There is an often-recited African proverb that speaks to the Eurocentric vantage point of world history that says, “Until the lions have their own historians, tales of the hunt shall always glorify the hunter.”
Viewing The Woman King, which opens in theaters nationwide on September 16, compelled this reporter to propose an addendum to said proverb for the sake of allies who take it upon themselves to initiate the depiction of stories connected to the Diaspora. And that is, “Hunters who act as historians on behalf of the lions should always be mindful to prioritize conveying the lion’s actual history over their own imagined one.”
The narrative of the film is smothered with stereotypes, tropes, formulaic outlandish subplots and the overdramatization of a history that is compelling enough in its truth to retain the attention of its audience.
Inspired by the true story of the Agojie, Academy Award winner Viola Davis marvelously leads an army of women warriors committed to protecting the West African Kingdom of Dahomey in the early 19th Century. In this particular era, the unrest between West African kingdoms were a by-product of the brutal business of slavery. However, The Woman King presents the implication that warring kingdoms seeking to capitalize on their prisoners of war fueled the transatlantic slave trade as opposed to the truth – which is the other way around. To be fair, whitewashing isn’t the film’s only historical inaccuracy. The Dahomey’s role in the perpetuating the slave trade by selling prisoners of war is given a fairytale treatment. Not only are they completely absolved, they are falsely lauded as trailblazers in enforcing policy as a method to dismantle the institution altogether.
As a cinematic experience, The Woman King is both heartwarming and disheartening. Filled with stunning imagery, the film –directed by Gina Prince-Bythewood – gives mainstream audiences context with respect to the beauty and culture of Africa, even though there are a few moments of “spontaneous” song and dance that feel inserted as opposed to organic. The performances are exceptional. The fight scenes are phenomenally choreographed, and the actors clearly committed themselves to the art of combat as the thrilling and brutally physical fight scenes will move audiences to cheer on more than one occasion. The concept of the strong Black woman is expressed in its truest sense – as a protector of her people as opposed to the “mad Black woman” myth.
The heartbreak comes in watching the film’s promise somewhat succumb to the mainstream Hollywood treatment of Africa thanks to Dana Stevens and Mario Bello’s flawed story. The narrative of the film is smothered with stereotypes, tropes, formulaic outlandish subplots and the overdramatization of a history that is compelling enough in its truth to retain the attention of its audience. The Woman King’s shortcomings are a cautionary tale. The missteps make a case for the importance of having Black voices at the table with an authentic voice with a clear sense of historical significance and tone from the inception of an idea that reflects the Black experience. Especially when the story involves subject matter as complex and delicate as the impact of transatlantic slave trade on Africa.
Another disappointment comes in the dialect. Each character seems to have its own interpretation of Africanized English as opposed to a uniform accent that is clear enough to not present any barriers to understanding. Lashana Lynch’s otherwise brilliant depiction of Izogie is the biggest casualty of this oversight.
Fortunately for the audience – much like the warrior women portrayed in the film – the actors and director successfully conquer the failed story to protect the film’s purpose of displaying powerful, positive images of Black women united in sisterhood working together for the greater good of their people.
Viola Davis does not disappoint in the title role of Agojie general Nanisca. Her naturally commanding screen presence serves The Woman King well in articulating the role of the Agojie (and Nanisca’s leadership) as critical to ensuring the survival of the Dahomey. She portrays the character with a sense of responsibility – and she and John Boyega’s King Ghezo create enchanting chemistry. Watching an indisputably and unapologetically Black woman of a certain age wield strength and power – and reflect the broad spectrum of African beauty –as the centerpiece of major studio film would have been inconceivable as recently as a decade ago. And with every line, every punch, each swing of the sword and every fallen tear, Davis (who, along with her husband Julius Tennon, is also one of the film’s producers) seems determined to open a door – and firmly prop it for others to enter behind her. And as they followed her lead, co-stars Lynch, Thuso Mbedu, Sheila Atim and the rest of ensemble proved themselves ready to walk through.
The Woman King opens in theaters nationwide on September 16. The film is rated PG-13 with a running time of 135 minutes.