SURPRISINGLY, there has been so much noise, even from unimaginable quarters, over the daring surreal of Netflix Original film, ‘Beasts of No Nation’ (BONN). However, it is somewhat confounding that many have refused to see what a great film it is.
This is perhaps due to its violence-portrayal of the African race by the West, or 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 humanity for a monster?
BONN is not some American action film that leaves no room for sober reflection. Agu’s thoughts, occasionally, are moments for deep reflections. Indeed, his narratives touch the heart of discerning minds who would never wish for war as solution to conflict resolution.
The movie is the reality of tales of civil war, rebel warfare, genocide and its likes in Africa, going by the history of countries like 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 the aforementioned African countries.
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, that it could be called a complete African film.
With the cast members somewhat new, safe for Idris Elba, BONN still earns its glory from content, and Elba is icing on the cake.. 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 give 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, Uzodinma Iweala, and brings to the fore, great acting talents in Ghana. 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 stories, 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 snag of Half of a Yellow Sun, which had the same international exposure , but which did not get the same ovation.
However, I think there are some overkills, especially for a first-time 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!