Kenneth Nnebue
Long before the explosion of home video productions in the late 80s, the seeds of Nollywood were sown in the fertile ground of television dramas such as Cockcrow at Dawn, Village Headmaster, The Masquerade, and Mirror in the Sun. These initial works, restricted in their scale by the limitations of TV broadcasts, laid the foundation for the storytelling that would characterise Nollywood.
Cockcrow at Dawn, a pioneering play in the 1970s, combined social critique with realistic portrayals of rural life. Situated in an imaginary Nigerian village, the film addressed conflicts between tradition and modernity, disputes over land ownership, and the
The series connected with viewers due to its genuine feel. The roles portrayed by a talented ensemble were not exaggerated; they were real people dealing with genuine problems. The gradual storyline of the series, mixed with humour and sadness, reflected the pace of life in rural and urban Nigeria, captivating viewers with the characters’ ups and downs.
Mirror in the Sun, which debuted in the mid-1980s, signalled a shift towards narratives focused on urban settings. This drama, set in the lively city of Lagos, explores the experiences of a group of young professionals navigating the complexities of love, career, and societal expectations.
The TV show struck a chord with a generation eager to see their reflection on TV. The characters’ ambitions, worries, and difficulties in relationships reflected those of young Nigerians working hard to achieve success in a rapidly changing society.
These early television dramas, with their focus on social commentary, relatable characters, and a blend of humour and drama, laid the foundation for Nollywood. Drama, one might say, is the very lifeblood of Nollywood. It was this genre that birthed the industry.
The 1980s were a crucible. The military had retreated, leaving behind a nation yearning for expression. The economy, though faltering, pulsed with an entrepreneurial spirit. Video technology, then a novelty, became the paintbrush for a new generation of artists.
Enterprising individuals, like Kenneth Nnebue, saw a great opportunity to tell the African story. Budgets were shoestring, sets cobbled together, and stories spun from a wellspring of Nigerian folklore, social commentary, and unbridled imagination.
Nollywood experienced a meteoric and dramatic rise in popularity. Its low-budget content attracted a dedicated fan base in Nigeria and other parts of Africa.
The tales, delivered in a potent blend of English and indigenous languages, transcended borders, providing a unique change from the usual Hollywood brand. In this place, individuals were not distinguished by superhero powers, but by the common struggles of surviving in a complicated and challenging society.
Yet, even amidst the celebratory chorus, one could still hear whispers of dissatisfaction. The storytelling, while undeniably captivating, occasionally depended on predictable storylines. This predictability manifests in several ways. Firstly, certain plot tropes have become ingrained in the Nollywood lexicon.
The prodigal son returning to a web of familial obligations, the clash between urban sophistication and rural traditions, and the ever-present allure of superstitious beliefs—these themes, while undeniably rooted in the Nigerian experience, became formulaic and overused.
Furthermore, the breakneck pace of production that characterised Nollywood’s early years, a consequence of tight budgets and deadlines, sometimes led to underdeveloped narratives. Complex social issues or intricate character motivations were presented in a simplified manner, sacrificing depth for the sake of swift resolution. This left audiences yearning for a more layered exploration of the themes at hand.
Moreover, the aural experience, an integral element of compelling storytelling, was not always fully realised in Nollywood’s early years. Having limited resources often results in limitations on sound design capabilities. This resulted in intrusive background noise that competed with the dialogue or a lack of nuanced sound manipulation to heighten the emotional impact of specific scenes.
The casting process in Nollywood, while undeniably teeming with skilled actors, became a unique challenge. One of the industry’s strengths was its abundance of experienced professionals. Their presence lends a sense of familiarity and comfort to viewers, ensuring a certain level of box office success. However, this reliance on familiar faces later became a double-edged sword.
The demand to meet audience expectations, often driven by the fast pace of production, resulted in relying too much on a small group of actors. This, in turn, inadvertently res tricted the emergence of new talent. Undiscovered gems with the potential to breathe fresh life into narratives and characters languished on the periphery, their unique perspectives and approaches to acting relegated to the sidelines.
Yet, overlooking Nollywood as simply a melodrama means not seeing the whole picture. Within the industry, there have constantly been filmmakers who are pushing the limits. Nollywood has demonstrated a consistent boldness in addressing challenging themes, from movies like Living in Bondage to Half of a Yellow Sun.
The desire for a Nollywood that surpasses its constraints is a desire for a film industry that is both technically advanced and emotionally impactful. We long for narratives that explore the intricate layers of Nigerian society, addressing topics such as social disparity, religious conflicts, and the struggle against violations of human rights.
We dream of a Nollywood that presents a genuine representation of the African experience and avoids a monoculture of sanitised narratives. This is why the new challenge posed by the NFVCB’s recent ban on “glamorising vices” in Nigerian films is something of great concern. While the desire to promote positive social messages is commendable, it is important to find a balance between responsible storytelling and stifling artistic expression. Movies can tackle cases of drug abuse, corruption, and infidelity skillfully and honestly, without glorifying them.
Stories like these can act as a warning, illustrating the harmful outcomes of those decisions. A blanket ban risks creating a version of reality that fails to capture the complexities of human experiences that reflect the daily struggles of a nation and its people.
“The Nollywood of our dream” is an evolution, a transformation where the core of Nigerian storytelling stays important, but the structure gains a fresh level of refinement. This evolution requires teamwork. Filmmakers need to refine their skills by drawing inspiration from global cinematic traditions, not just Hollywood.
Meanwhile, scriptwriters must strive to break boundaries by writing stories that stimulate deep thought along with entertainment.
“The Nollywood of our dream” is more than just entertainment; it provides a space for cultural exchange and self-discovery. It is an industry that showcases the intricacies of Nigerian society and offers a fresh perspective to the world.
Reverend Father Nkadi, O.P. wrote from Obosi. He can be reached via: nkadi@opshotacademy.com
