Ghana Must Go is a comic Nollywood and Bollywood film directed by Frank Rajah Arase.
The movie reiterates history of Nigeria and Ghana and through what can be described as a sad historical past, produced a rib cracking comedy that celebrates love that defies odds, and also heals decades of animosity and grudge.
The movie revolves around Ama (Yvonne Okoro), a Ghanaian and her husband Chuks (Blossom Chukwujekwu) a Nigerian. Set in Accra, Ghana, the comedy is about two lovers fighting to convince their parents to accept their marriage. Ama, a London-based woman falls in love with a Nigerian, consummates the marriage in London and brings him home to her family and a xenophobic oriented and class conscious father. Ama’s father refused to accept her daughter’s husband and sends him away. Out of frustration, Chuks (Ama’s husband) contacts his parents and requests they come to Ghana to help him resolve the issue. Chuks’ father Nkem Owoh comes to Ghana with his two wives one of which is Chuks mother and tries to win his in-laws hearts. Several events threatened the already volatile relationship and the tensions created in the movie are often douse with raw wits.
What impressed me in the movie is how the film is able to bring out comedy out of a serious issue like xenophobia and class discrimination. Comic films are best brewed from absurd farce and often exaggerated foolery. In fact, marriage is a serious issue in Africa and could create tensions when parents are opposing a particular union. Bringing out unrestrained wit out of such tension deserves a lot of credit.
The movie is just like playing reggae and blues together and at the same time, forging a harmony.
The title of the film is apt and easily relates to the targeted audience (Ghanaians and Nigerians). Though the subject matter of the film is a cliché, the approach and the themes are entirely new to the industry for instance, dramatizing the “Ghana must go” experience has never been experimented with the issue of marriage.
One very outstanding quality of the movie is the cinematography. It is one of the best among movies I have seen as it was employed to stress the dialogues in the film. I realized the camera moves from one scene to the other and questions asked in a scene is answered in another scene immediately without compromising coherence. For instance, the camera moves from the scene where Chuks and Ama’s brother (Ik Ogbonna) where discussing on their way to the club to the scene where Ama and her mother where discussing in the bedroom back and forth.
Most of the characters are good and apt with their facial expressions.
But whoever gave Ik Ogbonna a comic role should be reprimanded. He wasn’t being funny, he was being stupid. Mind you, there is a difference between being funny and being stupid. Go and find out. There are good jokes and dry jokes. Ik Ogbonna is just a dry joke in that movie though he is worse than Helen Paul who tried to be funny but merely succeeded with her irrelevant role that didn’t contribute to the plot of the movie. She reminded me of the role of Richard, the British white expatriate in Chimamanda Adichie’s Half of a Yellow Sun. Her role is an irrelevant addition and after-thought.
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