THREE years ago, I made a painful but necessary decision. I just watched an over hyped meaningless IQ-lowering Yoruba movie titled FILA DADDY which starred most top and highly revered Yoruba actors. The year marked the period in my life when I needed to start seeing myself as living in my future and not just hoping for it. There and then, I decided to start biding farewell to everything that is not a part of the future I envision. Such included meaningless relationships, unrewarding exploits and of cause, Nigerian films. You got it right, Nollywood.
While many people see the Nigerian film industry as the third largest in the world (in terms of quantity). few can vouch for the quality of works emanating from the industry. As far as we are concerned, in the Nigerian context, success is seen in terms of the number of productions coming from the industry. An assertion that is wrong. Let's take some instances.
When a typical Nollywood is placed side-by-side with a Hollywood's or Bollywood's, the difference is always clear. From the anemic casting to the terrible subtitling, it is evident that the industry still has a lot to do. While these are understandable, one that is not, is the new trend. The I-can-do-it all phenomenon.
Few days ago, I saw a poster of a new Yoruba epic movie titled AWODI. I approached to read the synopsis and know the cast. One interesting fact became familiar, with other posters. In the case of AWODI, Murphy Alabi was the writer, the producer, the director and the lead actor. What a talented being you might say.
This is not the only film with the offense as the industry is now filled with such 'vast' and 'highly talented' individuals like Murphy Alabi, who without attending any film school, can do it all!
One of the things that I appreciate in a flick is the overall quality. That's why I always ensure I see any film done by Mel Gibson. He's not the only good film director around with good CVs to show. But in Nollywood, the reverse is the case. Apart from Tade Ogidan and Tunde Kelani, most film directors are hungry jobbers who might have been well suited for the mechanic profession.
While the industry's play makers might blame the insufficient funds as excuse for these jack-of-all-trade act, watchers like me don't buy it.
Where are the funds being used to produce hundreds of films monthly coming from? Why can't they merge these resources together and produce top quality films? Are there not quality film directors and producers around? What regulations have they put in place to ensure that basic standards are met? And is there a standard at all?
While I pity those that still patronize Nollywood films, I can't but ask why they are doing so. As far as I'm concerned, the films lack concept, creativity, professionalism, meaningful contribution to one's life and they take a lot away instead of adding to one's life.
While I can buy CDs of Nigerian musicians, I can NEVER collect a Nollywood film, even if it's free of charge because it can lower my IQ, an essential instrument for someone that is serious with his or her future. Let's see what the next THREE years will be like. Till then, the ban remains.
Lights, camera...budget action! Image courtesy 'This Is Nollywood'
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