Skip to main content

(65): Jamila, a Worth-Watching Hausa Film

Muhsin Ibrahim
@muhsin234

Director:         Ali Gumzak
Producer:       Mukhtar Young Boy
Story:              Yakubu M. Kumo
Year:               2016
Company:      Kabugawa Productions

Let me make it clear from the outset that this is not a regular film review. I am not writing this as an academic but as an ordinary film viewer. I just found the story of the above-titled film, its directorial work and thematic preoccupation worth writing on, hence this piece. It is challenging and rare to come across an enthralling Hausa film, especially these days, whose motifs and subject matter is that serious, bold and absorbing.

Jamila is entitled after the leading character’s name, acted by A’isha Aliyu Tsamiya. Her mother, Hadiza Muhammad works as a housemaid in a mansion. Adam A. Zango is the only scion of the affluent family. His father has since died and left a vast wealth for him; while the mother pampers him with everything a son may need or wish. He has just returned after completing his studies in the overseas. Thus, as it usually happens, Zango is a spoilt kid: a chain-smoker, a drug addict and an alcoholic.


Jamila is an orphaned girl helping her mother in carrying out the house chores. She is in a requitable love with Sadiq Sani Sadiq, the house’s guard. The two are planning to get married when Zango starts admiring her while she goes around the house, and soon enough declares his love. His mother is at first against it, but she later gives up and agrees, for she can do everything to please her only son. In no time, Jamila’s mother forbids her from seeing her heartthrob and compels her to accept Zango’s proposal. And so she does against her free will. Jamila is an obedient girl any mother would love to have, while her mother is a materialistic woman any good daughter would not like to have as a mother. 

Jamila outlines condition for their marriage that he must quit smoking and alcoholism. He accepts her terms and the wedding is without any delay solemnised. But unknown to her, he resumes his old habit. A few weeks after the marriage, Jamila goes to see a doctor to check her blood pressure. Her mother comes to the house while she has yet to return. The drunken Zango rapes the mother. She returns and finds what happened. She is distressed beyond wording. The mother regrets everything and eventually dies due to excessive bleeding and sheer frustration. Jamila and her dying mother have resolved to not disclose what happened to all for the sake of her marriage and image. She also thinks a sober Zango would regret his doings and apologise, but he declines any offence and refuses to apologise. Thus she resorts to cursing him day and night, praying for his tragic downfall. He later dies in a fatal car crash. She profusely wishes he had been killed in a more painful and humiliating way.

That is the synopsis of the film, though the plot is slightly different as it is weaved with flashbacks, suspense, dramatic and involves some secondary characters such as Jamila’s auntie, her friend and people from the neighbourhoods who come for the burial of Zango but later disperse after learning of his abominable deeds before his death. His mother pleaded, but nobody stays.

I am particularly interested in the story following what is happening in our societies where rapists and murderous ritualists are on the loose. That makes it topical and timely. This is the kind of contemporary issues Kannywood filmmakers should (re)focus onto and produce films on, not the clichéd narratives of A loves B while C objects, or the familiar conflict between co-wives, or movies on nonsensical, often trite, transvestites/effeminates and some petty prostitutes, and the like. Films, especially those made in a culturally-bound and Islamicate society like Kano or northern Nigeria, in general, should be purposeful, topical and could, yet, maintain their artistic, intrinsic quality.

I, therefore, salute the crew of Jamila, notably the director, Ali Gumzak and the screenwriter, Yakubu M. Kumo for a job well done. The actors, too, deserve commendation, especially the central characters: Aisha Tsamiya and Adam A. Zango. Their flair of acting breathes sparkle and senses in the story. The lighting and the picture quality are also some things to write home about. Keep the ball rolling, guys.

Comments

Popular posts from this blog

(168): Top 7 Kannywood series of 2023

By  Muhsin Ibrahim & Habibu Ma’aruf muhsin2008@gmail.com As 2023 draws to a close, the closure of Kano Filmhouse Cinema is one of Kannywood’s most regrettable events in the outgoing year. Consequently, there was a significant decline in the number of cinematic releases. Nevertheless, amid this setback, a silver lining emerged as it spurred a notable shift towards series films, with prominent producers and directors venturing into the evolving market. From  Labarina ,  Alaqa , and  Manyan Mata  to  Fatake ,  Amaryar Tiktok  and  Gidan Sarauta , Kannywood’s audience has been captivated by numerous enthralling TV and web series. While the series market faces criticism for potentially fostering second-rate productions, the following list highlights the best seven series films aired in the year. Please note that the numbering is not hierarchical.  1. Labarina Labarina  stands out as a household name among Hausa film enthusiasts. Desp...

(143): On Connection Regrets: My Excruciating Experience

On Connection Regrets: My Excruciating Experience   By Muhsin Ibrahim Khadija, nicknamed Kashe-Kala, who I ‘re-nicknamed’ KKK, was one of my dearest classmates during our undergrad at Bayero University, Kano. Honestly, KKK, a sickle cell patient, was pretty, posh, and from a wealthy family. Hence that sobriquet. So, admittedly, I believed she was out of my league. However, we became so close. Despite our closeness, we disagreed pretty often. About a year after graduation, I met the lady I later married. The day I told KKK about my newfound love, she jokingly bragged that I chose this girlfriend because she’s her namesake: Khadija. On hearing this, some friends thought she loved me. It’s not true; our relationship was platonic. I had visited KKK’s house countless times. I barely missed seeing her at the hospital. Her relatives know me. I can’t forget the day I was riding my motorbike to their house when I stopped by the roadside to answer her call. From nowhere, someone snatch...

(113): Kwana Casa’in: A Short Review

Kwana Casa’in : A Short Review If posh locations, number of cast and crew members, sophisticated camera, etc. are enough indicators for the budget size of a production, then Kwana Casa’in [90 Days], produced by Arewa 24 channel, is doubtlessly an expensive soap opera. Directed by Salisu T. Balarabe, the drama is arguably the best of its kind in the Hausa language. Being funded by foreign, non-profit, non-political bodies, including the MacArthur Foundation, Kwana Casa’in stands out as a socio-political critique of our people and governments. It unmistakably aims to provoke reflection and introspection and to spark conversation and action within and outside the corridors of power. Is it able to achieve that? Set in a fictional town called Alfawa, the drama begins at the peak of governorship electioneering. The current governor, Bawa Maikada (acted by Sani Mu’azu), is highly corrupt and desperate to win re-election in spite of doing very little for the people. The health sec...