Historically based films in Hollywood have never been lauded for their accuracy. Some of film’s most beloved cinematic masterpieces have been extremely dubious with the truth surrounding their stories, sometimes egregiously so. Despite this, these films are usually given a pass due to the enjoyment they bring, the performances given by the actors, and the general fact that few people expect movies to educate rather than entertain. But, as more people look toward movies to dictate how the populace views the world, what responsibility if any does a movie hold to not go too far into historical inaccuracy? That debate has arisen anew with the release of The Woman King.
The film aims to share the story of the Agojie, sometimes called the Dahomey Amazons, the legendary all-female unit of warriors who protected the African Kingdom of Dahomey in the 1800s.The Woman King follows the emotionally epic journey of Agojie General Nanisca (Viola Davis) as she trains the next generation of recruits, including Nawi (Thuso Mbedu) a stubborn young women who refuses to take a husband, and readies them for battle against the Dahomey’s rival the Oyo Empire, a slave trading kingdom that is higher in number and power. Nanisca seeks to end the Dahomey’s ties to the transatlantic slave trade once and for all by influencing the new King Ghezo (John Bodega) to pivot to using goods such as palm oil to bring in riches. As Ghezo contemplates the future of the Kingdom, Nanisca prepares for two final confrontations, one with the Oyo and the other with her painful past.
The film positions the Dahomey as at least reluctant participants in the transatlantic slave trade with Nanisca, a fictional character who did not exist in real life, being the most ardent that slavery was an evil that would ultimately harm Africa and Africans at the hands of Europeans. In reality, the Dahomey Kingdom were very active participants in the slave trade with King Ghezo and his son who succeeded him continuing participation in the trade through the 1850s and 1860s, mainly trading with Brazil and Cuba in the Americas. As stated in the opening paragraph, liberties are expected to be taken with Hollywood films, but when history is written so egregiously in favor of one side, arguably a malevolent one, turning their image into one completely opposite of what they actually were, has shifting history in favor of entertainment gone too far? The Woman King’s cinematic aspects are of good quality, featuring well choreographed action set pieces, stellar performances from Davis and Mbedu, along with Lashana Lynch and Shiela Atim who play Dahomey warriors Izogie and Amenza respectively. Davis and Mbedu shine as women who exhibit strength in confronting their demons as women who wish to overcome the pain and trauma inflicted upon them in a society that often brutalizes those like them and a surprise twist that intertwines their lives is executed well. Lynch also perform well as a secondary source of emotion and empathy as a strong brave warrior who seeks to mentor Mbedu’s Nawi along to achieving her full potential. The fight scenes are intricate and brutal, taking the audience right into the middle of the action and highlighting the brutality of the slave trade and the era in general.
But, as well made of an action film as it is, glossing over the historical complication and nuance of the role of the Dahomey, and African nations in general, in the transatlantic slave trade have led many to feel that the net negative of the film outweighs its cinematic positives. The line between which side is correct is a thin one, with an answer that is too subjective to satisfy anyone. The job of filmmakers is first to create a compelling, well made film with other issues and aspects following that main objective. If they are able to create something that will both titillate and inform the audience, all the better, but educators they are not. However, films are not created and released in a vacuum. Despite the wisdom of doing so, many people learn things and have their worldview shaped by the images that they see on the big screen, taking them with them out into the world. If a film glosses over real injustices, or inaccurately displays the very real pain behind a true story, perhaps that should be taken into account on some level when evaluating a film. Just what the point is where that balance can be found is up to the individual viewer.
Image: Sony Pictures Releasing
The fact that people in America are even talking about African history at all is a testament to the power and importance of this film. Full stop. Critics be damned. Give credit where credit is due.
Aside from the fact that this is an amazing ly well crafted film worthy of many Academy Award nominations, it accomplishes much in raising awareness and whetting the appetite for exploring whole swaths of human history that, for the most part, have gone ignored by the American film industry. Bravo for portraying topics, themes, and issues set in this era that have never before been explored in American mainstream. And bravo for doing so in exquisite fashion. The filmmakers of “The Woman King” deserve our thanks and praise for injecting into our consciousness even a modicum of the rich and complex history of the peoples of Africa. To finally look at the Transatlantic African slave trade from an African perspective is a gift. As painful as the history is, it is still important for us to examine it and tell the stories (plural), even if we have to imagine acts of heroism to find entry into the darkness. That plausible heroism can fuel our imaginations and maybe even inform our own choices as we face our own personal dilemmas. I left the theater filled with pride, awe, curiosity, and a hunger to learn and see more. Kudos and thank you to the incredible filmmakers who gave me and us this precious gift.
Critics & naysayers of the accuracy of the movie, The Woman King, need look no further than silent films & the flood of both TV & movie westerns which permeated throughout the film industry in yesteryear. Western psychy to this day continues to cling to the falsehood that “cowboys” were white men. Thinks it’s safe to say that the industry did a good job selling that falacy,… but they were entertaining.