By "Funmilayo Ayo"

An excerpt of an online rejoinder credited to Ola Balogun, a Nigerian Filmmaker, reads "… it so happens that Nigeria does not currently have a film industry. South Africa does, and that is the main reason why South African films are currently winning awards in prestigious festivals like the Berlin film festival, while the poorly put-together contraptions that are inappropriately called films in Nigeria are generally considered with scorn by people who are knowledgeable about films - facts are stubborn, as someone once pointed out!..."

He was responding to another article penned by Toyin Akinosho in the March 6th edition of The Guardian entitled "Don't envy the South Africans". The author got some flack from online responders for his criticism of Akinosho's article and invariably Nollywood: The amazing Nigeria money-making phenomenon. I am in total agreement with Dr. Balogun's point of view. My people, get real! Some Nollywood films are so crass, and honestly, I feel my brain go mush just subjecting it to 10 minutes of these mind-numbing movies - if they can be called such. I am a Nigerian artist based in the States, and a recent Nollywood observer. My first critical encounter with Nigerian movies came when I was asked in March 2004 by a Nigerian Magazine to do a review of the African Film festival in New York. Prior to this, I had only paid mild attention to the Nigerian flicks shipped to me constantly by some folks in Nigeria. I left Nigeria a few years ago with memories of talented craftsmanship of directors like Kayode Odumosu, Lola Fani-Kayode with series like Mind-bending, Mirror in the Sun other addictive TV programs like Cock crow at Dawn, Ripples, Checkmate. I was nostalgic for films reminiscent of the Herbert Ogunde era. Remembered well-horned actors like Taiwo Ajai-Lycett , John Chukwu, Moses Olaiya, Jab Adu, Elsie Olusola, Papi Luwe to name a few. So I went to the Film festival full of anticipation, holding out great expectations for my people. What a disaster! I cowered in shame. It was quite a painful experience to endure. There was a particular 3 hour movie by a notable Nigerian director I had to excuse myself from, just couldn't take it anymore. I dutifully wrote my 2-part review, but the Nigerian magazine unwarrantedly edited my article, not for clarity, but to take out all "negative" criticism of the Nigerian movies I reviewed. They also injected some words that were not mine in print, published under my moniker, painting a syrupy picture of a the Nigerian movie industry, they however didn't publish any of the other African movies I reviewed because it made them look "good" and us "bad". Needless to say, I asked to retract Part 2 of my article if they won't publish it "un-sanitized" and unbiased. Since then, I have observed Nollywood from the sidelines. We Nigerians are a very talented people, so I expect better than the nonsense I see being spewed out of the industry in the name of movie making. Most people in the filmmaking business in Nollywood have no business making films at all. They are not in the business to make good films. To make good movies, the first goal should be the quality of the work, - the basics, like a good script for starters…true, the money may or may not follow, but if your bottom-line is only the bottom-line, then quality will be compromised. One hears of producers insisting on having their sisters, girlfriends, hometown folks etc cast in a movie who most often are bereft of any talent. Nepotism permeates all strata of occupation in all countries worldwide, and I'm not entirely opposed to it, but if your current "squeeze" must play the lead role in your next movie, let her at least have some acting chops. I can only imagine how much "couch casting" goes on in Nollywood (for those unfamiliar with the term "couch casting", it means casting for favors - usually of a sexual nature)

I hear a lot of Nollywood insiders screaming about lack of support from foreign organizations, but in the same vein, they assert that they only want to make movies by Nigerians for Nigerians, thus the shoddy plots and storylines. Last month, I attended a conference at the Harvard Business School where a notable Nigerian actress was a panelist. When asked what her take was on the inaccessibility and non-international appeal of Nigerian movies, she said Nollywood is only interested in targeting films to local and regional interests, but in the same breath, she decries the lack of support from international agencies. Do these people think foreign investors/producers just have buckets of money to throw away? It's an investments people, get real! if your film isn't going to make money because it's is so "niche-d" that only an African can relate to it and you refuse to subject yourself to acceptable international standards, please stop complaining about lack of support! First have a good script, then shop it around. No amount of money will make a good movie out of a bad script. This actress also stated that making a movie in 2 weeks is what it's all about. I'm not surprised then, and it's very easy to see that those who are involved in Nollywood have never heard of or simply choose to ignore some basic aspects of pre-production. You can't make a good quality feature length film from start to finish in 2 weeks, yes, even if it's shot on VHS!

Another argument I hear on why Nollywood stories have no international appeal is that Nigerian Filmmaker want to tell Nigerian stories...Good. I think is great that we finally have a voice to tell our own stories, as opposed to the whiteman misrepresenting us and I applaud the effort. But must we tell them in a fashion that is so amateurish? Is the telling a Nigerian story from a Nigerian's perspective mutually exclusive to coming up with intriguing plots? Does that explain the poor acting and shabby packaging of the final product?. Why do the movies plots have to be so pedestrian? What most Nollywood critics like myself are asking is that the players in the industry up the ante; set the bar a little higher. Play the game a little savvier. Write about witchcraft or whatever if you must, but do tell a compelling story for heavens sake! Make movies with captivating visual elements. Film is a visual medium that evolved from the photographic medium that originally resulted in the silent movies of the early film era of the 20's. I want to be able to watch a Nigerian movie with the audio turned off and still be able to decipher what is going on, because the camera is telling me the story. If people don't know what they are doing, then they should learn to do it the proper way or get out of the business. I am a movie buff, and I watch independent foreign movies almost exclusively as I'm not a huge fan of some of the big budget commercial junk either. My viewing interests span across continents, and I particularly favor movies from Iran, South Africa, Senegal and Germany to name a few. Through film, they tell of their own experiences mostly using local dialects with subtitles, these stories are told in a way that draws you into another culture even though some of the cultural nuances may be lost in translation, but as a foreigner I can watch these films and appreciate them, because they have crossed the language and cultural barrier not only with the subtitled translations, but by also making good movies that are intellectually and aesthetically accessible to an international audience. I don't care if our movies are made in English, or its pidgin variation, Ibo, Yoruba, Hausa, Ibibio or any of the other 200 or so Nigerian dialects, nor do I care if the genre is epic, contemporary, horror or religious. The point I'm making here is to share our world authentically with a larger audience and do a good job while we are at it.

Nollywood folks also complain about the lack of proper equipment, training or post-production facilities, distribution outlets etc….I agree. The Nigerian government for instance can assist tremendously in this area, as this industry is one of the more profitable as of today in a country rife with inexcusable poverty and unemployment, and it needs all the support the government can offer. Post production is an area in which cash flow becomes a necessity, but let's not forget that the basis of a good movie first and foremost, is a good well-scripted plot, and an ensemble of a well-horned cast and crew. I admit, there are a few good Nigerian movies with plausible storylines, and while the visual or audio quality may be poor in some cases, one can see an attempt at artistry in scripting, directing and acting…all the creative bits that are essential, one knows that a little more cash infused into such efforts would have made all the difference in the final product. I am very forgiving of these, at least for not having me feel like I have to take a MENSA quiz just to re-charge my brain cells like I'm wont to do after watching the average run of the mill Nigerian movie. I commend the efforts of the few who strive to achieve excellence in creativity while making the best of the existing infrastructure. If the industry instead of churning out 2000+ movies a year focuses on quality of the products that meet the requirements of those who can better fund these projects, they will build a track record and maybe get international exposure and support - which I don't care what some say, I think is crucial to the growth of the industry - Hollywood did not get to where it is by targeting only Americans as its consumer. It is true that there have been some foreign interests in the Nollywood self-sustaining structure, which in the "colonized" mind of the average Nigerian translates to "Because the Whiteman is paying us some attention, that means he has accepted our industry, and that must be good thing". If that is true, why aren't any Nigerian films making it to respectable international film festivals? I've read articles and watched documentaries on Nollywood in international media, while some foreign observers are fascinated by how the industry is functioning autonomously, they also ridicule the lack of basic understanding of the concept or process of filmmaking by the average Nigerian filmmaker. We need to read and hear what is being said between the lines. I've heard some Nigerian industry insiders say Nigerian films don't need the acceptance of international film festivals. To me that stinks of inferiority complex masquerading as indifference. They are aware that most of these films don't measure up to international standards. The truth be told, if a Nigerian director has his film featured at say the Cannes Film festival or wins an award at FESPACO, or like the South African film "Yesterday" gets nominated for an Oscar and this results in major exposure of his work, making him an instant international hit, all the egungun** of his forefathers will come out to dance. And we will and should celebrate him. Nigerians and Nollywood will be singing a different tune then, claiming that Nigerian's very own "has arrived" (just see how we claim Sade Adu, Adewale, and Seal among others notable celebrities who have just an ounce of Naija lineage in them like they are our long lost first cousins) If a Nollywood filmmaker gets to that international stature and as a result, generates more money to make better movies which in turn will help other Nollywood players rise up to the challenge of improving their craft. Is that a bad thing? Why debunk the international film festivals just for the sake of doing so?

I know there is a huge local and regional audience for Nollywood movies in Africa and those in the Diaspora, and maybe the Nollywood moviemakers do have a point in making these products the way they do. Fine, if that is the niche they want to serve, I won't argument with that, but they should stop complaining about being shunned by the international movie industry. Rose Edeh - The director-general of National Film and Video Censors Board commented to Life and Beats of The Punch (March 5, 2005) that the "Absence of Nigerian films at African Film Festival, is a disaster" when asked her opinion on the exclusion of Nigerian movies at the recently completed FESPACO (African Film Festival ) event in Ouagadougou. Mmm…I wonder why.

All the tribalism, politicking, raiding of a filmmaker's home to seize movies because of conflicts involving ratings and censorship, throwing people in jail etc, how is this supposed to attract well-meaning Nigerian filmmakers in the Diaspora to come home and contribute positively amidst all the "jaguda" justice that looms over the industry? There needs to be a lot of house-cleaning and self-regulation of Nollywood to get the full support it deserves and needs.

Nigerian movies are pirated in an unprecedented manner, and I do feel sorry to those who have worked hard and honestly only to have someone else reap the blessings of their labor. However, most Nigerian movies also pirate soundtracks by foreign artists (Beyonce, Wyclef etc) - someone else's intellectual property. A thief complaining that the item he stole is being stolen is like a child asking a judge for clemency for murdering his parents on the grounds that he is an orphan - what chutzpah! One comment I read recently in defense of Nigerian pirated films stated that we should let the big guns in the West fight their own war on the piracy of their products, that is not our concern. I think that is very hypocritical stance, and I disagree. If you don't want to be stolen from, don't steal. If you want the international anti-piracy organizations to take your case seriously, as Tony Abulu and others of FAN are advocating, you must first clean house. I am against piracy in all its ramifications, but I have very little sympathy for those who steal another's intellectual property, only to turn around and complain about their work being pirated - it's called Karma. If Nollywood producers can't afford to pay the royalties for the foreign music needed to enhance their movie products, there are lots of good, affordable and accessible Nigerian music. By doing so, the film industry will also be supporting the closely linked Nigerian music industry and circulate the wealth within. Which by the way brings me to the fact that I think the artistic merit of the Nigerian music industry far exceeds that of the film industry as of today, while they are also faced with technical and financial issues similar to what exists in the film sector, Nigerian musicians have at least maintained an artistic integrity in their raw product. The film industry may do very well gain by borrowing a leaf from them in originality and creativity. I read an article recently which purported that the US has started cracking down on piracy of its products in Bollywood, Nollywood, beware, you may be next!

If my criticisms seem harsh, it is meant to be. I make no attempts at softening my blows. Neither am I sitting on a high horse turning my nose down on homefolks as I'm sure some people may have already concluded reading thus far, nor do I harbor self-hatred for my kind. I have not benefited creatively from the oyinboman's culture to the exclusion of mine, the stories I tell are Nigerian stories. So, there is no gain accusing me of suffering from "colonial mentality" as I do not set my standards strictly by the oyinboman's. But I believe in setting very high artistic benchmarks. One doesn't have to have been trained abroad or have left the shore of Nigeria, or even the boundaries of his village to strive for excellence. You either have it or you don't. Also, make no mistake, I'm an ardent supporter of my country, and of Nigerians. I travel extensively to Nigerian events, sometimes just to show moral support, I throw my money when I have it to support Nigerian causes, so my criticism of Nollywood is not a lack of support of my people or the industry, but sometimes, one espouses by employing tough love measures which may simply be in the form of un-patronizing honesty. While I applaud Nollywood for providing employment to many who otherwise wouldn't be, and I understand and appreciate the complexities and difficulties that a Nigerian filmmaker may face, I don't see it as an excuse for compromising the artistic quality of the films that are currently being made. All this back-patting of Nollywood without some home truth and realistic assessment isn't going to help improve the quality of the industry or make us players in the international movie arena. Being one who hates to be an "armchair critic", I decided to get involved and I hope to contribute to the integrity of Nigerian artistry through film. After my "ordeal" at the African Film Festival in NY a year ago, I have since explored possibilities in the film industry, I've thrown myself into it, and I'm making good progress, so if and when the time comes that I am in a position to work with or assist anyone in the Nigerian Film industry, I will, but only if I stumble upon real talent and a strong desire to strive for quality. Worldwide and at home, we Nigerians are known to excel in various fields like Finance, IT, Medicine etc, so why not in film? I expect the best of myself and from my people because we have the ability, but for now, I say let's envy the South Africans, because they are kicking butt and making loud Xhosa statements in film!

For the complete article Don't Envy The South Africans: A rejoinder by Ola Balogun visit: (http://www.nollywood.net/index.php?c...2_articleid=16)
*Oyinboman (White man)
** Egungun (Masqurade)

Respond to funmilayoo2000@yahoo.com

We've talked about this on this site like a thousand times,and i had always been of the same opinion as yours,although not entirely.But as long as the people who are bankrolling naija movies right now are the major players,things will remain the same because they call the shots standardwise and there is nothing anybody can do about it.
If someone like you or i or any other person who have a true love for good movies wants to finance a flick,we will naturally make sure that this particular project lives up to our respective standards,thus doing our utmost best to see this become a reality.But these Idumota guys don't have that kind of high standards,and that is just the main problem right now!These guys don't have a clue what it takes to make a movie of international standard,and to tell you the truth,they don't give a damn!All they want is quick returns of their invested money,and that,as quickly as a bullet leaves the nozzle of a gun!
If we want to see a significant change in the positive direction of the standards of nolly flicks in the near future,a new generation of financiers/producers need to come on the scene and take control to relegate the present nolly bankrollers to the backbenches.People who have not only high tastes in movies,but equally high business acumen,afterall moviemaking is basically a moneymaking business so there should be a balance somewhere.

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Vince ( Same as Vince-D?)

I have read some of your postings on similar topics and agree with most. I would contribute more on this site but for time constraints. Trust me, the time will come very soon ( When a Nigerian Movie will raise the bar). If not my project, then yours or someone else of like mind. What drove me to write the piece was just the lashings I see unjustifiably metted out to well respected and deserving craft man and women like Ola Balogun, Ajai-Lycett, and people of that generation who dare to raise an objection to the eyesores called movies in Nigeria. These are people who actually knew what they were doing as actors and filmmakers in their days. And you have these newbies who think they know it all castigating them (and they don't know jack). That is what pissed me off. I am currently collaborating on a long-term feature film project with some Nigerians and others. Thanks for your comments. Signing off.

The article was too long and i was too lazy to finish it but all the same i believe that there are some Nigerian directors and producrs that know wat they are doing while others are just there for the money so i agree with the article in that aspect. But the guy that wrote the artcle should not have used the title he used. I mean wat makes him think that the movie industry in Nigeria is jealous of that of South Africa. I mean no one ever said SA does not deserve it.

Funmilayoo,i think the main quarrel against Mr Ola Balogun and the likes is their aloofness towards the industry,their standoffish attitude.Instead of them standing on the sidelines watching all these contraptions being churned out daily,why don't they role up their sleeves and get involved,teaching the newbies how it should be done!Nollywood need people like him to turn down this tap of mediocrity from drowning us all!I think he will be far more effective that way than just keeping off and then just criticizing.Nollywood needs the knowledge people like him can bring in and impart on practitioners who are laready on the ground.That is the main beef of the people who spoke up against what the man wrote.
The man should just get involved with nollywood,show people how it's done.The sector needs as many standard bearers as possible.God knows that we have too few at the moment.

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The Ultimate
We Are Part And Parcel Of Everything
We Are The Cosmos
We Are Life
We Are Love
We Are All That Is
We Are The Creator Of The Dance,As Well As The Dancer

A big GBAM!......& One bottle of stout on the way to you!....chai! u are so on point here that am thinking of sending one gal to u for an extra wife!

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The Ultimate
We Are Part And Parcel Of Everything
We Are The Cosmos
We Are Life
We Are Love
We Are All That Is
We Are The Creator Of The Dance,As Well As The Dancer

eewooo Vince, I now see where you got the disease from...Khami don infect you with am too.

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Exactly Vince, I agree with you that Dr. Ola Balogun is an excellent Director (See Ajani Ogun and others) but I really don't like its attitude towards Nollywood. You see before I met Dr. Balogun, I respect him so much because of his works. But after meeting him during the documentary of coming soon (documentary on Nollywood) I produced for a Holland television. Although I still respect him for his work and age but I was really disappointed in the way he talked about Nollywood. He never recognizes the name Nollywood, but the fact remain that Nollywood has come to say. We came to him for interview about Nollywood but all he could say is about the old Yoruba practitioners. When we ask him to direct us to who is who in Nollywood, he directed us to Chief Jimoh Aliu and out of respect for him and Chief we recorded about 4.5hours materials with them but we could only use 4 minutes of the material. The reason being that all they were talking about is how Yoruba people started filming in Nigeria and so on.
They see Nollywood as an Ibo thing; the same apply to Tunde Kelani. The only different is that he continues his own thing along side Nollywood. I guess the earlier Dr. Balogun and people like him drop the idea of tribalism and embrace Nollywood, the better for everybody because Nollywood has come to stay. We need their wealth of experience in Nollywood.

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too late

and yeah i agree with u on this issue

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The Ultimate
We Are Part And Parcel Of Everything
We Are The Cosmos
We Are Life
We Are Love
We Are All That Is
We Are The Creator Of The Dance,As Well As The Dancer

Well he needs to put whatever has been done in the past exactly there,in the past and face the future.The works of the past done on celluloid are not going to be seen by the new generation anyway,so what's the point.We all want to see what old masters of the visual taletelling art can come up with,and what they can teach the new generation of moviemakers.That is what matters.

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The Ultimate
We Are Part And Parcel Of Everything
We Are The Cosmos
We Are Life
We Are Love
We Are All That Is
We Are The Creator Of The Dance,As Well As The Dancer

Interesting thread...

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i've never heard of the name

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THEY WILL ALWAYS TALK BUT YOUR CHOICE IN WHO YOU LISTEN TO IS WHAT MATTERS......