King of Thieves was released at a period when culturally-curated movies struggled
Like a phoenix, perching on the chest of splendor after its epic adventure of ashes and awakening, “King of Thieves (Agesinkole)” is reborn in our minds, even three years later.
This masterpiece, Femi Adebayo’s magnificence, stands tall as a model of art in the Nigerian film industry since its release in 2022. This movie returned the glory of the Yoruba folkloric tradition, after it had been tainted by the gore of modernity.
It was a cultural awakening, laced with pride and purpose. Peace, justice, and tales of reason wrapped around each other, serving not only as stated or unstated themes but remaining at the pinnacle of cultural significance, leading all and sundry to the cinema.
Agesinkole was not only spoken of but was shown in revelations as the genesis, the lamentation, and the end of tyrannical rule in Ajeromi.
The movie, “King of Thieves,” was released at a period when culturally-curated movies struggled to find footing with budgets against their counterparts in the industry. Yet, beyond entertainment, it reminds us of our irreplaceable heritage, delectable culture, enviable identity, and amiable art.
Grossing over ₦322 million and setting some benchmarks in Nollywood, even while one ticket was sold for ₦1,500 then, it is still an undeniable commercial and cultural success story for the industry.
Today, that tickets are now being sold for around ₦8,000 to ₦10,000, Agesinkole would have made billions of naira at the cinema.
In a gallery, a story was etched on an art, kept between time and space. The beauty, a painting of a gallant warrior posing on a galloping horse, later led to a raising of dust, the neighing, the slideshow of the rainforest-like view, the trad drums, and the story.
Ajeromi was once boisterous in trade and commerce, filled with flowing milk and honey, but the politicking and the bust of Lady Justice began the fall after the cheap deaths of a prince and others generations ago.
The paying of homage to the witches, the wizards, the Ifa diviners, the guttural masquerades, and fiery Sango showcases the deification of a paramount ruler in the Yoruba tradition.
The timely attack on the visiting kings on the day of Adegbite’s coronation and the constant attacks on the people of Ajeromi led to the rising action.
The sending of Lanfogido, the roaring of Mobonuola, the queen, the contest on the hill, and the king’s dream, even with the powers of the powerful, couldn’t bring down Agesinkole.
He told his story to Abegunde, revealing that he is not the villain; the chiefs were the true antagonists. With a plot twist, Agesinkole, the supposed problem, finds an answer.
Through the voice of God, in an omniscient narrative technique, the story was told. The use of the English Language for the narration and Yoruba for the dialogue is a thoughtful way of carrying the people along.
Also, another beauty to behold is the coming together of A-list Yoruba actors, which showcases the strength of collaboration.
The music and chants, layered with emotions and torrents of outflowing feelings, were masterpieces and celestial evocations from Tolu Obanro and Adam Songbird, whose collaborative genius created a soundtrack that didn’t just accompany the film but became its emotional backbone.
This compelling sonic work masterfully integrated traditional Yoruba rhythms with contemporary scoring, ensuring the film’s message of heritage was felt in every note and soaring vocal run, thereby transforming key scenes into truly visceral and unforgettable cultural experiences.
Co-directed by Adebayo Tijani and Tope Adebayo, the cinematography splutters colours of splendour onto the settings.
The change of colours, from the modern to the ancient, is nothing short of wondrous. Then, the costumes and props were meticulously crafted to reflect the eras; the location and settings were perfectly scouted to showcase Nigeria’s natural beauty; the nature, greenery, hills, and rivers served as majestic, authentic backdrops that elevated the entire production to an epic scale.
King of Thieves (Agesinkole) didn’t just break the bank; it won the heart of the industry, cementing its place as a massive cultural and commercial hit at the 2023 Africa Magic Viewers’ Choice Awards (AMVCA).
The movie was a true powerhouse, receiving eight major nominations, including the top awards for Best Overall Movie, Best Actor in a Drama for Femi Adebayo, and Best Director for Adebayo Tijani and Tope Adebayo.
Its storytelling (Best Writer), rhythm (Best Picture Editor), emotion (Best Sound Track), and look (Best Makeup) were also recognized.
The production’s commitment to visual quality was celebrated with a win for Best Art Director, a well-deserved honour for Wale Adeleke that solidified the film’s status as a celebrated example of modern Nollywood epic cinema.
It is evident what the “King of Thieves” (Agesinkole) left behind.
It served as the catalyst for the resurgence of cultural narrative in Nigerian cinema, a film that served as a reminder that our ancestry is a living force rather than a relic.
A resounding appeal from the movie to remember who we are and to proudly share our tales.
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