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Ghetto Queen A Case For Attitudinal Change
Movie Title: Ghetto Queen
Cast: Desmond Elliot, Ini Edo, Kevin Ikediba, Susan Peters, Dorathy Onoja, MC Actor Achor, Ifeoma Imoh, Gloria Amba, Lawal Konga
Director of Photography: Uche Okafor
Screenplay: Sunny Okwori
Assistant Directors: Omos Iboyi
Director: Sunny Okwori
Ghetto Queen could have been better appreciated if it had not attempted to infuse everything about ghetto life into it.
Perhaps, the producers went to that length to preach some certain themes like anti-social behaviours that always lead to perdition. In like manner certain scenes in the movie should at best have ended as rushes, especially scenes preceding the dance competition.
The movie is a credit to the evolution of Nollywood. We say this with every sense of patriotism even though some aspects of it tend to glorify thuggery. Those who have seen Juice, an American film that starred the late TuPac Shakur, would better understand our standpoint.
The movie under review simply attempts to portray ghetto life. In doing so, it touched too many segments of low-life neighbourhood, where life is very tough and youth gangs embroiled in fierce supremacy battle. In such situation, the security agents are sometimes caught in a cross-fire between rival gangs. Of course, it is common knowledge in such notorious settlements that many of the gangs take to robbery in their bid to survive the harsh economic condition largely caused by the insensitivity of governments at all levels.
That exactly is the case between Alaska and Nobanga, and much later Shaun, played by Desmond Elliot. But, as in the case of Walking Tall, an American film, Shaun is poised to stem the destructive tide in his community upon return from his sojourn abroad. It is not surprising that those who held sway when he was away and who also reap from the reign of terror they unleash are against Shaun’s reforms kicked against it.
In what subtly preaches collectivity, Shaun goes about bringing those he’s able to talk out of the wrong ways together and they are able to put a successful show – clip of the show is co-opted into the movie to make it seem like the Konga exponent made a cameo appearance – after which they decided to host a dance contest with proceeds from the live show.
The contest, in our own opinion, was a drawback to the movie. First, we are still labouring hard to understand the rational behind spending proceeds from the live show to reward just one dance in a community where many lack so much. The fact that the eventual winner of the contest willingly gave the money to a fellow contestant who did not win is far-fetched. It is just not real in the ghetto, where survival does not brook a weak heart.
As a portrayal of life in the ghetto, it does well to reveal the painful end of those who chose to go against the law, with the way Alaska met his waterloo.
However, what we feel is a half-hearted attempt at human psychology is the quick way Iji, played by Kevin Ikediba, dumped his old ways. In one scene of less than five minutes, because of another person’s preachments, a set of boys decided to turn a new coat. This appears too simplistic and contrary to the saying that old habits die hard.
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