IF NOT FOR NOLLYWOOD by KELECHI EME

After reading this piece from a dear, dear friend, it would have been a travesty if I didn’t give this the mileage it deserved. Not only as a brilliantly written piece, but also for its poignant message that would hopefully evoke feelings of patriotism...

IF NOT FOR NOLLYWOOD..............(By Kelechi Eme)

I was a movie freak as a young boy and could recall the names of popular American and British actors and actresses. Names like John Wayne, Clint Eastwood, Elizabeth Taylor, John Stead, etc were permanently on my lip and to a large extent
on the lips of other children of my generation. We took delight in discussing movies like the Spy Force, The Avengers, The Professionals, Charlie’s Angels, Endless Love, Rambo and other blockbusters of that era. Apart from being reminded of their relevance in our lives through the presence of their photographs on chewing gum covers, I learned on first-hand the deployment of motion pictures as a tool for cultural imperialism. That was the level of indoctrination we had while growing up .We had no computer or video games to play with at the time. This however changed about twenty years ago through the pioneering efforts of a few enterprising and creative Nigerians.

I was visiting a family friend at Ogba-Ikeja, when I stumbled on them watching the television with rapt attention. I discovered that it was a movie featuring Nigerians in local Igbo dialect. I was amazed at the creative quality and talents on display. I later checked the cover and noted that it was titled “LIVING IN BONDAGE” and was an all Igbo cast. The faces of Kenneth Okonkwo(popularly called “Andy” because of this move), Kanayo O.Kanayo ,Bob-Manuel Udokwu, Sidney Diala, etc graced this epic movie which unarguably became the “corner stone” on which today’s Nollywod was built. Before the production of the masterpiece by Ken Nnebue, the likes of Chief Pete Edochie and Justus Esiri had proved their mettles in the television adaptation of “Things Fall Apart”, the most popular book ever written by an African(dead or alive). We must not forget the early contributions of Enebeli Elebuwa, Richard Mofe-Damijo who depicts all that is positive about show business in Nigeria, Olu Jacobs, Liz Benson, Keppy Ekpenyong, Chika Okpala, Joke Silva, Jide Kosoko, Bukky Zainab and others who thrived on television soaps like “Ripples, The New Village Headmaster, The new Masquerade and Cock Crow At Down.” Mention must also be made of the late Herbert Ogunde, who produced local Yoruba movies and headed the National Troupe. What however set the ball rolling was the production of Living in Bondage and its effect on Nigerians. It opened a new vista of opportunities for Nigerian Youths.

This opportunity created our present day ‘Nollywood’ that celebrates the likes of Nkem Owoh(the master comedian and one of ‘Nollywood’s’ biggest export) Patience Ozorkwo(arguably the most popular and celebrated ‘Nollywood’ star outside Nigeria),Jim Iyke(the famed bad boy of ‘Nollywood’), Ramsey Noah(the most potent screen lover boy), Genevive Nnaji(the most successful actress of her generation and international model), Omotola Jalade-Ekehinde(A screen queen that has demonstrated that showbiz success is compatible with a successful family life),Rita Dominic(The super dresser of ‘Nollywood’ and screen lover girl), Emeka Ike(the ever young and talented icon) and a host of others. This has generated huge potential for mentorship of the youths and future generations. We salute all he heroes that brought us this far.

Going beyond Living in Bondage, a few movies took ‘Nollywood’ to the next level. The ‘IGODO’ classic brought out the cultural aspect of our movies and the historical judgment of the gods on erring clan members. The roles of Pete Edochie, Norbert Young, Sam Dede, Chidi Mokeme, Okafor and co were commendable. Suffice it to say that other producers followed suit in the production of cultural movies that dwelt on “quest and retribution of the gods”. Another masterpiece was “END TIME” that demonstrated the hypocrisy of church leaders and captured the underground machinations in most Pentecostal fellowships (especially the one man churches). The cast of Clem Ohamzee, Zack Orji, Jide Kosoko was the dream team that kept movie enthusiasts glued to the screen non-stop. This was also the fore-runner to the multiplication of movies that involved Christianity and healings. The movie was so popular that most people referred to Clem Ohameze as “Pastor Weaver” and never bothered about his real name.

It is rather unfortunate that we have neglected a section of the ‘Nollywood’ success story. The ‘Alaba’, ‘Idumota’, Onitsha and Aba businessmen who believed in the project and ensured its financing at infancy have not been appreciated. This to me is the tragedy of ‘Nollywood’. I have read articles and interviews in which this arm of ‘Nollywood’ has been derided and spoken of in derogatory terms. They gave the movie industry the opportunity to grow when nobody cared about it. They invested in the uncertainty and reaped little in the beginning. Most in fact made outright losses and went out of business. Have we honoured these unsung heroes of our cultural revival? Success they say has many friends while failure is a perpetual orphan. The friends of ‘Nollywood’ today never bothered when it had its teething problems.

Entertainment is serious business and must be so treated by stakeholders. An industry that employs more youths than the entire banking industry needs special attention. Recently we read about the US$200M availed the entertainment industry by the Federal Government. It is important that the ‘Alaba’ , ‘Idumota’,Onitsha and Aba business people who had faith in the movie industry at infancy are incorporated in any funding scheme. Accountability in the disbursement and application of the fund will encourage future assistance from government and other private institutions. The fight against piracy must be intensified to ensure the remuneration of creativity. The industry cannot be allowed to struggle on its own forever. Investment in new technologies and subsidization of imported materials such as CDs, Cameras, Special effects equipment, etc is essential in projecting future growth.

If not for ‘Nollywood’, I wonder what our entertainment industry and cultural orientation would have been. It marketed Nigeria for free all over the world, especially in African countries. Today ‘Igwe, Tufiakwa, Chineke, Oba, Eze-Nwanyi’, etc are now popular lexicons known all over Africa. All thanks to ‘Nollywood’. This is an industry we must all encourage to grow because the sky is the limit. It has the capacity to employ millions of Nigerians in diverse ways and prevent young adults from engaging in crimes. We must not treat it the usual Nigerian way.

Finally, it is important to remember the Producers and Director like Amaka Igwe, Zack Ejiro, Chico Ejiro, Emem Isong, Akudinanwata, Emma China and the rest for their efforts in providing the necessary back-up skills that has helped the industry immensely. We must all remember that the success of ‘Nollywood’ is a synergized end product of all the professionals in the sector. The Nigerian movie Industry is almost at par with our football in terms of marketing the country internationally and the government must extend same attention it accords the later to the former. We must strive to continuously patronize them because it is 100% Nigerian. I am proud to be a Nigerian because of ‘Nollywood’ and I wish the practitioners more success. God bless Nigeria.

KELECHI EME

kelechi_eme@yahoo.com