Movie Review: Seven Doors by Femi Adebayo

Before anything else, let’s take a moment to applaud Ẹ̀gbọ́n Femi Adebayo for crafting an absolute cinematic masterpiece—one that doesn’t just tell a story but pulls you into a world of gripping realism and raw emotion.

From the very first frame to the final act, this film is an unrelenting showcase of make-believe acting at its finest, a testament to Femi Adebayo’s brilliance as both a storyteller and performer.

This movie doesn’t just entertain; it pierces the veil of time, spotlighting the often-overlooked intricacies of the Yorùbá royal stool. It delves deep into the essence of history, tradition, and identity—an urgent reminder in an era where Yorùbáland is increasingly viewed through the narrow lens of Abrahamic religions.

This film boldly reclaims the narrative, reviving the power and efficacy of Yorùbá traditions that remain as potent in the 21st century as they were centuries ago.

The cold-open of the movie gives a glimpse of what it is about, showing the seven queens sacrificed for Ọba Adéjùwọ́n, acted by Kọ́láwọlé Ajéyẹmí, whose earnest desire to evade early death makes a bold statement that Iyán ogún ọdún á máa jó ni lọ́wọ́.

The movie began by portraying Ìlárá as a town without a king, ruled by three high chiefs — Ọ̀tún, Olúkòsì, and Àgbaakin, acted by Adébáyọ̀ Sàlámì, Jídé Kòsọ́kọ́, and Afeez Ayétòrò Sàká — who dominated with iron fists of tyranny.

They demolish the house of Agúnbíadé, acted by Délé Odùlé, a compatriot and son of the soil who would later sacrifice his life for Ọba Adédùnjoyè. This was forced upon the chief Ifá priest, who had to decide between Agúnbíadé or Ọba Adédùnjoyè following Ọ̀páyẹmí’s flagrant use of power.

As customary, the oracle was consulted to determine the next king. Ifá decreed that the next king must come from the Adékọ̀gbẹ́ ruling house. The family selected a suitable but unwilling Prince Adédùnjoyè, acted by Fẹ́mi Adébáyọ̀. This choice was later approved by the town’s deity, Aganju. Meanwhile, another Prince Adéoyè, acted by Muyiwa Adémọ́lá, was wealthy and eager for the throne but did not belong to the Adékọ̀gbẹ́ lineage.

Prince Adéoyè excelled in his role as a rich and ambitious prince determined to buy his way to the throne. His confidence and lavish displays of wealth made his character compelling.

On the other hand, Prince Adédùnjoyè enjoyed a perfect life with his happy family and wanted nothing to do with the Onílárá stool. Aware of the challenges of kingship, he sought to avoid them. However, his Igbo wife, Amaka, acted by Chioma Chukwuka, persuaded him otherwise, unaware of the trials that awaited them.

Bí ọmọdé bá dé ibi ẹ̀rù, ẹ̀rù á bà á. The coronation rites were terrifying, but Prince Adédùnjoyè understood that to become king, he must undergo all that was required. These rituals would transform him into Kábìyèsí, Alásẹ ìkejì Òrìsà. He complied with everything except knocking on the seven doors.

The coronation day was colourful and fascinating, but what stood out most was Queen Amaka’s ability to speak her husband’s language. That scene delivered a powerful message: leaders must speak the language of the people they serve. To truly connect with them, you must communicate in their tongue and think in their language.

Before continuing with my review, let’s pause to reflect on the significance of a Yorùbá name as explored in the movie. The name of the first Onílárá, Adékọ̀gbẹ́, translates to the child of the crown, a prince rejects the jungle. It could also mean that a prince should not engage in manual labour or farming activities.

Aliu Gafar’s portrayal of Èsúsú was exceptional. I’ve never seen him display such talent as an actor. This performance is bound to put him in the spotlight.

The movie cleverly incorporates Aganju, the third Aláàfin of Ọ̀yọ́, who was posthumously deified as Ìlárá’s township deity. It also features Èsúsú, another powerful individual who became a deity after his death. This reflects a historical period in Yorùbáland when many kings and significant figures were deified posthumously.

The joy of royalty in Ọba Adédùnjoyè’s family turned to sorrow with the tragic loss of their first child, Princess Fola, under mysterious circumstances.

It was revealed that this tragedy stemmed from the actions of Ọba Adéjùwọ́n, an ancestor of Ọba Adédùnjoyè, who sacrificed seven queens for a charm of longevity. Being the first king from that lineage after Ọba Adéjùwọ́n, Ọba Adédùnjoyè was tasked with rectifying this by marrying six more wives to match the seven wives his ancestor had sacrificed.

For me, this was the movie’s climax. It highlights the importance of knowing one’s family history, especially before assuming leadership. Ọba Adédùnjoyè was unaware of his lineage’s dark secrets, and the discovery shocked him.

Another captivating subplot was that of the Ọlọ́pàdé family, custodians of a powerful ancient staff that the king must never see. Ọ̀páyẹmí, acted by Gabriel Afọláyan, became the family’s representative and was manipulated by Prince Adéoyè to carry the staff to the palace—an act meant to cost the king his life.

Ọ̀páyẹmí, encouraged by his uncle Ọ̀pámúyiwá, acted by Ọláìyá Igwe, suffered severe consequences: his hand and leg became paralyzed for misusing the ancient powers entrusted to him.

Ọba Adédùnjoyè, deeply in love with his wife, struggled with the requirement of marrying six more wives. However, he eventually complied, leading to a chaotic and dramatic palace life as the new wives caused endless conflicts.

Just when it seemed everything had normalized, another challenge emerged: the king had to defeat Èsúsú, a powerful figure betrayed by his ancestor, Ọba Adéjùwọ́n, and later deified.

The movie concludes with Ọba Adédùnjoyè’s epic combat with Èsúsú, emphasizing a vital aspect of Yorùbá culture: respect for one’s parents and ancestors, whether alive or dead.

One of the Yorùbás’ core cultural values is honouring the legacy of those who came before us. Recognizing this, Ọba Adédùnjoyè called upon the spirit of the first Onílárá, Ọba Adékọ̀gbẹ́, who came gun-blazing and ready to help his descendant defeat Èsúsú for good.

The movie is impeccable, with virtually no mistakes. As a fictional work, it cannot be criticized based on historical accuracy.

However, Prince Adédùnjoyè wearing a suit to Ìlárá to begin coronation proceedings felt out of place. Additionally, the coronation rituals could have included lessons on kingship, history, and the traditions of Ìlárá, rather than solely focusing on supernatural fortifications.

Overall, this movie is a masterpiece — a 9/10 for me. Ẹ̀gbọ́n Fẹ́mi Adébáyọ̀ has delivered his best work yet.