Besides its concerns about Christianity, it is what the film’s crew takes the most care about.
The trailer showcases a remarkable scene of suicide at the 3rd Mainland Bridge that is better than anything else in the film and there is a decent conflagration through a high window. A shot apparently made underwater is just as good. Unfortunately, there is a garish depiction of heaven later but that is a rare low for this film’s very good VFX crew. Not for these guys the now amusing crudity of House of Macro — remember them from mid-period Nollywood?
But let’s talk about God Calling’s fidelity to the Christian God. This is a film that wants to tell us that God has a plan for every life, no matter how bad. Now, while that is a sentiment I appreciate, I just wish I didn’t have to stomach kitsch to get a lesson everyone was taught in Sunday school.
Sasore’s previous film, Banana Island Ghost, was concerned with an afterlife spent on earth. God Calling is concerned with the aftermath of a death. The first provided grounds for comedy; the latter is primed for some heavy lifting in terms of the drama of tragedy. A young couple loses its only child and spirals into sadness in the way movie people do: the husband (Karibi Fubara) seeks succour in the arm of a female colleague; the wife, Sade, unravels into a depression. To complicate matters, Sade is a recovering drug addict unable to bear another child. That is a great set-up for some psychological probing but the story that follows is neither intensive nor extensive.
This subplot, which could comment on Nigerian class, privilege, and the notion of home and urbanisation, holds a dramatic potential far more intriguing that the film we are served but it is never given the seriousness of the film’s gospel plot. And it would be great if that main plot was treated with some kind of reverential artistry but given the laughs in the hall I saw the film and my own eye-rolling, I was reminded of Apostle Paul telling a church in Romans 2:24: “For the name of God is blasphemed among the Gentiles through you…”
Fact is: Many believers working in Nigeria’s creative spaces think they have no obligation to artistry, that because the concept is belief they have no need for believability or elegance. This is especially true for gospel music makers. But in a world where religion is under attack fairly regularly, believing artists have to take both God and art seriously — at least if they want to ply their trade in the secular marketplace. The faith-based genre has some potential in a country like Nigeria but might it be better to show these films in our many churches if creative liberties are going to be taken at such a scale?
That is not criticism that God Calling wholly deserves but each time Sade’s phone rang with GOD (they put it in caps) as caller ID, I snickered. Clearly, someone thought it is a smart tech metaphor to use a phone call in showing how God calls people to attend to his flock, but I wanted to know what network was used for the purpose? It can’t be any of Nigeria’s unreliable ones.
A cringe-worthy scene shows a pastor (Patrick Diabuah) saying solemnly “God is calling you, God is calling you” to Sade. Sure as rain, soon after, the movie’s GOD makes that phone call. If I was a deity, I would be inclined to slapping someone hard on the face for the disrespect. Who knew a supernatural being had to bow to human technology and replace the famed still, small voice with an iPhone?
Another scene that could contest for the most head-shaking features RMD going through a transformation. RMD is not a bad actor but he is not great either — so he can’t sell an inherently misguided scene that has to be credulous only to the most adamant watchers of TB Joshua’s Emmanuel TV. In the interest of avoiding spoilers, it should be enough to say the scene tries to position Jesus (played admirably black and curly by Ademola Adedoyin) as Professor Peller.
Zainab Balogun, As Sade, is once again asked to play a role she is temperamentally unsuited for. Sure she tries, but she has repeatedly shown that she can’t quite work emotional extremes. There are tears here but she can’t communicate anguish except through whimpering. Like most of her peers, faced with a physically demanding role, Balogun becomes more a face model than an actress. (One wonders how Nollywood actors and actresses would play a character with facial paralysis.)
“We are going east,” someone announces in the film. It is quite harsh considering all the work that has gone into making God Calling, but if this film was real life, I’d be inclined to go west.
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