@Regrann from @iamnino_b - This focus, of course, means that the filmmakers are in danger of misjudging the motivations of an area boy. What, after all, can a non-tout tell us about those often violent unknowable fellows stalking Lagos bus stops? But screenwriter Biodun Stephen appears to have an empathetic imagination. Even so, as with most Nollywood pictures, she steers clear of the inner life of her characters and, justifiably, she is careful to not show much of the day-to-day hustle of an area boy’s life: it is perhaps one reason the film whisks Jobe off the street early, and focuses on his relationship with the fashion designer.
For both Alake and Stephen to bring an area boy to the screen they rely on Bolanle Ninalowo as Jobe. He makes good with it. As the stature of his character grows within the film, the female characters recede—as do the actresses playing them. Aiyeola is over-enthusiastic and gets on, using the spunk viewers of the Big Brother reality show will be familiar with. Nook’s acting wavers, but the actress is very good in scenes with the troubling tout. Cast and Stephen’s script make way for the actor and his character. A hulking presence, Ninalowo is convincing as a tout; opposite the fancy lead, he is a commanding foil; and when hurt, he is as passive as a chastised slave.
From several humiliations inflicted on Jobe in the third act, Ninalowo extracts a touching monologue of such potency as I can’t recall seeing in recent Nollywood, except for Seun Ajayi‘s brief speech towards the end of Dare Olaitan’s Ojukokoro [read review here]. The scene is sentimental, but not sappy, and when the cliche of a single item being worth the price of an entire ticket was conceived it was probably intended for scenes such as the one with this monologue.
Picture Perfect is often funny, sometimes touching, and carries what might be one actor’s breakout performance. - #regrann