HALF OF A YELLOW SUN
UK/Nigeria, 2013, 111 minutes, Colour.
Chiwitel Ejiofor, Thandie Newton, Anaka Noni Rose, Joseph Mawle, John Boyega.
Directed by Biyi Bandele.
Good question. What in fact is the half of a yellow sun?
The answer is that a half sun was the symbol, emblem, on the flag of the fledgeling nation, Biafra. But, after the 1960s, Biafra has faded from many memories – except the memories of citizens of Nigeria and emigrants leaving Nigeria from which Biafra seceded in 1967 and which was conquered by the Nigerian army and reincorporated into the nation. These years were tragic for the citizens of the new country, many killed in warfare, in the air raids, many placed in camps where they experienced starvation.
This drama offers an opportunity for worldwide audiences to learn something of this part of Nigerian history. It opens with great fanfare on the day of Nigerian independence in 1960, local celebrations and a visit from Queen Elizabeth and the Duke of Edinburgh. But, Nigeria was an artificial creation by the British government and its colonial mentality, gathering together a number of tribes which, if not enemies of the other, left them with great tensions. This artificial creation, as with so many of the countries of western Europe and Central Europe, would lead to bitter conflict, to armed conflict.
One of the advantages of this film is that it incorporates a great deal of film footage from the 1960s. This enables the audience to see some of the participants in independence movements, in the subsequent governments and in military coups. There is footage from television coverage, including reporting from author, Frederick Forsyth, and from the newsreels screened in the cinemas.
The star of this film is Chiwitel Ejiofor (12 Years a Slave), born in London of Nigerian parents. This is an opportunity for him to return to his roots, this struggling time in Nigeria which meant that his parents emigrated to the United Kingdom. He plays an academic, comfortably off, teaching at a university, in a relationship with a woman who is also an academic. She is played by Thandie Newton, born in the UK, but with a Rhodesian background.
As the film opens on Independence Day, we see her wealthy family entertaining one of the new ministers, but also vying for financial contracts, and the minister eyeing the daughters to see what benefit he could gain. The two daughters, twins, then go to a club where one of them (Anika Noni Rose) encounters an Englishman, working in the colonies but aiming to be a writer, and they begin an affair which leads to their partnership. He is played by Joseph Mawle (who had played Jesus in the 2008 BBC series, The Passion).
These characters live in the part of Nigeria which was to become, for such a short time, Biafra. The first couple live in a university town, but the professor is heavily influenced by his tribal mother, who comes from her village with a servant and encourages her son, plying him with drink, to make the servant pregnant. This does not quite have the effect that she intended, but it does change the couple’s lives. The other couple live in Port Harcourt and look after the business interests of the family. When trouble breaks out, the well-to-do parents move to England.
The first half of the film establishes the characters, their situations, the new country with its independence, but the inevitable trouble with ambitions, tribal clashes, leading to violence – and a surprisingly shocking massacre at an airport.
The second half of the film is concerned with the war, its effect on people in Biafra, the mass movements out of areas which we are were being bombarded. Some of the sequences, especially with cars trying to get along roads which are continually being bombed, bring home something of the effect of the war.
By 1970, Biafra no longer existed – which throws light on the subsequent history of Nigeria, tribal rivalries, and the clash between Christians and Muslims.
In some ways the film is fairly straightforward, with its story of relationships, prosperity, hardships. But, seen in the context of this part of Nigerian history, it reminds us that history needs to be relived so that later generations can be aware of what has happened.
1. Audience interest in this film about Africa, Nigeria, the 1960s, independence, Biafra, the Civil War?
2. Audience knowledge of places, history, events? The film as informative? The use of maps and the indications of journeys?
3. Nigerian locations, the cities, towns, homes, high society, universities, the easy life, the contrast with the hard life, tribes, different cultures, the visuals of war and action?
4. The title, the Biafran flag, Biafra, secession, the war, losing, disappearance?
5. The use of newsreel footage of the period, the declaration of Independence, the visit of the Queen, the Nigerian authorities, popular joy, patriotism? The footage throughout the film, giving information, Nigerian personalities, their decisions, their philosophies, the description of events?
6. Olanna, in herself, twin, her position, love for Odenigbo, their being together, members of the elite classes, well educated, her education in Yale and in England? The life together? The detail, happiness? His mother, arriving, the servant, her disapproving of Olanna, Olanna moving out? Odenigbo and his drinking, the sexual encounter with the servant? Olanna’s reaction? Her visiting Richard, the sexual experience, her motivation, the effect on her life, the reaction of her sister?
7. Kainene, twin, the bond with her sister, at home, her parents? And the parents going to England at the time of the Civil War? The phone calls? At the party, meeting Richard, his attraction, leading him on, the sexual relationship, its continuing, her reaction to Olanna and the encounter with Richard, not wanting to say that he was sorry? Continuing with him? The family business at Port Harcourt, her success, the war, managing the camp with Richard? Visiting Olanna, help, food, accommodation? Her strong mindedness, her going to the border, her disappearance?
8. Odenigbo’s mother, from the village, her commanding personality, superstitions, the servant, urging her son, the pregnancy, offer to take care of the child? The later approval when the decision was made to marry, reconciliation? Her refusal to leave the village, news of her being killed?
9. The servant, pregnant, quiet, the birth, not wanting the child, Odenigbo’s mother offering to bring the child up, Baby, Olanna and her decision to ring up the child? Not giving it a name until late?
10. Richard, British, at the party, author, his work, releases coming to Africa? Attracted to Kainene, the affair, their being together, his infidelity with Olanna, his being sorry? The work, the war, the camp? His visit to England for the wedding? His experience of violence at the airport, shocked? The phone call? His love for Kainene, returning, looking after the camp? Kainene going to the border, his desperation, weeping, trying to find her?
11. Olanna settling down, as a mother, the years passing? Odenigbo and his work?
12. Ugwu and his presence as a servant, bad cooking, the rice, his being educated, improving, his role with the family, involved?
13. The political situation during the 1960s? The scene in the various coups, uprisings? Executions and massacres? Tribal? The Igbos, talk, the massacre at the airport, the shootings? Olanna and her pride in being an Igbo?
14. The information about the times, action, the secession, the leader? The war, the attacks, the destruction, the refugees, hunger, the camps?
15. Odenigbo and Olanna, leaving, his mother’s decision to stay? His proposal, the preparation for the wedding, the ceremony, the reception and the bombings? Leaving in the car, with the explosions? Ugwu and his being taken, reported dead, the relief when he was found alive?
16. The camps, the difficulties for renting, Odenigbo and Olanna and their property, the job teaching, his work in the office, their being ousted by the landlord, Kainene and Richard offering support? The baby and her growing up, being named?
17. Peace, the disappearance of Biafra, the sister and her not being found?
18. The epilogue, the information about the characters, their long lives and success?
19. The value of this kind of film in recreating the past and audiences learning, experiencing, having empathy?
