By Ali Baylay

A Ken Simon Productions. Starring: Ini Edo, Mike Ezuruonye, Ngozi Ezeonu, Leo Mezie. Director: Iyke Odife. Editor:Okey Benson. Executive Producer: Kenneth Ogbuike. Producer: Kenneth Ogbuike.

Every once in a while, among the myriads of discreditable movies Nollywood pushes onto the market, there comes one that pleases the critical eye. Jealous Wars is structurally sound as presented. Is it because the producer  and the executive producer are one person?

Certain elements go into every film production and some are integral in forming the components of a feature. One is the cinematography.  Camera eyes  interpret this script to become alive. The shots here are purposeful, concise and subjective. The other notice of recommendable standard in Jealous Wars is the music. In most African films, music is louder than the dialogue; and music is placed in the wrong scenes, and at odd times. Here in Jealous Wars, music is used economically and sparingly. I was caught whistling  a track from this film in a shower. It means the music was so pleasing that I unconsciously took it in the shower with me. What better objective can a film music achieve with the audience than that?

Jealous Wars is not totally free from the common sin of Nollywood though. The idea of the writer must have been borrowed from the American Twin, and funnily enough this realization escaped me all through the viewing of Jealous Wars-I must have been engrossed-until I observed the twitching of the  surviving twin Nichiolas, which reminds me of Arnold Schwarzenegger in Twin. And that brings me to  a different level of perception of Jealous wars, though it doesn’t shatter my once gained admiration for the project.

Twin is a story of a  eugenic experiment in which the sperm from six fathers was combined and injected into their mother. The experiment went wrong  and produced not one baby but two, one perfect as a genius-Arnold Schwarzenegger, intimidatingly tall and gaunt;  an unpaid lab assistance with the capability of speaking six different languages, and one imperfect-Danny De Vito, short as a midget who turns out to be a small time con-man, who steals the wrong cars from airports.

Whereas Twin is a comedy, Jealous Wars is a serious tragic drama. Avoiding the jealousy plot, this is a story of a woman whose husband out of jealous streak, made her become crazy, but then she was already pregnant. She died after delivering twin boys, one named Franklin (Mike Ezuruonye)  and the other named Nichiolas (Mike Ezuruonye). Nichiolas is stolen at birth by a neighbor and turns out to be a big time criminal, so bad that a man-hunt on his head leads to the shooting death of the good twin, Franklin.

When a grieving girl friend, Amanda (Ini Edo) per chance runs into Nichiolas, she’s convinced that her Franklin didn’t die any way, and brings him home to her mother. But it turns out Nichiolas in a heist, had once put  Amanda’s aunt at a gun point  at a hotel parking-lot. It is late for Nichiolas to repent and change his ways because Amanda knows this new Franklin is an impostor.

There is one line from Amanda (Ini Edo) that stands out in this film. “That is the man I want to spend the rest of my life with…to have my children ….”, she says. Coming to think of her recent wedding in Texas, she seems more like addressing her future husband of real life in this film. Art imitates life!

By Ali Baylay

Franco Films. Producer: Igboanago Chinedu Nathaniel. Director: Tchidi Chikere. Associate Producer: Tchidi Chikere. Executive Producer: Igboanago Chinedu Nathaniel.

Cast: Ini Edo, Tonto Dikeh, Mike Ezuruonye , Ifeanyi Ikechukwu.

Anyone who has ever read Thomas Hardy’s Return of the Native would be reminded of the book at a first glance of the title of this movie, Native Son. And come to watch the Native Son, the story plot is so akin to the classic, Return of the Native, that you’ll predict the beginning, middle and the end of Native Son.

Native Son however do not have the tangled love drama  of Clym Yeobright , Eustacia, Thomason, and Wildeve in Return of the Native, and in fact there is no such tragedy as befalls Thomas Hardy’s characters.

Native Son unfolds the same way Return of the Native starts, with a wagon rolling into town with Thomasin Yeobright. In Native Son, a van boarded by an older man and a young beau, Nerissa (Tonto Dikeh) slowly taxis into a village, and two native boys are playing football in the street, oblivious of the van. In another scene Nerissa, happens on a dwell between the same native boys umpired by a bigger native son, Igwe (Mike Ezuruonye). Nerissa is flabbergasted, shocked but on the other hand, there is an unspeakable exchange of interest between her and Igwe. Igwe’s would-be village girl Tochukwu (Ini Edo) happens upon the scene.

Nerissa introduces herself as a city girl by taking out a pack of cigarette, holds one to her lips, fires it up and pulls one big puff, turns around and leaves. All at present are askance, and particularly Tochukwu, envious and jealous. If Tochukwu thinks she’s the only rooster in this rural community, she’s got to compete with an urbanite over Igwe.

The serenity of the village is broken from this point on and the pastoral story is put into a speedway mode. A chance meet by Igwe and Nerissa on a secluded country road and, Igwe’s subsequent ride in Nerissa’s van to Igwe’s house, and Tochukwu’s chance arrival upon Igwe getting out of the van results in a brawl, that sets Igwe’s hut ablaze as both girls are locked in wrestling. This is the only tragedy in this film comparable to the snake bite and drowning of Hardy’s characters.

The village court authorised both Nerissa and Tochukwu to build back the hut and after which Nerissa leaves the village back for the city, broken hearted. Nerissa and Igwe however missed each other and their paths never crossed again until twelve years later, when Igwe, now educated and married with children sitting behind his office desk lets his secretary usher in a waiting business officer who turns out to be Nerissa.

I hate to say this, this movie is not a serious production.  Mike Ezuruonye’s part-one (Pidgin English) delivery is not quite convincing and I even keep thinking why an award winner like Mike could have taken part in this project. We all do pay bills, but with thirty or more films under ones belt, it is time we start filtering through the myriads of projects that showed up on our desks.  Again most supporting actors and actresses only say their lines and never actually deliver. 

The whole idea of producing a story akin to a classic is ruined by one single oversight or negligence: What in the world, a purple dot doing in the frame (lens) of every shot in this 150 minites film? The  movie has this annoying purple dot  following the actors wherever they go. One thing comes to mind that either some cinematographer was in training  or, Nollywood is not paying attention to dailies, or at best they do not really care what the end product turns out to be. This production isn’t an award winning  one.

• By Ali Baylay

Strength of Faith: Producer: Sunshine Movies Limited, Director: Ikechukwa Onyeka. Cast: Van Vicker, Uche Jombo, Tonto Dikeh.

Strength to Strength: Producer: Solomon Apete, Director: Ugezu J. Ugezu, Prod. Mgm: Ifeanyi Udoku, Exec. Prod: Ezenwa Collins Chinedu. Cast: Patience Ozorkwo, Mike Ezuruonye, Mercy Johnson, Tonto Dike.

I do not know how these two identical title of movies ended up on my desk but for some reason they were there, and I kept looking away because the titles in themselves are not eye catching or meaningful. However, I got curious at one point, and my critical mind forced me to watch them, simultaneously.

One thing about Strength of Faith and Strength to Strength production processes don’t sit well with me. I don’t know about you, but for me  the titles are too close for comfort. I can’t imagine two seperate productions would have so close a title and so close a theme. It seems Nollywood is running short of story ideas and titles.

If I could work up some similarity traits between the two movies, both are produced in 2008 and marketed in America. Strength of Faith, by Black Star Entertainment , 3832 White Plains Road, Bronx, New York 10467; Strength to Strength, by Executive Image African Movies, 2811 White Plains Road, Bronx, New York 10467. Both these companies live next door to each other.

The casts are either compromised or borrowed from one set to another. The notorious mother-in-law of Nick ( Mike Ezuruonye) in Strength to Strength, commonly known in the film as Nick’s mom (Camilla Mgbrekpe), is also Mama(Camela Mberekpe)  who plays the evil mother of Van Vicker in Strength of Faith. Then enters Tonto Dike, (Chekwube) in Strength of Faith, and (Angela) in Strength to Strength, and in both films she plays the tragic character who ends dead before the end credits roll. Oh, one more thing about these two flicks that stand out as similar is, they both explore marriage themes in reference to in-laws: The aggrandizing mother (Patience Ozokwor) of Jane (Mercy Johnson) in (Strength to Strength) who would like to sell Jane to the highest bidder, versus Nick’s Mom (Camilla Mgbereka) who could stop at nothing but to get her son a woman who would give her a grandchild. In Stregth of Faith, the mother-in-law bewitches Chekwube for the mere heck of the fact that she hates her.

The only difference found between the two movies is that while one explores (Strength to Strength), the biblical plot of Jacob marrying Rachel and her sister Leah, but deviates and takes on a plot curve from there, ending the story with the death of the younger sister, Angela (Tonto Dike) in labor; In  the use of  of in the title of Strength of Faith, I find a difference, and poetic justice in the story: Devil worshipping works, as equally as belief in the holy ghost’s fire depending on the strength of faith like we find in both factions responsible for the death of Chekwube (Tonto Dike) and Mama (Camela Mberekpe), respectively.

The reason why Hollywood uses working titles during production of a movie is, by the time of premier their movie must have been christened a title unique to it and to it alone. In today’s age of  google keywording, your movie with a similar title to the production next door,  in the same market, can easily get lost in the laybrinth. Are we getting short of titles in Nollywood?

By David Ajiboye

The 13th African film Awards formerly referred to as the Afro Hollywood Awards has come and gone but the memories linger on. The awards came barely eight days after the first African-American won the US presidential election. President-Elect Barack Obama predicated his campaign message on change and hope. According to him, the change we need and the change we believe in are most important constructs that must now move the world forward.

Bisi receives Best Actress Awards

Perhaps it was this change element that was preeminent in this year’s African Film Awards ceremony, which took place on the 12th of November, 2008. First the venue was changed from the traditional West End Hilton Hotel where the award has always been in the past. This year the venue was at The 02 (indig02), in North Greenwich London, an unfamiliar terrain for black events. But the event was full of glamor and glitz. What with the beautiful faces of film stars, politicians, VIP guests and a coterie of supporting musical artistes who accompanied the entertainers, the show can be regarded as a huge success.

Ace comedienne, Princess Adekoya, ably supported by veteran actress Binta Ayo Mogaji Oduleye made the show lively by her hilarious, and sometimes acidic comedy. Guests who attended the show attested to her ability to actually make people giggle and laugh at themselves. From the start to finish it was a lively atmosphere and even the most serious-minded individual would have fallen under the spell of laughter.

Musician Olu Maintain holds Award for Most Promising Musical Act; Mike Abiola, CEO of the African Film Awards; and guest

CEO of the African Film Awards, Mike Abiola said the show had come of age and would like to thank those supporters of the awards who have made it a successful journey this far. Mike Abiola who is also the publisher of the African Voice Newspaper was however full of praises for the talented artists and art patrons who made this year’s event despite the difficulties. For the umpteenth time, he informed the audience about the concept of the African film awards, which among other things, is to promote the image and culture of Africa and celeberate the growing film industry, and showcase the achievement of the professionals. Emphasizing that the event presents a vehicle for corporate communication.

The awards ceremony was a huge success as more than 1000 Londoners from all works of life, hue and color thronged the magnificent 02 architectural edifice. As early as 8:30 pm, the venue has been besieged by enthusiastic fans who wanted to see screen idols especially the Nigerian film stars they have watched in the Nigerian home videos.

Veteran actress Golda John, the UK event coordinator, said the turn out for the event on a Wednesday was a testimony to the strength of the African Film Award as a brand. She enjoined corporate sponsors to take advantage of the popularity of the awards.

L-R: Actresses Fathia Balogun, Golda John, Uche Jombo & Bisi Ibidapo

In recent times the Nigerian movie industry has become very popular within the diapora and film stars have become household idols. We have the likes of Richard Mofe-Damijo, Desmond Elliott, Bob Manuel Udokwu, Ramsey Nouah, Patience Ozokwor, Liz Benson, and producers such as Tunde Kelani, Tunji Bamishigbin and a host of other talented personalities in the film industry.  It can be rightly said that the Nigerian film industry has come of age.

This year’s awards featured an array of musical stars, such as Olu Maintain, MaY 7, Komoblastic, Mr. Solek and the latest wave making gospel music sensation Caleb Alalade. The entertainers all put up electrifying performances.

The highlight of the event came when Olu Maintain created the scintillating atmosphere that wowed the audience. About two months ago, he brought the former US Secretary of State Collin Powell on stage to dance to his YAHOOZEE music at the Royal Albert Hall during the African Rise Festival. But this time around, Olu Maintain (full name, Olumide Edwards Adegbulu) caused a great stir when he rocked the audience with his YAHOOZEE dance music, which rounded off the show.

As the audience went berserk, one of his female fans joined him on the table dance just after the African music icon was pronounced winner of the Most Promising Musical Act. Among the VIPs who graced the show were Minister of Trade and Economic Matters at the Nigerian High Commission, UK; Ambassador Garba Zakari and his wife, who represented the Nigerian High Commissioner to the UK; Director-General Nigerian Tourism Development Corporation, Olusegun Runsewe; Former Mayor of Newham Council; Mrs. Joy Laguda, Cllr Elisabeth Tinuke Davies, Cllr Tayo Situ, Barrister Godwin Okri and his wife, Victoria who just gave birth to a baby girl; Mrs. Stella Ideh of Bantuway Foods and Miss Lakie of Colourful Radio.

Director-General NTDC, Olumba Olusegun Runsewe accepts Outstanding Recognition Award

Otunba Segun Runsewe, Director General of Nigeria Tourism Development Corporation (NTDC) was presented with an Outstanding Recognition Award for the promotion of tourism in Nigeria with his introduction of Satellite Navigation Aid into Nigeria. Award was sponsored and presented by Diaspora Organisation UK.

Another outstanding award this year was presented to O.T Fagbenle, a RADA trained actor who is recognized for roles from Doctor Who to Hollyoaks and Agatha Christe’s Miss Marple. He burst onto the scene in a series of fantastic stage performances of Romeo and Juliet as Mercutio in a national tour culminating at the Hong Kong Arts Festival. Later that year, he was awarded M.E.N. Theatre Award for Best Actor in a Leading Role in Six Degrees of Separation.

In October 2006, Fagbenle was greeted with critical acclaim for his performance in Trevor Nunn’s Tony Award winning world premiere of Porgy and Bess The Musical.

Following Cab Calloway in the opera and Sammy Davies Jr. in a feature film, O.T. Fangbenle played the infamous role of Sportin’ Life at the Savoy Theatre in the West End of London.

Roll call of Awards recipients:

Uche Jumbo                         Best Actress, English Film

Fathia Balogun                     Best Actress, Yoruba Film

Saheed Balogun                   Best Actor Supporting Role, Yoruba Film

Bisi Ibidapo                          Best Actress Supporting Role, Yoruba Film

Awilo Longomba                  Africa’s Most Outstanding Musical Act

Olu Maintain                        Most Promising African Musical Act

Mike Ezuruonye                  Best Actor, English Film

Binta Ayo Mogaji Oduleye   Veteran Artiste of the Year

Yemi Solade                        Best Actor, Yoruba Film

UK Most Outstanding Nollywood Actor:

Erick Nwadinobi                 Best Actor, English Film

Rotimi Aberuagba               Best Actor, Yoruba Film

Special Recognition Award:

O. T. Fagbenle                    Stage and Film in the UK

Otunba Olusegun Runsewe Tourism Development