On the Final Episode of Kwana Casa’in (Season 4)
Filmmakers famously announce
that “it’s a wrap” after the last camera roll on the final shooting day. It
gives them, and of course, the entire actors and actresses present, an immense
sense of relief. Naturally, humans want to rest and become excited when they
reach the point of getting it. But, that’s the point when the post-production team
and subsequently the audience begin their work – of reading the work in their way.
The “wrap” always leaves many holes unfilled. Although Kwana Casa’in is, unarguably, the most expensive and expansive
Hausa drama yet, the final episode of season four, aired yesterday (27.12.2020), leaves much to be desired. Hence, I felt the need to quickly write this brief ‘review’
in addition to the one I wrote in July 2019. So much has happened between then
(season one) and now (season four). But, there is no need to narrate the story as
I believe most of my readers follow the series.
I
start with Alhaji Auta Baita’s appearance as another “big man” in Alfawa State
politics. From the onset, he was there to rival and defeat the dominance of
Alhaji Safiyanu Ali alias Matawalle. However, after the latter’s downfall, which
the former caused, he unexpectedly changes and becomes yet another state’s
enemy. What more is there to do to undermine the embattled governor that has
not been done? Are we going to have another saviour in the season finale, or the
governor is politically strong enough now? Is every powerful man against the
governor? Many similar questions are begging for responses. While we wait for
their answers, I kindly remind the series’ creators not to overstretch this
essential part and risk making the story monotonous.
When
it’s a global tradition for prisoners to get a furlough to attend the burial of
their loved ones, Bawa Maikada, a – whole
- former governor is arrested soon after his son’s gruesome murder. I am not
in the position to call this wrong, but it’s very improbable. The drama of this
nature, even though fictional, reflects reality. Thus, how could you arrest him
on the day he buried his handsome, innocent son and amidst family and mourners,
who, by the way, disappear? Where are the many armed police protecting him?
They also vanish except one during the arrest. Something looks implausible here
as well.
Likewise,
the abduction of Salma and those schoolchildren seems somewhat misdirected. The
family of Bawa Maikada have already been punished in one of the most befitting
ways. Ideally, they should not go through more pain, especially when the other
pain is excruciatingly fresh. Again, she is ‘blameless’ as she has never been
on the side of her heartless parents. Despite all threats and against the odds,
she doggedly supports – and probably loves – Sahabi, her parents’ ‘opponent’
number one. Her uprightness deserves a reward, not punishment. Regarding the
schoolchildren, their parents have nothing to do with the previous government
Sambo and his gang are fighting. Thus, neither Salma nor the children are a useful
bargaining chip for Sambo’s puerile demands.
I
probably sound too opinionated. Nonetheless, I guess the opinions are not out of
place. I consider Kwana Casa’in as the
best Hausa socio-political drama there is today. Therefore, like the lengthier review
I wrote in 2019, this piece seeks to make it better, not criticize it
baselessly or undermine its makers’ and sponsors’ fantastic effort. Nothing and
nobody is perfect. Generally, there is a need for Hausa filmmakers, not only
members of Kannywood, to understand that film criticism is a global, standard
practice. Besides, like many audiences, I can’t wait for season five, the drama’s
actual “wrap”.
Written by
Muhsin Ibrahim
University
of Cologne
muhsin2008@gmail.com
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