- Production: Jammaje production
- Producer: Abubakar Bashir Maishadda
- Director: Ali Nuhu
- Cast: Sani Mu’azu, Ali Nuhu, Nancy Isime, Enyinna Ngwige, Rabi’u Rikadawa, Segun Arzine, Abba Al-Mustapha, Asabe Madak, Abba Zaki.
Nanjala, an eponymous and one of the most expensive movies in the Kannywood industry by Jammaje Production, is a breathtaking movie that explores and thematises patriarchal power, domination and mistreatment towards women gender. Nanjala, a leading character, is victimised by her chauvinistic father, who disbands her for being a female in favour of a male child, Dititi (Abba Zaki). Captain Jimmoh (Rikadawa) becomes her adopted father and helps to actualise her dream of becoming a renowned journalist.
Furthermore, Captain Sembene’s family is set on fire as his beloved son, Ditit, becomes a spoiled child, drug addict, thief and clubgoer. Plus, his other female daughter, Jarry, takes a leave from home for her father’s chauvinistic mistreatment. Falmata, another victim of Captain Sembene’s chauvinism, befriends her biological brother, Ditit, with a view to wed him.
Nanjala becomes a renowned and influential journalist who tirelessly fights and exposes corruption in the government. She encounters obstacles along the way from the authority. She is detained in cells for exposing corruption. Finally, she appears triumphant.
Mistreatment and domination are long-held traditions shown to women by a patriarchal world. Women, as chauvinists maintain, are disaster and second-class citizens who can’t contribute to one iota of life. In those days, women had to cancel their identities to have their voices heard—the same as Nanjala has to take a leave from a patriarchal home to attain her potential.
Thomas Aquinas (1274) opines, “A woman is really an imperfect man… an incidental being … a botched man’’. Nanjala’s treatment by her father affirms Aquinas’s stance that women are imperfect and a botched to her male brother, Dititi. Plus, according to Baudelaire, “woman is natural, that is abominable’’ Some men consider women disgusting. This perception runs through Nanjala’s father, who finds the female gender abominable – divorcing Falmata’s mother for carrying a female unborn child, making life unbearable to Majuma (Asabe Madaki) and causing a great aspersion on Nanjal and Jarry, whom all are females. They have to leave their homes to feel at home.
The belief that women are nothing but second-class citizens, abominable and sex machines for men to exploit became prevalent during the Victorian period (1837-1901) and also in plenty of their literature. We see the fate of Susan Henchad, who is auctioned in Thomas Hardy’s The Mayor of Caster Bridge (1886), women who are sexually exploited by men at Sixa in Mango Beti’s Poor Christ of Bomba (1956) and Firdaus’s sexual abuse by men in Women at Point Zero (1975). Likewise, patriarchal domination doesn’t put a halt here but tries to silence any emerging powerful female voice.
Women like Gorge Eliat (1919-1880), Gorge Sand (1904-1876), Charlotte Bronte (1816-1855), etc., succumb to patriarchal pressure and accept defeat to vie with men intellectually and literarily. Comparatively, Nanjala encounters the same treatment, where patriarchs try to silence her intellect and voice. They envy her fame, success, and education. Men are jealous of women’s successes, but Nanjala struggles and succeeds.
For women to succeed in the patriarchal world, they have to be educated, pushed, and struggled. We see how women break the bonds. Li succeeds in The Stillborn (1984) via struggle and education, as Ada in Second-class Citizens(1974). Also, we see in the Kannywood movies- Hauwa Kulu (2019) where Hauwa (Hasana Muhammad) and Laila (Hadiza Gabon) in Manyan Mata (2023 succeed through education. However, Firdaus in Women at Point Zero (1975) and Nnu Egu in The Joys of Motherhood (1980) fail because they are illiterate or barely educated.
Meanwhile, Simone De Beauvoir (1908-1986) asserts that “males define what it means to be human, including what to be female. Since the female is not male”. Beauvoir maintains, “She becomes another”. Indeed, this derogatory portrayal has been born by females throughout many centuries. In the film, Nanjala’s father has this perception run in his blood. He evidently defines who a human being is to him, his male child, Ditti. He loathes all his three daughters – Nanjala, Jarry, Falmata and Majuma because they are “others”. Women become secondary or non-existent players.
Finally, Beauvoir asserts, “Women must break the bonds of their patriarchal society and define themselves if they wish to be a significant human”. This is what Nanjala does, and she becomes a “being” in the patriarchal society. Meanwhile, Kate Millet (1970) says, “A female is born, but a woman is created”. As Nanjala defines herself as a true human being, discarding the notion of femaleness in her, she creates womanness, as Millet (1970) puts it, through hard work, education, struggle, and boldness.
By way of conclusion, Nanjala mirrors patriarchal society and uncovers stereotypical portrayal of women as “others”, Second-Class Citizens, incidental beings, imperfect men, and abominable and other derogatory names forced women to accept by men. The film depicts the power of education and struggles as the only means for women to break the long-held tradition enjoyed by men and bury women’s intellect.
If not for education, Nanjala would have been buried alive like other female characters. The film is a clarion call to women to be educated, to disown being relegated to non-existent players or “others”. Nanjala succeeds and becomes a “human being”, whereas Majuma, Jarry and Falmata become second-class citizens.
Reviewed by Abba Musa Ibrahim. He can be reached via abbamusa6888@gmail.com.
