Since its publication, “The Woman King” has been the subject of negative press for every single one of the wrong reasons. The response to the film’s release was so negative and vocal that it tarnished the entire viewing experience.
Everyone who has spoken out against this film has pointed out that the “Dahomey” and the “Agojie” are portrayed as heroes, despite the reality that they were the villains and responsible for some of the most heinous atrocities done against African slaves. The film’s creators and the cast of characters have both been criticised.
In the eyes of an era that gets its majority of its historical education from movies, online clips, YouTube content, as well as social media platforms like WhatsApp, Facebook, and Instagram, they have been complicit in presenting a fabricated and whitewashed “Dahomey” history that absolves the culprits of all the horrific crimes that they dedicated against humanity.
There has been a lot written about the film’s politics, therefore I want to be the one reviewer to concentrate on the film’s cinematic virtues rather than its contentious politics. I tried to approach the movie as if it were a work of fiction and figure out why it kept drawing me in and then making me feel so powerless by the end.
Should You Watch “The Woman King” On Netflix Or Pass?
Human beings are worth more than gold in early 19th-century West Africa. Oyo Empire men are keeping Dahomean women in cages, but they have no chance against the Dahomey Agojie, headed by the invincible Nanisca (Davis).
It’s nightfall, so we’re still at the extreme level of a PG-13 rating, even if the ladies are using machetes and clawlike fingernails to attack the guys. When the Agojie return to their homeland, they are treated like gods.
They make their home on the grounds of the king’s palace, which is adorned with the severed heads of their foes.
Nawi (The Underground Railroad’s Thuso Mbedu) learns the Agojie way from first-hand experience. Because she would rather embrace the fresh Agojie recruits than be married off to a nasty, greying man, her father has abandoned her at the royal gates.
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The warrior code, as stated by Nanisca, states that they would not wed. They simply cannot have children. They’ll be respected, compensated fairly, and listened to. The only option is to fight, Nanisca yells. War is not a miracle. It’s a talent you have to cultivate.”
Nawi blends in perfectly – They’ll never catch me since I’ll be the one doing the hunting, she declares. Rookies form a line. They train with knives, spears, fists, strength, momentum, and everything else they can get their hands on.
They grease up so their opponents have a harder time tussling with them. There will be painful lessons taught. They will have earned and accepted their scars.
And they will certainly be kept busy. Because of its size, the Oyo Empire’s army is far larger than Dahomey’s. King Ghezo (Johnny Boyega), however, on Nanisca’s advice, declares war; no more will their people be kidnapped and sold into slavery.
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Nawi is assisted in his integration into the Agojie society by the seasoned warrior Izogie (Lashana Lynch). The mystical warrior Amenza comforts Nanisca after she experiences a nightmare about a monster (Sheila Atim).
To conduct business with the Oyo general Oba Ade, slave trader Santo Ferriera (Simon Fiennes Fiennes) and his companion Malik (Michael Bolger), who mother would be from Dahomey and who may not be a horrible person by nature, arrive just on shore (Jimmy Odukoya).
After sizing up the Agojie, Ferriera declares, “They’re the deadliest bitches in Africa.” So, he just hasn’t seen anything yet.
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Which Films Will You Think About When Watching It?
The Woman King is a refreshing, female, and occasionally Wonder Woman-like take on the past and present visual ambition and we’re-outnumbered-so-what plotline of manly things like Braveheart and 300. (Just like how superhero movies follow a formula, the Old Guard used to do things along such lines.)
The Queens, From Our Point Of View
While the plot and dialogue of The Woman King are both predictable and uninspired, the film’s visual palette, locale, art direction, voice, and perspective are all novel. It has a stunning visual appeal and a powerful, intimidating tone, yet being entirely predictable.
But that’s okay, since although Nawi comes off as generic girl-of-destiny material, Nanisca is wonderfully portrayed by Davis, a fascinating blend of wounded weariness, inevitable sorrow, and righteous assurance. Davis takes it to the next level by adding operatic overtones to the soapy twist.
The key is that Heir to the throne and screenwriter Dana Stewart (Coyote Ugly and A History of Violence actress Maria Bello does have a story credit) don’t just build build build to the big third match.
That would be a waste of Davis’ immaculate skill, a skill that guarantees the movie concludes on a complicated note, a point in time of beauty with a weary, lengthy aftertaste. Davis implies without saying so explicitly that this is the way of a warrior.
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Conclusion
There are countless other wonderful stories from Africa that the filmmakers may have chosen to depict. The public’s complaints about the movie’s decadent politics may be well-founded. But that doesn’t diminish the film as an artistic creation, or the strengths it displays in terms of cinema representation, directing, acting, etc.
