor. 

His statement could stand a trial because Mansoor, for the most part, is an adventure of an enthusiastic young man in search of his identity. It is an adventure that is triggered by love, fueled by uncertainties and driven by desperation. This adventure leads to another emotional story so expertly told and presented one can’t but appreciate the director’s story telling.

No movie is without flaws, or at least few areas that could use improvements. The good thing with Mansoor is that every single facet is at worst, average. There are few story arcs that are recycled and though I can’t tell whether it is from the movie or the projector, the movie struggled to fit perfectly on the screen. As a result, the subtitle was hardly visible; the colour grading could have been better, the nights and days appeared almost identical.

However, Mansoor has so many strengths to counteract those weaknesses. The excellent production value is at display throughout the movie. Every detail has been attended to. From the sets, to the costumes, to the make up, to the locations.

The director has gotten most out of the actors. The dialogue is refreshing and the delivery, perfect. The scores could have been more frequent. The songs are exciting. The dance sequences are colorful and impeccably acted.

One thing that deserves special mention is the stylish direction. The shots are neat, elegant and stylish. The attention to detail is superb. The way he puts up the story is remarkable. It is said that the act of telling a story is better than the story itself. This statement has never been truer. From the way he mixes voice-over with footage, to the way he motions the camera, to the way he changes the mood and expressions of the actors; it is truly a remarkable piece of directing. 

Spending such a huge amounts on actors that are barely known by audience is a risky business few producers could take. Such boldness could be the reason why FKD has stood the test of time. Can others follow? Only time can tell. 

Mansoor is wonderfully observed, stunningly shot and thanks to so many breakout performances, a must watch in Cinemas. 

Cast: Umar M Shareef, Maryam Yahaya, Ali Nuhu, Sadiq Ahmad, Abba El-Mustapha, Baballe Hayatu, and others. 

Screenplay: Jamil Nafseen. 

Producer: Naziru Dan Hajiya. 

Director: Ali Nuhu

Kannywood Movie Review: There’s a Way

God bless the dichotomy between the rich and the poor, or as the socialists call it: the gap between the lower, the bourgeoisies and the upper classes. If it did not exist, the arts would, perhaps, have to invent one for stories to have conflict, upon which many films, novels, dramas, etc rely to intrigue us. This has been the trend since the Victorian Age, or before, with Jane Austen’s Pride and Prejudice, Charles Dickens’ Oliver Twist down to Femi Osofisan’s Marxist-influenced plays, and so on and so forth. Class consciousness is sadly here to stay with us.

Hausa film industry is equally not short of films based on this global theme. There’s a Way is just another addition to that archive, though in a new style: its language is no longer the ‘local’ Hausa one but the global English. This is one of the reasons why I had to preview the film prior to its release.

As I said in the preview, numerous Hausa films are flagrantly, poorly subtitled in wrong English. The subtitles oftentimes serve a contrary purpose: those with little or no grasp of Hausa language end up puzzled. The shoddy subtitles also expose the educational level of the people in the industry, and by and large, their region. Worse still, the actors, in other times, use ‘Eng-ausa’, a hotchpotch English-Hausa code-switching and mixing. But all that will soon be a history with the emergence of the second (Wasila [English version] is actually the first ever, but that was done more than a decade ago) Kannywood film in ‘Standard’ English language.

(Warning: this section contains spoilers)
There’s a Way does not only present the lower and upper classes struggle; the predatory nature of some university dons is equally bared. As a token, the women issue is not left untouched, thus it is used to set the story afloat. The film opens from a court scene where a woman, abused by her husband, is questioned by the judge. The husband allegedly forces her to abort pregnancies six times. Isham (Nuhu Abdullahi), as a secondary student, witnesses the hearing and becomes interested to study Law in order to assist the poor such as the wife who is evidently harmed. His dream is not meant to be realized easily.

After failing his exams at least twice, Isham, a curious boy from a poor family does not have money to register at a “miracle centre”, where candidates register for exams and “nobody ever fails”. He someday accompanies his friend to the centre and mistakenly bumps into Fadila (Hajara Jalingo), whose father gives her a hundred thousand naira (N100, 000) to register at the centre. The ‘accident’ is love at first sight. Days, perhaps months, pass, and then destiny brings them together as students of the same university. While her father every so often warns her against mingling with anyone from poor family, Isham and his two siblings are orphans raised by their sick mother.

As expected, Fadila’s father, Alhaji Mahdi (Sani Mu’azu) someday finds out that she has invited Isham to the house, though with the consent of her mother. He blasts them and chases Isham out. He asks his old friend, Dr. Bello (Umar Malumfashi), a lecturer at Isham’s university, to find ways to punish him. Coincidently, Dr. Bello is already at loggerhead with Isham over a protest the latter organizes against the sale of handout. Unknown to Alhaji, however, is that his friend has once tried to sleep with his daughter. Finally, Isham is framed and subsequently expelled. He is soon consoled and offered a sponsorship by Fadila to study in any southern Nigerian university he can get admitted into.

Alhaji Mahdi tries to marry Fadila off to her cousin whom he fosters at his house and sends abroad for studies. She rebuffs. Isham returns and his relationship with Fadila is soon rejuvenated. The lady Dr. Bello used in framing Isham asks him for her payment. He refuses and thus she threatens to expose him. And, in the final scene, the Economic and Financial Crime Commission (EFCC) arrests Alhaji Mahdi for an undisclosed crime.

But for a few slips, I would rate the film 4 out of 5. It goes with something a little bit below that score. The blunders responsible for this discredit include the use of pretentious lines in some scenes like where Fadila and Isham first meet. Although it is meant to express love, the language is too flowery and such is barely used for verbal communication. Go and watch even the BBC productions, and you will never come across something similar. This beside, the film breaks a new ground as the first (or second, if you like) Kannywood film completely rendered in English. The grammar is virtually faultless save only in some instances in the subtitle.

All the casts try their best possible in internalizing their lines. It is only the character of El-Mustapha who speaks quite unnaturally. Moreover, the same voice of supposedly the executive producer of the film is used at least three times, by different characters. The dubbing could have been better and more lip-synched had the casts tried even if their English is not polished as such.

And lastly, although Light and Darkness, another film to be released by the same company, is said to be the sequel to There’s a Way, the resolution of the story is at best hanging and at worst outrageous. Having just a sleepless night over a threat, which could be empty, by the lady Dr. Bello hires to frame his victims is so much insufficient as a punishment to him. The same goes to Alhaji Mahdi; his arrest by the EFCC says so little after all his humiliation and sheer disgust of the poor.

The film is about the endurance of the human spirit, true love and the exposition of some social vices in our societies and schools. No doubt, it was technically carefully shot; the cinematography is almost spotless. The lighting appropriately fits the ambiance. The casts, as mentioned earlier, perform very well, especially Isham and the debutant, Fadila, among others. This credit must be shared among all the crew with the director, Falalu Dorayi and the executive producer, Kabiru Jammaje taking plump shares.

Written by:
Muhsin Ibrahim,
Bayero University, Kano
Twitter: @muhsin234

Kannywood Movie Review: BASAJA Takun Karshe!


If you feel like being nitpicky, there’s a whole lot wrong with Falalu Dorayi’s BASAJA TAKUN KARSHE. An angry, motivated person could write multiple reviews ranting its logical inconsistencies and less than expert structure without ever repeating himself. But what’s the point when the movie is actually kind of enjoyable? In spite of its choppy storytelling, BASAJA TAKUN KARSHE has more than its share of likability. It may be stand close scrutiny but most people will leave the cinema smiling. And that has to be considered a success.


Production: Dorayi Film.

Writer: Ibrahim Birniwa.

Producer: Tahir I Tahir.

Director: Adam A Zango.

Cast: Adam A Zango, Hadiza Aliyu Gabon, A’isha Aliyu Tsamiya, Shu’aibu Lawan Kumurchi, Ali Nuhu, Fati KK, Zainab Indomie, Mustapha Naburaska.

BASAJA has expanded into a money-spinning, lucrative franchise and it gets larger in terms of scale: the budgets are getting monstrous, the star power, collosal. The third installment, BASAJA TAKUN KARSHE, driven by a story that, well, just likes the idea of being smart, pits a squad of three down-on-their-luck cops into a cat-and-mouse game with the con perfectionist, Adams A Zango, who pulls off a series of frauds against mostly corrupt business leaders and politicians while consistently staying one step ahead of the authority.

If you look at the movie as an escapist fare where you go “my brains off”, you will be fine. Frankly, BASAJA TAKUN KARSHE sort of delivers everything you anticipated. The motive is to offer unbashed entertainment and the movie thrives completely in this endeavor. In its better moments, it’s able to tread the line between exaggeration and absurdity to produce maximum thrill.

In its worse moments, it’s a bit of a hot mess. In addition to spending time on the wrong side of the absurdity line believing to be much smarter than it really is, scattered plot elements are thrown in that feel alien and unneeded thrusting the plot into chaos. In the downside of things, the movie borrows ideas from previous installments.

BASAJA TAKUN KARSHE is kept afloat by its witty dialogue and smoothly charismatic performance by Adam A Zango and Hadiza Aliyu Gabon. Special credit goes to the producers for its extravagant production design. The music is highly effective. The costumes are upmarket. The editing is admirable. The background score is fair, though too loud atimes. The camera work is outright mediocre. However, the saving grace is the vibrant picturization. Overall, the production is recommendable.

BASAJA TAKUN KARSHE is cool, enjoyable, formula-driven stuff designed to self-replicate into a series- and there’s nothing wrong with that. Bring on BASAJA GIDAN FURSINA.


Reviewed by: Anas Abdullahi
Twitter: @a9united1

Kannywood Movie Review: ‘YA DAGA ALLAH

Far more modest in ambition than most recent releases, and so less bombastic, ‘YA DAGA ALLAH is the most likable Saira Movie this year, even if it’s a tad less substantial and frankly, a touch more redundant.

Production: Saira Movies.

Star Cast: Nafisat Abdullahi, Fati Washa, Ali Nuhu, Sadiq Sani Sani, Aina’u Ade.

Director: Aminu Saira

What’s Good: The cinematography is very nice; actors are earnest; the director’s approach is good.

What’s Bad: The second half isn’t properly thought and executed; Lukman’s character is checkered with misses; unexplained loops.

Plot Summary
‘YA DAGA ALLAH is a story of Mallam (Ali Nuhu) who pushes water truck to sustain his family. An injury to his knee leaves him largely incapacitated to carry out this task. His wife Rabi (Hadiza Muhammad) is pregnant and the only thing capable of preventing him from consigning to the hall of shame is divine intervention.

One fateful evening as he is returning from a hospital (where his wife was previously admitted) to seek for money, he is brought to an abrupt standstill by a baby cry apparently coming from a sealed box by his side. He courageously opens the box to find a baby girl, pool of dollars and a letter that reads: ‘This baby is ours. She has parents like everybody else. Use this money to take care of her.’

He takes the baby home and uses a minute portion of the fortune to settle his wife’s medical bill. When Rabi returns home, she initially regards his account of the baby with suspicion but later finds it sensible. Shamsiyya chiefly called ‘YA DAGA ALLAH by Malam, becomes his silver lining. His miserable life is resurrected by her fortune- a debt Mallam feels would ever be indebted to.

20 years later, Shamsiyya (Nafisat abdullahi) and Mallam’s biological daughter Atika (Fati Washa) are in the middle of adulthood. Shamsiyya develops a more likable personality and subsequently, wins the public as well as Mallam’s affection. Atika’s jealousy and resentment grows to an obsessive when the man she is interested in, Lukman (Sadiq Sani Sadiq) appears to have interest in her sister Shamsiyya. So in an attempt to extinguish Atika’s rage, Ladi reveals the mysterious secret. And although Shamsiyya’s heightened excitement is calmed by realization that she was not an illegitimate child, she begs Mallam to find her true parents and Lukman’s houseserving woman Baba Rabi (Aina’u Ade) is uncovered as her mother.

Script Analysis
The script, written by Yakubu M Kumo, moves with lightness and seriousness of purpose. Kumo creates a remarkable drama with a light suspense and bits of tragedy. Yet the story ending feels somewhat hallow and an overt attempt to get as many details as possible. Just when the movie has audience in its grasp, the script falls to pieces and turns into a female-in-peril situation which is not only improperly developed but also poorly realized.

And while the script is written with a dose of drama and light suspense, the romantic quotient never works. The character who sells the romance, Lukman is never really given any solid development or brought into the heart of the movie.

Lastly, the false narration of the couple that firstly claims Shamsiyya shouldn’t have been written as a footage but just a verbal narration since the event never existed.

The script written with an unforced ease is directed in the same graceful manner. The production design, the director’s approach and embrace generate a genuine feel and magnetic quality that allow the audience to get lost in the cinematic experience early on.

However, ‘YA DAGA ALLAH which begins life high-mindnessly with great aspiration and elegant scenes, is ultimately taken down by a mix of both predictable maneuverings and occasional lack of focus. The movie ultimately slows down, but it does so like a talented athlete who strayed from his game plan. As the story picks up stream, the suspense and the climax suddenly fall in place without audience investing much in exercising their brain.

Early clues revealing Baba Rabi’s identity is pointlessly offered which makes the second half ‘predictable’. More often than not, big questions are not answered, like: How that letter ended up being in the box and whereabouts of Baba Rabi’s parents or even relatives. Another choice that is questionable is how Ladi remains the same for opposite sides of 20 years. Finally, the movie’s conclusion is incredibly half-hearted.

Star Performances
The long list of things that work better than you might expect has to start with Fati Washa whose performance as an obsessive and temperamental sister adds a lot of flair and fun to the story. As a testament to how good amicably the cast’s performance is: you have to dig deep in Ali Nuhu’s back catalogue to find a single performance as affecting and well-judged as the one he delivers- which is a big deal!

In the same light, Nafisat Abdullahi expresses pure emotional honesty, that’s to say, entire unconned by false sentiment or sharp, overmanipulative acting. The only person that stands away from the pack is Saddiq Sani Sadiq. While there is nothing to criticize from his performance, he isn’t exactly given a ton of material to work with.

If nothing else, the production is wonderful. Every aspect of it is at worst, nice. The cinematography is very nice. The sound, score, editing, sets and costumes are all good.

The Last Words
Like any piece of art, ‘YA DAGA ALLAH has its shortcomings. However, the director’s style and the strong performance by the cast have given it enough juice to truly pull off its own premise. And while it’s not the greatest Saira movie to date, it manages to stomp through the theater in an altogether entertaining and enjoyable fashion.

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Written by: Anas Abdullahi

Movie Review: SAI A LAHIRA

Director: Yaseen Auwal
Producer: Umar S. K/Mazugal
Cast: Ali Nuhu, Jamila Nagudu, Yakubu Muhammad, Ishaq Sidi Ishaq Tijjani Asase, Ladi Muhammad, Sani Sk

Imagine the emotional trauma when 20 years of life was stolen from you, imagine the suffering when you suddenly got separated from your pregnant wife and your parents for something you haven’t done or have an idea what it is… That’s what happened in UK Entertainment’s Sai A Lahira

Faruk (Ali Nuhu) was so happy on one fateful night because his beloved wife Na’ima (Jamila Nagudu) is pregnant that he went out at 11pm to buy her a fish as a gift, he barely stepped outside his house when he got captured by some prison authorities and sentenced to life imprisonment for charges of rape and attempted murder. Faruk did all what he can to tell them ‘bani bane’ (A phrase which later became his name in the prison) but the prison authorities turned a deaf ear to his plea.

Na’ima who incidentally saw him taken away ran to Faruk’s parents and told them what happened. They searched for Faruk everywhere from that day but they couldn’t find him. He’s vanished without a trace. Faruk’s parents and Na’ima were devastated. Na’ima later gave birth to a baby girl. Faruk’s parents assumed he’s dead and insisted that Na’ima should get married and continue with her life. Na’ima also insisted that her husband wasn’t dead but she had to succumb to their demand and 4 years later, she got married to Rufa’i (Yakubu Muhammad)

Meanwhile Faruk didn’t survive the emotional anguish and distress from the separation in the prison so much so that he suffered a depression disorder. All he could say was ‘bani bane’, a phrase which made him popular among the inmates. Accidentally, a thief inmate who once attempted stealing from him recognizes Faruk. He went and told Faruk’s parents about it after his release. When Rufa’i learns that Faruk was alive, he did all he can to find out how it happened. He discovered that Faruk was snatched by a corrupt head of Jajare Prison, CSP Bukar (Ishaq Sidi Ishaq) in a much larger conspiracy involving another inmate. Rufa’i did what he could to bring Faruk back home. Only that 20 years had gone, he’s lost his work, education and Na’ima had two more children with Rufa’i…. That set up a very emotional and heartfelt reunion and a dilemma between Faruk and Rufa’i with Na’ima at the center of it.

This is all seem like a clichéd plot but like most films written by Yakubu M Kumo, this one is also very well written with lovely emotional lines. Not only that, the director’s handling of the script is magnificent.

The film was set around 1993 when newly married bride rooms were decorated mostly with furniture. Na’ima’s room isn’t different, the chairs, the “Jeren ‘yar cotonou”, the curtains and even Na’ima and Faruk’s pictures hanging on the wall looked old. Rufa’i has an old vespa instead of the more recently used motorcycles like Kasea etc. Other settings such as the prison and their activities is perfect. For that, credit must go to Yaseen Auwal, his attention to detail is really impressive.

The performances in Sai A Lahira are superb and everyone plays their parts well. The lead characters invite your sympathy and attention that you might forgive Some of its flaws; like how Na’ima’s hair attachment remain the same throughout the film or how it’s so easy to treat depression disorder in a couple of hours or the fact that Ali Nuhu’s hair and beard was overdone that it looked artificial….

In a year when the industry is lacking enough good movies, Sai A Lahira inject enough faith for viewers to cheer it on. And it’s worth every penny of your purchase!

By: Ibrahim Umar Bello
Twitter: @aaramz

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DA KAI ZAN GANA Review: Style over Substance

Production: 2 EFFECTS EMPIRE.
Screenplay: Ibrahim Y Birniwa, Sadiq Mafia.
Director: Sadiq Mafia

Cast: Sani Danja, Yakubu Muhammad, Zaharadeen Sani, Rahma Sadau, Hadiza GAbon, Ladidi Fagge

You know the old phrase about not having too many cooks in the kitchen! DA KAI ZAN GANA ignores it. It is more than four hours of material crammed into measly two hours. “Too much” is what DA KAI ZAN GANA is in nearly everyway- too much characters, too much exposition, too much busy plot. The only thing that’s not too much is characters worth caring about, in fact, there’s none of these at all. There’s little time for larger messages or subtlety on this train hurtling through and destroying Africa. But again, that’s not necessary a bad thing.

A movie needs to know its goals. It needs to decide such things ahead of time and let the mission dictate what it includes and what it leaves on the cutting room floor. It should have a very good idea of itself. DA KAI ZAN GANA chooses dancing over walking, movie cliches over realism, style over substance. Yet, somehow it feels entirely in keeping its idea of fun.

We meet our protagonist Rahama (Rahma Sadau) in an effort to break into the city one late evening. She has little idea where she is going. She is trying to free herself out of the corner her mother in the village is trying to back her into: marrying her out to wealthy Mamuda (Ubale Ibrahim). Driving in his car from outskirt of the city, a lusty womanizer Faruq (Zaharadeen Sani) sees her and decides things could fall into place if he presses the right button. He offers to take her to the town and somehow utilises this avenue to steal her virginity. Used and dumbed, Rahama is then picked by a wanton Maimuna who promises to take care of her. So when another womanizer Mudassir (Yakubu Muhammad) desires a company of a woman to be supplied by his friend Auwal Isah West, the wanton offers Rahama to Auwal. She is told she is only to deliver a message back to her boss Maimuna and of course she is the delivery package. She is subsequently drugged and raped by Mudassir. Unknown to Mudassir, his friend Auwal has taken a footage of scene.

Now that life is done conspiring against her, Rahama meets a decent woman who happens to be from a very influential family. Rahama is injected with a life and is educated. After few years she appears smarter than most high-society folks. A wild coincidence winds her up Abdallah (Sani Danja). Pressurised by his parents to get married, Abdallah is on a desperate hunt for a wife. His previous four girlfriends, as the movie chronicles their issues in flashbacks, hadn’t yielded a fiancee. The favorite of the four Fati KK was dead, and the other three (I will spare you the details) were discarded for various reasons.

When Rahama answers Sani’s invitation to his house, she is confronted by his two brothers Mudassir and Faruq- who had previously raped her. She runs out of the house. Abdullah later learns of her past and decides to cut the relationship prematurely. The script then softens her story’s sharpest edges and remolds her as a woman on a desperate and confounding path of revenge. Auwal sells the video clip he had taken of Mudassir’s dirty deed to Rahama for five million naira. She destroys Mudassi’s proposed marriage with Hadiza Gabon. He gets another relationship, she destroys it. And althought Faruq’s fiancee remains unmoved by her blackmail, she manages to get at him by causing termination of his ambassadorship with one international organization. The whole production suddenly shrugs its shoulders- kills both Faruq and Mudassir in a car accident- and walks away into credits sequence as if to say “we just couldn’t think of anything else.”

So you see, DA KAI ZAN GANA can’t decide whether it’s a thriller with little romance mixed in or a formulaic romantic-comedy with one or two dramatic pieces. Thanks to its constant wavering and lack of clear-cut direction, it whiffs on both potential premises. It lacks the gusto of romance and flair of a thriller. While its thriller premise fails because it fails at weaving together a compelling story, instead creating a meandering epic without any sense of escalation, its romantic premise fails because it suffocates the joy that should be inherent in a romance.

Despite the larger than life influence, it’s never self-aware enough to realise how juvenile and immature its sense of time and visions of reality are. Even a cursory examination of its story specifics reveals gaping plotholes and confusing character motivation. Why would a decent woman detain a girl who escaped from her in a village instead of sending her back. Why would a reasonable man pay a woman 15 million naira for marriage preparation when she isn’t even formally introduced to his family. Why would someone prepare a drugged juice to knock a woman off when he expects a prostitute. Why, why, why.

As far as I can tell, the characters have no above-average personality. None of the four leads is given enough detail or motivation. If it cared about its lead characters a little more, we might actually get invested in their lifes. Luckily, so many actresses are barely in the movie. Unfortunately barely is too much since they add nothing to it. It’s as if someone wrote the script, and then another one suddenly discovered there weren’t enough of them, so another writer was brought to randomly toss them in the show.

DA KAI ZAN GANA’s production values prevent it from being a total sentimentalist soup. The picture, the sound, the editing, camera angles and costumes are qualitative. and though it never really connects, the humor and the pacing is enough to get you to the end unscathered. DA KAI ZAN GANA could be a pretty sweet movie, but it is slowed down by more than its share of ill-advised congestion

DA KAI ZAN GANA is mostly an unfortunate case of reality against its protagonist. If it were a good movie, it would be an unfortunate case of reality against art.

Reviewed by: Anas Abdullahi
Twitter : @a9united1

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Writer Yakubu M Kumo and director Aminu Saira have made a name crafting complex story-driven dramas. For their latest collaboration MUNAFIKIN MATA, they took on some new challenge, offering their most reliable man Ali Nuhu an optimistic and manipulative character. The results are intriguing, and a times fascinating.

First thing first, MUNAFIKIN MATA marks an official re-union of actress Nafisat Abdullahi with director Aminu Saira and actor Ali Nuhu after series of events. She holds an ace up her sleeve: she is a talented actress. By chance or by intent, she landed this one. Suddenly, she is set to feature in FKD’s next project SIRRIN DAKE RAINA(with another upcoming talent, Rahma Sadau) and SAIRAMOVIES’ YA DAGA ALLAH. Coincidence? I think not. Her performance here is effortless and grounded. She is never looked more convincing as human. Now whether or not you thought these and her few extra pounds have anything to do with her new emotional freedom …er… Save that for another story.

MUNAFIKIN MATA tells a tale of Khamees (Ali NUhu) and his two wives Nafisat Abdullahi and Maryam Gidado. To Khamees, the only way he could sustain a peaceful and stable home is to make each of his wives feel superior. This he does by praising each in her presence and mocking the other not-around wife tagging their(with the absentee) relationship as “godly punishment.” In bringing Khamees to life, Ali deftly creates a character that is manipulative and later, lonely but never in the exaggerated Kannywood way we often see portrayed. It’s the actor’s evolution as he weaves through the ever-changing dynamics of his relationships with his wives that allows him to prove his talent. His real presence and performance makes the film’s unique premise work.

In an era where filmmakers prefer their movies with twinge of darkness and irony that mostly end up getting so confused and lost within themselves desperately trying to convince audience, abusing their intelligence and wasting their time in doing so, A.S Mai Kwai keeps reminding us that there’s nothing wrong with shallow entertainment and MUNAFIKIN MATA is buoyant enough to deliver. So yes! Mai Kwai Movies are not high art, but they have fun characters and stories to tell and the stars are often invested in his movies. In a way, they comment on society and say something about the human condition and then get out of the way so you can get on with your life.

Come on! We are all tired of bunch of cliche life advice from an old guy that appears for no reason and forced “emotional” moments that attempt to trick us into thinking the movie is real, written by humans and everything. Luckily, refusing to fall prey to the kind of over-plotting and melodrama that have been the hallmark of kannywood, Yakubu M Kumo replaced all that with witty and smart script.

MUNAFIKIN MATA isn’t a bunch of great characters in a weak script, not a good idea with no where to go, not an advertisement for some upcoming movie connection but a fun little family movie. Aminu Saira’s approach to the material is outstanding. Everything seems human and not with the kind of raw tension you get from over-dramatised, unnecessarily energized movie.

If I have any complaint against MUNAFIKIN MATA, it will be that characters are not fully developed. For example, had Nafisat and Maryam Gidado given an un-identical personality to work side-by-side with Ali Nuhu, the film would have turned out different. The movie never attempts to work any harder than it has to. It leans too much on its culturally-established characters.

The old saying goes that love of money is the root of all evil. It’s a principle that movies seem to embrace, but in the end often abandon in favor of some predictable plot shifts. The moral is applied in MUNAFIKIN MATA for the makers didn’t attempt to drag it with a big, pointy teeth! And it is no surprise to see that it retains its cinematic legitimacy. A.S Mai Kwai earns his tons of gorgeous white with a movie meant to be enjoyed just for the fun of it.

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Director: Aminu Saira
Producer: Mukhtar Young Boy
Year: 2014
Company: Kabugawa Production, Kano

Only a few of the Kannywood productions, especially in these days, attract the attention of the audience and a fewer are awaited before their release. Sabuwar Sangaya scored both credits. This is however apparently connected to its title affinity with the famous film with a similar title: Sangaya, and whose song of the same name became a landmark success for both the Hausa filmmakers and the film-making industry. The ‘old’ Sangaya was produced by the recently revived studio, Sarauniya Production and directed by Aminu Muhammad Sabo, an erstwhile leading figure in Kannywood. But does this ‘new’ Sangaya satiate the thirst of the audience? Does it meet their expectation? Will it follow on the path of its ‘elder brother’? Here is what I think.

Sabuwar Sangaya is basically a romantic-horror film. Set in remote Fulani clusters, it begins with the much hyped Rahama Sadau as Jimmala and the soft-spoken Sadiq Sani Sadiq as Jimrau being chased by some lightly armed men. The duos are on a mission to elope, for their marriage proposal is denied by the father of Jimmala. He is of the belief that his aspiring son-in-law was not a legitimate son of his father as Jimrau’s mother was abducted and allegedly raped on their wedding day. Eventually destiny takes the lovebirds to a nearby plague-ridden village, which is suffering from an uncommon virus of a deadly witchcraft. The affected villagers behave in a vampiric manner, hungrily sucking the blood of their fellows and eating their flesh. A single bite transfers the disease, hence it is widely spreading.

Consequently, anyone infected is decreed by the stern Village Head to summarily face death penalty. The judgment is carried-out without prejudice or sympathy, for both his confidante and his witch-hunting son are executed in the process. Jimmala gets afflicted in the hunt of one predator she had a nightmare of. They therefore quickly fled, missing their parents who have just located their children’s hideout. The local vigilantes sent after them are unlucky as the escapees have gone very far away. At night, they meet an old, fugitive boat rider near a river who unhesitatingly assists them by misleading the vigilante personnel. He afterwards boats them off the coast, and gives them mattresses to sleep on. Although Jimmala had lunch earlier with her first prey, a Fulani milk hawker who offered them help, her thirst for blood grows again. The following morning, Jimrau wakes up and finds her having an early breakfast with the old man.

Jimrau, now shockingly furious, lambastes her. Jimmala becomes enraged and despaired, and therefore attempts to drown herself, but he averts it. They roam for awhile, and her desire for blood intensifies once again. After a fruitless, repetitive offer of himself for her meal, which she narrowly refuses out of affection, he leaves to find water for her. He returns and meets an empty space, and later following a rigorous search, finds her surrounded by policemen, who are called for from the city. She bites him. At the end, they both are cured in the city hospital, and the rest of the village dwellers are immunized. Jimrau and Jimmala finally marry and live happily ever after.

The title of the film is confusing: while it was/is Sabuwar Sangaya on its posters and in the advertisements, it is differently written as Sabon Sangaya in the film’s opening credits. Obviously, a little careful scrutiny would have corrected this elementary misprint. Similarly, audience might have been wondering why the film was named Sabuwar Sangaya, for it’s not a pastiche, revaluation or revision of the ‘Tsohon’ Sangaya, save the similar Fulani portrayal. Though that is, and should, not be a problem. However, while the other Sangaya remains dear to the audience for more than a decade, only time shall decide the fate of this one due to, among other possible reasons, the following:

(1). The bedrock of the storyline is the mundane motif of forced marriage, an over-flogged theme especially in Hausa films. Many screenwriters demystify and de-familiarize the phenomenon via a number of ways. Although this one has also tried reshaping the plot, it however remains flat—two persons love each other, and their parents raise objection; they later overcome the obstacle, get married and live happily ever after.

(2). Traditionally and as a widely accepted norm, the villain always gets punished as the consequence of his misdeed unto others, but not in Sabuwar Sangaya. We can unmistakably describe the character of Jimmala as the circumstantial villain for killing two obliging, innocent people. Yet she gets away scot-free and more.

(3). The graphic work and the composition, the cutting, the framing and, above all, the editing are somewhat flops:

a. Jimmala is shown gobbling the innards of her first prey and the victim is cleanly lying. Spoiling her Fulani attire shouldn’t be an issue of concern. The same goes with other gory scenes.

b. Body contact among the opposite sexes is disallowed, according to Islamic principles, in any film; however avoiding that remains a difficult task. Thus a careful and painstaking job is carried out to edge this out before the release of the film. But the viewers of Sabuwar Sangaya could obviously see such instances in a number of scenes—the first scene, on the bank of the river, at the hospital, etc.

c. It’s very implausible for the lanky looking lady like Jimmala to overpower Baba Sogiji, murders him and devours his flesh without a any commotion that could awake Jimrau. Any film, or story, worth its salt should suspend much, if not all, forms of disbelief.

This skeletal review was motivated for the film’s being a work of the “Best Director” of the Industry. Second, many fans of Kannywood had longed for long to watch the film as mentioned earlier. It’s with unsolicited sincerity I want to add that the ‘mighty’ Aminu Saira’s also recently released film, Birnin Masoya shows, to an extent, the “eloquent” director’s lapses, and his virtuosity diminishes. The film is filled with disjointed scenes and fragmented storyline. According to the auteur theory, the director is to be praised or blamed for the success or otherwise of any film ala an author for his book’s accomplishment or disappointment.

Besides, the overall judgment on Sabuwar Sangaya is that: although the film has come with a new genre in Kannywood similar to the Hollywood’s vampiric-horror movies, it however lacks an appropriate conclusion and convincing artistic composition. However, the picture and the sound quality are good. Again, it’s though observable some characters fake their Fulani accent in their speeches, the performance of the leading actors and a few others is realistic. The film may well be accepted for its much publicity, song and dance routine and the novelty of its thematic presentation in addition to the title issue. However, it could have garnered more crowns had the director polished it the more.

Reviewed by:
Muhammad Muhsin Ibrahim,
Dept. of English and Literary Studies,
Bayero University, Kano;

Movie Review: Duniyar Nan

In Nasir Gwangwazo’s “Duniyar Nan” Najif (Yakubu Muhammad) found himself accused of two murders; one, his wife and the other, his sister in law’s fiancé. Although he denied both charges, the evidence against him are impossible to refute especially in the eyes of the police and his wife’s sister Bahijja (Ummi El Abdul).

The problem arises when Najif started lusting after Bahijja, who’s staying with them. Bahijja knew there bound to be problems, so she left the house only to be returned a day later against her wish because her parents insisted. We saw her telling Najif after she came back that what he’s trying to do is stupid and they can’t be together if her sister Surayya (Hadiza Gabon) is alive. “What if she’s dead?” He replied.

And when Najif cannot control his sexual desires any longer, he started sneaking in to Bahijja’s room at night. Eventually his wife caught them. Two days later, she was found dead in their bed room.

Interestingly, Bahijja’s parents did what most parents may likely do. Marrying her to Najif so she can take care of her sister’s children. But she was already engaged to Kabir (Ali Nuhu). They explained the wisdom behind their decision to Kabir but he refused to agree. He was found dead the next day at the golf club minutes after an argument with Najif.

The film starts off intriguingly well and it’s racy enough to hold your attention. There were scattered clues that will make you guessing who the killer is until the very end. The seven actors of Ali, Danja etc fit perfectly in the film. Credit must go to the director the way the characters are cleverly etched. This is helped immensely by a very good script from the writer.

Yet, the film cannot avoid the usual traps; for a film of this storyline, one song -which Surayya and Najif did-would have been enough. The other two were only there to stretch the running time of the movie. As a debutant, Ali Gumzak should have made sure Ummi El Abdul is well prepared before casting her in the film. She displays ample lack of ability throughout the film. Surayya didn’t offer much resistance when she was getting murdered, making the scene looked not real. You’d thought the killer would make a mess of it but he walked away without a single bloodstain on his hands or cloth and what are the chances that he’d leave the murder weapon behind after killing her?

Nitpicking aside, “Duniyar Nan” is a thoroughly charming film, brought alive by some great writing and some stellar performances. This one is definitely worth watching.

Reviewed by: Ibrahim Umar Bello
Twitter: @aaramz