Reviving The Charm Of Nollywood Nostalgia
Revisiting films that pour out immense nostalgia is like riding a bike after forgetting that you could. Nollywood, its catalogue, and iconic comical tropes team together to bring an entertainment experience like no other; lust, love, tribal and religious dramas, betrayal, poverty, occult, and cultism themes are all part of the moral menu that made watching Nollywood so addictive and yet taboo at times. Read on as I swing through memory lane, reacquainting myself with some classics, old and new, which hopefully will make sense of all my childhood musings - laughter, shock, and confusion all interwoven. Enjoy!
Beautiful Faces/Alluring Faces (showing on YouTube)
Written and produced in 2004, this action-driven university storyline circles a group of young, lithe but equally bodacious women or ‘campus babes’, who partake in risqué and criminal activities to satisfy their boredom as well as empower themselves along the way. Natasha (Ini Edo) is the real star here, the ingenue if you like, the deer being hunted or bloodily lusted after. Soon, a love triangle presents itself where Vivada, leader of the ‘girl gang’ White Angels, as well as male cult leader Nick pursue Natasha relentlessly. Even a mysterious bag with sweets, biscuits, and lingerie, gifted from a mysterious admirer, confirms Natasha’s allure is not ordinary by any standards.
Crossing the early noughties of Nollywood into present day, I was utterly shocked to watch a film that tackled Nigeria’s social anxieties so well. From gay propaganda to light occult themes swirled together with cultist ‘girl gang’ tendencies, these stories seem far from the sororities we’re familiar with in Hollywood’s campus centred films. Natasha’s shear obliviousness to danger will make you shout at your screen, however, seeing everything unfold through her eyes allows us to understand her plight more evenly; why she won’t be bullied into joining the White Angels, and how she will navigate her feelings towards Nick. The overall morals of this film help us question the negative reputation of cultism which historically plagues Nigerian universities because of its association with violence and crime. Yet, the beauty of Nollywood films is the platform it provides its audience with to gain power back through narrative by channelling all our societal anxieties into an exciting story. So, was this a feminist film? We could argue that it was thanks to amazing actresses like Stephanie Linus fighting for their character’s autonomy and even sexuality. Think of Céline Sciamma’s Girlhood for a modern-day reference and you’ll recognise why Alluring Faces was a classic.
Critical Decision (showing on YouTube)
Critical Decision is a film by director Lancelot Oduwa Imasuen, shot and produced in 2004. This is a romance flick that really cemented Nollywood storytelling gold because it in fact takes a detour from the classic predictable narrative of intent, obstacle, and resolve. In fact, the story twists and turns in ways unimaginable, resembling what real life is like. No straight and narrow path at all. Starring Nollywood icon, Genevive Nanji, as her character Jackie an art gallery assistant, is tasked with organising multiple events for the public as well as private viewings for donors. Another cameo performance is made by another iconic acting counterpart, Stephanie Linus, who plays Jackie’s friend similarly in the art field or otherwise. Early on, it is made clear that Jackie is very focussed on her career and a fiancé called Victor, played by the great Emeka Ezuronye. Such focus usually brings the perfect tornado of distractions and challenges.
The recurring theme of faith weaves throughout this story as things start to fall apart for Jackie. I liked this aspect a lot because it did not feel like a religious agenda was being pushed nor was it a constant undertone. It was just simply there to facilitate the progression of the story and to aid Genevieve’s character in making her critical decision. Unfortunately, the overambitious ‘uncle’ stereotype played by revered actor Richard Mofe-Damijo pervades our line of sight, establishing a major obstacle for Jackie. Yet, the biggest takeaway from this film is the solid writing which plays well to each of the actors’ various expressions and intentions as things become very unpredictable. The final scenes of this film are a definite tear-jerker, and this is the part where I recommend you get your tissues out because this film ties in art, love, faith and betrayal into a stunning motion masterpiece.
Osuofia in London (showing on Netflix)
Osuofia in london was directed by Kingsley Ogoro, a name synonymous with various Nollywood blockbusters and stars Nkem Owoh as Osuofia. Beginning in Osuofia’s compound, where he moans callously of his stressful job as a farmer and nests with his equally demanding family in the local village, a perfect comedy is served hot. The true plot swells up when Osuofia receives a letter that his brother Donatus recently passed away and has left the responsibility of his entire London estate to him as well as his English wife, apparently. So, we tread carefully behind Osuofia as he makes the journey from Nigeria to London, reciting jokes about whether he’ll need a jacket or not. He probably will!
Here, we follow a journey that glamorises the outsider looking in perspective. This was a definite highlight for me, as someone who has made the more permanent journey from Nigeria to settle abroad, knows the reality is anything but. Comparing my first time watching this film as a young teenager to now, feels even more dramatic as the hilarious pilgrimage that Osuofia takes to London sums up the culture clash that can affect anyone discovering a foreign land for the first time. In 2003, this was a rare film that bridged international waters with Nigerian storytelling as the switch from Nigeria to the UK where the meat of the story is told, is left completely in the not so capable hands of Osuofia. This is made obvious as a scene with Osuofia and a pigeon will have you rolling on the floor in amusement. Overall, this is a feel-good family comedy which pacifies the tense moments of drama with the brilliance of Nkem’s (Osuofia) African mannerisms, to keep you laughing on your toes.
Karishika – Part one and two (showing on YouTube)
This story follows a beautiful siren, Karishika, who is sent from hell by Lucifer (King of Darkness) to capture and deceive anyone who so much as strays their eyes away from a righteous path—anyone! The first scene opens with a transformation sequence, in a graveyard where Karishika arrives on earth, slipping into her normal regalia to blend in. Equal parts spooky and sultry. Immediately after she takes a quick strut, she brutally murders a driver who screeches to a stop for Karishika, as she walked determinedly out into the road. She eventually drives off in his vehicle, this scene showcasing her immense power and her ruthless determination to complete her mission.
Horror is not enough to describe the rampage of fear that Karishika unveiled on her victims as well as many young Nigerians who watched this film. I don’t remember watching this film when I was younger but, as most Nollywood film viewings were a family affair, I can understand why some parents, including mine, probably skipped this tale. Nightmares aside, Karishika is one of Nollywood’s best attempts at a thriller, and not camp in the slightest, due to good acting and costume design. It resurrected the obsession that Nigerians have with their mortality, kneading this together with themes like religion, witchcraft, birth, the afterlife, morality, and sin. I really enjoyed watching this film because it cemented good post-production and editing, a rarity for the growing Nigerian film industry at the time. This means that the story was told with as much conviction as the creators wanted, which was essentially to scare us silly. It worked. The lyrics ‘Queen of darkness’, part of the ominous recurring theme song that weaves throughout the background of the film is apt, as Karishika carelessly preys on her victims, some who are desperate or unlucky enough to fall into her path.
Narrow Path Tunde Kelani (showing on YouTube)
For a more cinematic piece of storytelling, we must discuss seasoned and revered director Tunde Kelani, and his string of traditional and cultural dramas. In 2006, Narrow path painted the coming-of-age story of a young woman who is ‘ripe’ for marriage. She is the apple of every mans eye because she is beautiful and comes from a good family background yet, a string of traumatic experiences affects her prospect of marriage. As the two men who want to marry her are caught in a literal tribal crossfire, a battle for truth, honour, and family becomes paramount till the very end of the story.
If Nollywood is vilified for their haphazard editing and post-production, Tunde vindicates us with narratives well-healed with visuals that make what would have been a passive experience more vibrant and interactive. I loved the attention to detail with shots of the village and the extras alone, which qualifies his understanding of carrying the audience through an experience so that when the main actors speak, their presence is just as magnetic and worthwhile. My dad always raves more about Tunde’s ‘indie’ films than the mainstream Nollywood offering, because of the calibre of his production alone. Narrow Path celebrates the beauty of Nigeria, particularly Yoruba culture, and its customs. Here, compared to other traditional Nollywood films, is a more polished showcase of themes surrounding integrity, family values, love, and betrayal. These are the themes that make this film so interesting to watch and bittersweet—the general aftertaste of Tunde’s cinematic ventures. However, I have to say that I felt frustrated at times, as it’s obvious that certain themes have not aged well, particularly the plight of the young woman who carries the blame for cultural stigmas that should not taint a woman’s worth at all. Nonetheless, a great piece of African cinema you must watch.
After watching these nostalgic throwbacks, what is very clear are the strong female leads which have permeated the Nollywood cinema screens for so long. Without realising it, these characters stole the show with their bold spirits and flare for fashion, whilst showing strength in vulnerability and trailblazing a refreshing light on women in Nigerian society. Better late than never, right? And perhaps this mould of women empowerment has also brushed my own life experiences subconsciously, from a young child to the person I am today. The unique style of pushing the narrative, either through ‘pidgin English’ or escalating ‘synthy’ musical soundtracks makes Nollywood a humble contender for foreign genre accolades. Revisiting these classics rekindled a love for my Nigerian thespians who carry the torch for the arts in Africa and beyond.
Words by Funmi Olagunju
