Nollywood: between stardom, decency and identity

Three decades ago it was uncommon to see Nigerian faces gracing the movie industry. We grew up, when we could, watching foreign films and alien actors and actresses of American and Indian descent. To so many of us, Indian films were a particular visual delicacy with their actresses in lungi dresses of luscious silk particularly […]

Three decades ago it was uncommon to see Nigerian faces gracing the movie industry. We grew up, when we could, watching foreign films and alien actors and actresses of American and Indian descent. To so many of us, Indian films were a particular visual delicacy with their actresses in lungi dresses of luscious silk particularly fashioned for theatrical pageantry. It was fascinating, to say the least, seeing the carefully and artistically dotted faces that produced the near perfect images of female beauty that spun our admiration to frenzy.

With juvenile eyes, it was mesmerizing to watch these Indian actresses dance in captivating rhythmic strides, in very sensual but prudent body swings that cleverly manipulated their down-to-the- ankles wears to avoid stumbling. Many of us whose families could not afford a television always found ourselves clasped by the window of a more privileged relative stretching to full force our ocular veins to enjoy an American or Indian film.

Change was soon to register its transforming presence and the story would change from foreign to home made movies. In the wake of the 90’s, the first batches of home-made videos hit the stands in Nigeria. At last, the grace of technological know-how would occasion the production of films of indigenous brand. This development was sensational and was greeted with glee and enthusiasm even on the part of the producers who struggled with pomp to keep pace with the rather gargantuan appetite of the Nigerian consumer. Quite significantly, Nigerian women and men, boys and girls were being engaged to showcase their artistic genius in the entertainment industry. This was a novelty that impressed and caught the attention of many.

I still recall with curious retrospection the first Nigerian video I ever watched; the consuming zest, in fact, how my crest of excitement rose to great heights. The movie popularly known as “pam pam” had saved a crumbling marriage. While it is not the interest of this write-up to describe this film, I must quickly say that after watching it, I lent it to a man who had not exchanged “good morning” with his wife, talk less of sharing the natural goods of marriage in four months! In the silence of the night as both of them watched in disinterested company, their uncontrollable laughter became a bridge for their reconciliation.

In a short time, characteristic of our flamboyance, home videos flooded even the smallest settlements in the country. Nigerian actors and actresses, characters and personages became the ginger and flavor of all discussions in the homes, places of work and leisure. As time progressed, it became crystal clear even to the weakest prophet that the Nigerian movie world would soon dominate the movie market in Africa. A galaxy of Nigerian men and women soon gained sweeping popularity all across Africa and the likes of the multi-talented Genivive Nnaji, the screen goddess and Nkem Uwoh, the humour monarch, to mention a few, became household names. Both of them, in recognition of their entertainment prowess, have since been beneficiaries of the African Academy Awards for the best African actress and actor in 2005 and 2009 respectively.

While it is true that some Nigerians continue to view the Nigerian film industry with levity, it is undeniable that it has uplifted the lives of those involved socially and economically. It has also expanded our national pride and redefined the shape of the Blackman’s talent and ability. It has succeeded in perforating the veil of general skepticism about African ingenuity. Alas, film production is no longer the monopoly of the Whiteman nor is acting an exclusive preserve of the whites and Indians, as was perceived many years ago. Today, Nigerian movies could be found virtually everywhere. Watching a Nigerian movie in Europe takes one right back home- to roots. It reminds you of the awesome beauty of our people and the almost near microscopic neutrality of the African people. African videos bring alive our peculiar challenges as a people and the daily struggles which announce our distinctiveness as a people.

Today, we are proud to know that Nollywood is only next to Bollywood. With an average of 200 films each year, Nigeria has overtaken Nollywood. We all share in this glory. But it is not yet Uhuru. On the road to stardom, the norms of decency must be observed if this glory is to savour the interest of time, and if our celebration of this feat is not to meet with a sour end. Every movie is a reflection of the existential realities of a people. In other words, every movie seeks to depict the socio-cultural and economic currents of the place from which it emerges. Every entertainment does have and should have a targeted moral lesson beyond the instantaneous excitement it creates. In this respect, while every movie may target global appeal, the local values cherished and upheld by its people cannot be sacrificed on the altar of mere entertainment. What cements the beauty of any film is its capacity to draw a clean line between vice and virtue, and to clearly solicit the option for what is good for the society. Every movie that makes a mockery of morality aggressively falls short of its name no matter how intelligently acted and colourfully presented.

Nigeria is a thickly moral society and nobody is fascinated with any actor or actress who makes morality a matter for the gamble. Human dignity cannot be traded for money and where this is the case, the absolute point is missed absolutely. The beauty of human progress is real only when its path is designed towards ethical consolidation. I stand to be corrected but as far as I can testify, despite the global influence and impact of the Western culture on the world society, Bollywood movies have not succumbed to the virus of sex glamour which is celebrated in almost all American films. Bollywood has continued to maintain her moral and cultural values and this is a lesson for Nollywood. Africans are Africans no matter how somebody may want to change. We must remain faithful and committed to our creative originality and peculiarities. This is variety. We have our values which differ from those of the West and these values cannot be “levelled” in our movies without grave damage to our identity as a people. The Nigerian movie world must be ruled by a body of ethics guided by conscience. Our films must be seen to reflect the fuller texture of our people’s moral character, for stage acting is not just a display of physical skill. Any actor or actress who performs solely for the sake of money and does not care about the impact of what they do on others, murders his or her conscience and is an entertainment mercenary.

The continued success of the Nigerian movie industry lies in respecting and preserving the moral integrity of its own people. It is always encouraging to hear an actor or actress declare that he or she may never act nude no matter how much it pays. On the contrary, it is embarrassing to watch a Nigerian film in which our brothers and sisters act almost naked! Our movie producers will do well not to imitate the Western style obsession with ostensible sex, where even a loaf of bread does not sell until it is advertised with a woman standing naked. Celebrating nudity is not part of African culture, besides; this only takes us back to the Stone Age! Anyone at the centre of an entertaining show who provokes feelings of sexual shame flagrantly violates the common law of charity due to every fellow human. Nobody will be called a great actor or actress in the African context who has a talent in making public what is naturally private.

So far so good, the Nigerian film industry should concentrate on human quality promotion, showcasing the richness and elegance of the African culture while maintaining the moral fabric of the African continent.

Father Tyosenda is of Jesuit Pontifical Faculty of Theology, Naples, Italy