MOVIE REVIEW: Wale Ojo steps into Soyinka’s shoes in ‘The Man Died’, but does it convince?

The 2024 Nigerian historical drama The Man Died, directed by Awam Amkpa and produced by Femi Odugbemi for Zuri24 Media, premiered on Prime Video on 15 August 2026. The film stars Wale Ojo as Wole Soyinka, the acclaimed Nigerian writer and Nobel Laureate, and features supporting performances by Sam Dede, Norbert Young, Segilola Ogidan, Christinah Oshunniyi, Abraham Amkpa, Tmilolu Fosudo, Similoluwa Hassan and Ropo Ewenla. Inspired by Soyinka’s 1972 prison memoir The Man Died: Prison Notes of Wole Soyinka, the film dramatizes the author’s arrest and imprisonment during the Nigerian Civil War, a pivotal moment in his life and career. The film had a special screening in Lagos on 12 July 2024, coinciding with the 90th birthday of Wole Soyinka the following day. It later participated in international film festivals, including the 2025 New York African Film Festival. The story centers on Soyinka’s role as a mediator during the conflict between the Federal Government and the secessionist Republic of Biafra, which lasted from 1967 to 1970. The film portrays his secret meetings with Biafran leader Chukwuemeka Odumegwu Ojukwu and his subsequent arrest by federal authorities in 1967. He spent approximately 22 months in solitary confinement before being released in 1969. Soyinka's imprisonment occurred nearly two decades before he received the Nobel Prize in Literature in 1986. The film captures the younger Soyinka, an activist and writer grappling with military oppression, imprisonment and ideological conviction. This version of Soyinka is distinct from the globally renowned figure audiences recognize today. Rather than offering a traditional biography, the film delves into the personal and political struggles of a man caught between duty and defiance. The plot unfolds against the backdrop of the Nigerian Civil War, a conflict marked by political upheaval, two military coups, ethnic violence and mass displacement. During the war, thousands were killed, particularly members of the Igbo community, who faced persecution in northern regions. Soyinka’s attempts to broker peace place him under increasing threat from the military regime. His clandestine writings and covert communications with Ojukwu become central to the narrative, highlighting both his resilience and the dangers he faces. The film opens with a quote from Soyinka’s grandfather: “Death is never the end of a man, fear is.” This serves as a thematic anchor, framing the story around themes of courage, resistance and endurance. Director Amkpa employs a range of cinematic techniques, party scenes, prison sequences, flashbacks, radio broadcasts and voiceovers, to reconstruct the 1960s era and convey Soyinka’s inner world. These elements help bridge the gap between historical record and dramatic interpretation. Wale Ojo’s portrayal of Soyinka is central to the film’s success. As the actor brings the writer to life during a formative period, he navigates the complexities of a man torn between idealism and survival. While some critics have questioned whether the performance fully convinces, others praise Ojo’s ability to embody the character’s emotional depth and intellectual rigor. The film’s challenge lies in balancing historical accuracy with creative storytelling, a task that requires careful navigation of both source material and artistic license. As The Man Died continues to reach wider audiences, its legacy will likely be shaped by how effectively it captures the spirit of Soyinka’s early activism and the broader socio-political tensions of the time. Whether it succeeds in convincing viewers of its authenticity remains a subject of ongoing discussion among filmgoers and scholars alike.