Features of Nollywood

GOOD NOLLYWOOD

I suppose the best thing about Nollywood films is that when the producers get it right, they get it right. The stories serve as a good representation of African values especially in relation to our communal way of living, extended family support system and our dispute resolution mechanisms. In many films our belief in God and the supernatural are well displayed. There is also diversity of cultures as different segments of Nollywood try to create something that different aspects of Nigerian culture can relate to. It is here that you see a more diverse representation of reality in the settings, plots and characters. The settings are less likely to be the well-furnished apartments in a choice location within the city (#lekkifilms) and the characters are more likely to be regular everyday people with stories dealing with issues as simple as the politics of choosing the women leaders in the local parish or the intrigues that follow when masters try to avoid payment of the monetary settlement for their apprentice sales boys. Simple stories when told to reflect the simple day to day life experiences of normal, regular day to day folk as in the film, “Love in a time of Keke” can offer a refreshing deviation from the usual range of stories and revives hope in the storytelling skill of Nollywood storytellers.

ITS RIGHT!!!

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NOT SO GOOD NOLLYWOOD

• 24/7 MAKE UP

Even through the pain of spousal abuse, loss of a loved one, imprisonment, hospitalization, going to bed at night, having their bath etc, the make-up on the face of the average Nollywood female actress never comes off. It stays on and it is not just the make-up per-se, but the heaviness of it. You will think they were about to go on a photo shoot for cosmetic products, about to get married, attend a party or function. The actress would never sacrifice her “slay” for the chance to realistically depict the role.

Nothing can stop her shine

• ONLY THE YOUNG LIVE IN NOLLYWOOD

If you are above 35, it’s most likely the story is not about you. You are limited to a supporting role as a mother or father of the main characters, an in-law, a mentor, policeman or investigator, concerned relation, etc. You are not expected to love, dream, aspire or have any drama worth sharing with the world. Why? Because In Nollywood, only the young live. A simple reason for this would be that because most stories are based on relationships (especially relationships), it’s difficult to situate adults within a romantic scenario. But adults do have issues too. For example, health issues, workplace issues, mid-life/maturing/aging crisis, parenting, divorce, stress etc

Nollywood legends but the story is never about them

• INVISIBLE CHILDREN

In Nollywood, references are made to “our children” and for the full range of the movie, not once do you get to see these phantom children. They exist only in the imagination of the actors and we are expected to be content with just knowing that they exist.

Abeg where are your kids?

• UNEXPLAINED WEALTH

In new generation Nollywood films, the prevalence of young money, living "the rich life" is a dominant feature. Young men and women living in big houses in the most affluent part of town (Lekki, VI, Ikoyi), driving big cars, wining and dining in classy restaurants and wearing expensive and sometimes designer clothes seems to be the new trend. There is no reference to the source of their wealth. We rarely see them at work or talk about what they do that gives them this much wealth. Their main preoccupation in life appears to be sorting through one relationship problem or the other. This is particularly worrisome for me because of the recent image of Nigeria has received some battering as a result of the escapades of some unscrupulous elements. Projections of young money must not be vague in content especially as it relates to responsible living. Script writers cannot continue to engage in their trade just for the sake of it. There must be a conscious attempt to address current social issues with an approach that seeks to suggest solutions that are both humane and workable.

But why are they always so rich? #lekkifilms

• OBNOXIOUS GATEMEN/MAID

Too often the overfamiliar gateman/maid is a common sight to see. He/She is usually depicted as the comic factor in a movie that is not even funny. If he was funny, he could even be forgiven but he rarely ever is and comes across as obnoxious, nosey, overfamiliar and (very) disrespectful. He pokes his nose into the private affairs of his boss and for some reason his attitude seems to receive his master’s approval. It is not uncommon in a Nollywood film to see gatemen subject their employers’ visitors including relatives to ridiculous and embarrassing questions before letting them into the compound. Treating your domestic staff well should not mean he/she should forget you are the OGA.

Trying too hard to be funny (SMH)

• LEKKI -- IKOYI BRIDGE

If you are not a Lagosian and you believe the Lekki -- Ikoyi Bridge is the only notable landmark in Lagos, you can be forgiven. It’s a fixture in at least 4.58 out of every 5 Nollywood films. There are several other notable and beautiful places and sites in Lagos such as the National Theatre, the National Stadium, various art galleries, beaches and lagoons, Broad Street, Herbert Macauley Street with its old-styled architecture town houses etc. (so why dont they showcase any of them in our movies?)

Great Lekki-Ikoyi Bridge of the South West , I dey hail o!!

• LACK OF TRANSITION

By this I mean that most Nollywood storylines tend to be (very) predictable. If you dared to place a bet on the possible outcome in a Nollywood movie, 9 out of 10 times you would most likely win the bet. Films about royalty often revolve around the theme of who succeeds the king who just died. Or it would be about suitors trying to outdo themselves to make the princess of the kingdom settle for one or the other. The poorer you are the more likely you are to succeed but on condition that you are more handsome than your rival (lol). If on the other hand you are a prince then the storyline is most likely about ‘fair maidens’ with the connivance of the queen mother trying to win the prince over as if being a prince or a princess bestowed special attraction that instantaneously makes you the dream spouse for everyone.

I mean see that princely to-die-for face, you cant escape this once it hits you

Away from plots that are dubbed with royalty, the narratives are caught on the recurrent themes of cheating husbands/wives, the trauma of childless marriages, family intrigues (juju), interfering in-laws, scheming ‘best-friends’ etc. The actors may have transitioned from Ini Edo, Mercy Johnson, Rita Dominic and Monalisa Chinda to Mary Lazarus, Chelsea Eze, Efe Irele, Tana Adelana and Belinda Efa for female actors. On the male side Emeka Ike, Nonso Diobi, Ramsey Noah and Pat Attah have been replaced in their lover boy roles by Frederick Leonard, Alex Ekubo, IK Ogbonna, Kunle Remi and Daniel Lloyd. That is as far as the changes go. They are still telling the same stories and solving the same problems the same way. The husband who is sterile is still trying to arrange for his brother or best friend to sleep with his wife and get her pregnant (ewww). The mother in-law whose son is in a childless marriage still sees arranging for a third party preferably someone from her village as the only way out of the situation.

• CHASITY IS NOT A CHOICE

Lastly but certainly not least, the impression is always created by a good amount of Nollywood films that immediately a girl meets a boy, the only way to validate the relationship is to fall into the next available bed with him. There are no reservations about kissing, touching, sleeping together or living together before marriage. If this trend is against the backdrop that it guarantees the faithfulness of each party to each other perhaps you would even begin to understand it. Rather, despite these concessionary escapades, they often have to battle through one indiscretion or the other. Alternative life-choices of chastity or at least reserved sexual active-ness are rarely projected and girls or boys who have opted for chastity must wonder if they are doing the right thing when they see the kind of loose sexual activeness that is projected in most of the movies .

It is true that in this aspect, Nollywood films are a portrayal of the reality on ground. At the same time it can be channeled towards the more honorable path of influencing mindsets for the better. Incidences of sexual abuse and sexual predator-ship are too common place in our society for us to continue to project the idea that sex is such a trivial, non-consequential act to be randomly indulged in. Nuances of sexual images and the sexual act itself appears to dominate much of materials that our youth are exposed to that it is expected that their perceptions about sex are greatly influenced by this. Nollywood should not provide further reinforcement but can try where possible to present another side of the story. The message must begin to go out that you can hold off on sex without looking like you are pretentious or abnormal. Guys and girls must begin to know that it is possible to have a meaningful relationship without the sex factor.

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