My colleagues don’t owe me a celebration post for my Hollywood success - Bisa Kdei
Ghanaian highlife artiste, Bisa Kdei, maintains that no one owes him anything in the Ghanaian music industry
Bisa Kdei has excused his colleagues who have not been celebrating his recent Hollywood/Netflix victory.
He was selected to be among the soundtrack composers for the movie which debuted on Netflix last weekend together with the likes of Usher Raymond, John Legend, Phillip Lawrence, Davy Nathan and Michael Diskint.
According to him, it doesn't matter who uploads his feature in the Hollywood movie "Jingle Jangle" because it is already a big win for Ghana's Highlife music.
Although artistes like Stonebwoy, Sista Afia, Kidi, Trigmatic, Lilian Blankson have commended Bisa Kdei, a lot more have kept mute on his feat.
This fact was probed by a random Ghanaian on social media, who asked Bisa Kdei how he felt about the lack of support.
The fan quizzed why other celebrities in Ghana have not been raving about his massive achievement on the international scene.
"Bisa Kdei why are your colleagues mute and not saying anything about your recent achievement? This is big for the scene right now!!! @bisa_kdei" the fan wrote.
Bisa Kdei why are your colleagues mute and not saying anything about your recent achievement? This is big for the scene right now!!! @bisa_kdei— Dr UN (@GHtakeovercom) November 18, 2020
Bisa Kdei was quick to cheekily reply that nobody owes him anything.
"Nobody owes me a post. It’s a big win for us all, for highlife music and the culture and I’m glad everyone is happy. #JingleJangle"
The Jingle Jangle movie begins, in its Disney-esque way, with sitcom mom Phylicia Rashad (the erstwhile Clair Huxtable, rising above the wreckage of the now-cancelled “Cosby Show”) opening a gilded storybook, from whose pages computer-animated automatons pantomime the film’s expository passages (visually, the most impressive segments).
What follows, we’re told, is “The Invention of Jeronicus Jangle” — the tale of how a talented tinkerer (played by Forest Whitaker for most of the movie) had his life’s work stolen from him, fell into ruin and eventually learned to believe again, thanks to the positivity of his granddaughter, Journey (Madalen Mills).
As inventors go, Jeronicus is so gifted that this Christmas movie has no need for Santa Claus. It boasts a workshop every bit as exciting as the apocryphal North Pole, except that here, jauntily dressed Black customers spring into movement at the first blasts of the opening song.
"This Day.” Right off the top, Jeronicus unveils his most intricate creation, an astoundingly expressive robot with a mind of its own, Don Juan Diego (voiced by pop star Ricky Martin, whose lone song sounds like a watered-down version of scheming “The Lion King” anthem “Be Prepared”).
The instant Jeronicus leaves the room, Don Juan sets about “seducing” his disgruntled apprentice, Gustafson (Miles Barrow and then later, Keegan-Michael Key), into stealing his master’s plans and manufacturing those ideas as his own.
Thus, the inventor’s career is nearly ruined, while his protégé goes on to become the most celebrated toymaker in the land — an injustice that spans nearly three decades and destroys the Jangle family in the process. His daughter Jessica (Anika Noni Rose) grows estranged, and Jeronicus becomes remote and curmudgeonly. Whitaker is well-suited to this tragic transformation, which stands in stark contrast with his granddaughter Journey’s positivity.
As the eager-to-reconnect young woman, Mills is a little charmer, and the movie picks up steam when she enters the picture. Like her mother, Journey shares Jeronicus’ smarts, sketching math equations in midair and figuring out how to operate the robot that could be Grandpa’s big comeback, the big-eyed Benny 3000 — a throwback to various ’80s-movie companions, from “E.T.” to “Short Circuit,” although CG is no substitute for the magic of practical effects.
It’s great to see Talbert championing STEM achievements among his female characters, and even though the movie itself doesn’t seem to know the first thing about engineering (which is all about design, as far as its creators are concerned), the message comes through loud and clear: Anyone can achieve anything if she puts her mind to it.
That may seem modern, but Talbert goes old-school in the staging, especially where the musical numbers are concerned. (“Dreamgirls” editor Virginia Katz is one of three cutters credited, though this movie is nowhere near as audacious.)
From the look of things, the director’s approach relied on play-it-safe coverage: shooting each song from multiple angles and piecing it together in post, as opposed to conceptualizing bold, boundary-pushing montages.
Press notes suggest that Talbert considered making “Jingle Jangle” for the stage. Digital embellishments aside, this fairly conservative production would port over well to a standard proscenium.
Familiar choreography features characters stomping up and downstairs or zipping along sliding ladders, as they sing to camera. A more spirited exception occurs during a boys-against-girls snowball fight, during which Journey and Jeronicus use a little creative physics to outwit each other.