'Ayinla' Movie: Comparing Adedimeji Lateef's Portrayal To The Late Apala Star Himself

Despite several reports that the Tunde Kelani-directed film Ayinla is a biopic, the filmmaker has been quite candid in stating that it is in fact a fictional depiction of a real-life character. Adedimeji Lateef gives a compelling performance but it is imperative to separate the late star from the actor's portrayal.

Ayinla mixes fact and fiction to spin an interesting tale of a man at the peak of his career whose quick temper ultimately leads to his demise. In this regard, the lead star delivers what may be a career-defining turn to show the world a glimpse of the man behind the myth.

Adedimeji Lateef as Ayinla

To separate fact from reality so as to better understand where the film's depiction of the late Apala star ends, let us look at the various aspects of the project that shows us an insight into Egunmogaji himself.

Quick Temper

For a man who frequently had to win the hearts of the people through his music, Ayinla was quick-tempered, lashing out in anger whenever he was provoked, not minding how it would affect his overall image.

Kelani's movie depicts the musician's rash nature very well and in this regard, Adedimeji Lateef completely immerses himself in the role. In the scenes where he loses his cool, the actor's veins are seen bulging as he stands ready to fight if possible.

In real life, the singer engaged in frequent altercations; something we didn't really get to see in Kelani's movie. There were only about two scenes where something close to this happened (people always intervened before the actual fight began).

Marijuana Use

The real Ayinla Omowura frequently smoked marijuana but this isn't the case in the movie. This is easily forgivable given that it isn't a factual account.

Sitting During Musical Performances

Those who knew him can testify that, unlike his contemporaries, Ayinla always sat down while giving his musical renditions. This is rather odd for a well-loved performer as singers (with the exception of those who play specific instruments while singing) are usually on their feet when singing, taking advantage of whatever space they could use. The ones who don't actually move remain static as a result of a standing microphone.

In the film, the lead star stands in a few scenes while performing as the titular character and sits in others. Again, this is easily forgotten given that it is the director's vision and not based entirely on historical events.

Religion

A Muslim by birth, Ayinla practiced the religion and performed the Hajj in 1975 (a fact referenced by the character's wife in the film). Despite this fact, he also engaged in traditional religion; something the film favoured over showing him as a Muslim.

It would have been interesting to show the singer using the two contrasting practices as it would have depicted him as a complex character who believed in employing different means of fortification. 

A Mouthpiece for Passing on Government Policies

Lateef in AYINLA

One of the things that differentiated Ayinla from his contemporaries was his using music as a tool of social commentary, often acting as a bridge between the people and the administration.

History reveals that the singer was a social commentator, moral instructor, and critic. He also served as a mouthpiece for passing on the policies of the government to the masses. His 1976 album Owo Udoji was his appreciation to the government for increasing the salary of its workers. This, more than anything, drew him closer to the people.

Ayinla also spoke about societal issues in his songs, using puns, proverbs, and metaphors to pass across his message. This is seen in the cinematic feature but his association with the government is left out.

On a final note, it becomes clear why Tunde Kelani chose not to make his film a biopic as it would have meant adding a whole lot more elements into the story. A lot about the music icon remains shrouded in mystery so perhaps he made a wise choice.

But in all, Ayinla soars and leaves a lasting impression in the mind of the viewer. Kelani and Adedimeji did a very good job.