Lately in Nollywood, deliberate soundtracking has taken the back seat in the filmmaking process, as if an afterthought. Rather than a composition that captures the mood of a scene, out-of-place trendy “Afrobeats” sounds are opted for. This development is a far cry from the films of yesteryear, where one could perceive that thought and consideration. Although those older films drew flack for being too expository sometimes, it cannot be denied that motive was still accomplished. This departure from purposeful scoring has severely diminished the storytelling impact of our films. Once in a while though, a director makes the right choices, and outliers to the present norm are created. For example, the phenomenal use of Brymo’s warning “Down” in Road to Yesterday by Ishaya Bako and more recently, the two songs I’ll be writing about in Eyimofe directed by Arie and Chuko Esiri. Of the 5 stars I rate the film, 2 are for the wonderful choice and use of music.
In Eyimofe, such careful attention is paid to sound in general, and a slight deviation from talking about soundtracking— the noteworthy intentional absence of supplementary sound. The background chatter is not filtered out and although strange at first, you get used to it as the film rolls on. Printing machinery whir and click, generators rumble, Lagosians chatter in muffled voices and there is the ping-pong of children playing tennis. All these work as white noise filling the soundscape in the way of natural, everyday life. About five songs are played during the film, with some being immediately recognisable and others undecipherable. Of these five, two bear the weight of the story of Eyimofe: Celestine Ukwu’s “Okwukwe na Nchekwube”, and Eddie Okwedy’s “Happy Survival”.
In the 4th minute of the film, Mofe (Jude Akuwudike) returns from picking up his passport from a guy who seems to be an unofficial international passport merchant. Mofe’s chosen name on the passport is “Sanchez”, and his destination is Spain. As he walks through a busy market, a familiar guitar riff plays. “Faith and Hope” – the literal translation of the song’s title, “Okwukwe na Nchekwube”. Throughout the film, the song bops its head. “Faith and hope, faith and hope”, it echoes. As the film’s introductory track, elements of it speak to the story while the film runs. And as an accompanying closer, in the final scene, Mofe, in his newly acquired repair shop, “Happy Survival” comes on. And what a fitting tribute it is. One may build dreams that touch the sky, and one may watch the dreams crumble in a stack, but one may also pick the pieces up, and fashion a new life. They now survive what may have otherwise killed them through faith and hope.
For “Okwukwe na Nchekwube”, there is also a rather interesting coincidence with the name Celestine. The song’s artiste Celestine Ukwu died suddenly and fatally in a ghastly motor accident in his prime. In the film, Mofe’s nephew, Celestine passes in an equally shocking and sudden way. The little boy dies alongside his brother and mother, and Mofe is left grief-stricken. His emigration plans are frustrated because his sister has passed without transferring the rest of the money she saved up to support his travel plans. With her dead son as next of kin, the bank does not release the money to Mofe because her greedy father contests rights to it. Rosa (Temi Ami-Williams), the other protagonist, has her travel plans to Italy thankfully fall through when her mode of payment (her sister’s bargained unborn child) is no longer a feasible option. Mofe and Rosa, who live in the same neighbourhood, first wrestle with their hanging fate and give up after seemingly losing the battle, but the song echoes in the background:
“Anything that has a beginning must have an end,
When trouble comes, it looks like it will never end
If something happens, let us leave it to God,
Let us not be weary, rather let us have faith and hope.”
And so, Mofe and Rosa devise new lives for themselves. The new life is not as lofty as the promise of emigration, nonetheless, it is something, a phase to build on. In the final scene, when Eddie Okwedy’s voice is raised to wish them a happy survival, it is true and it is what we wish them after all they’ve been through. The song is all the more poignant because of its tie to the aftermath of the Nigerian-Biafran war; when lives and property in the Eastern region were destroyed and the government handed people 20 pounds to begin life afresh, Eddie is there to wish them a happy survival.
Although a few other songs are heard during the film, “Okwukwe na Nchekwube” and “Happy Survival” hold the whole essence of the story. They are decades-old songs, but still poignant, and because of them, I give much praise to those who picked them out with intention. This thoughtful approach to the soundtrack underscores the film’s theme of perseverance. Thus, elevating the entire viewing experience. Looking ahead, my hopes are raised that we can create even more impactful films that meticulously align soundtrack choices with the essence and message of the story as Eyimofe has done. That way, we engage the audience on a deeper level and create synergy between sound and story.
Eyimofe is available on Prime Video.
Published in honour of World Music Day 2024.
Share your thoughts in the comments section or on our social media accounts.
Keep track of upcoming films and TV shows on your Google calendar.
