Movie critique Atinuke Saletti could not have captured it any better. Hear: “The Nigerian movie industry is the biggest one in Africa and it can also be compared to Hollywood and Bollywood.” Movie makers in Nigeria may as well assert to this given that Nollywood grew almost from nothing to its goliath height. Yet, this height will continue to draw mixed reactions.
One maybe quick to relish Kunle Afolayan’s The Figurine, Stephanie Okereke’s Through The Glass, Mahood Ali-Balogun’s Tango With Me or even Obi Emelonye’s Last flight to Abuja. But that is as far as it goes.
When the chips are down, the overriding Nigerian movies readily accessible to all and sundry reeks of benumbing malady and confounding disbelief. One begins to wonder how uncommon can common sense be.
How do you reconcile a heavily make-up actress...Professionally made to conceal contours or flaws, sleeping and doing everything but touch her face and we’re supposed to believe she has come home to roost. Or how on earth would a character with a hairdo suddenly change to another, just when the camera cuts back to her in the same scene? More nauseating are the titles with as much as five or is it six parts now?
Such ingenuity!
It’s ridiculous how these trivialities mar the exceptional talents in the industry often stereotyped though.
How on mother earth would a thespian like Olu Jacobs be limited to royal inclined roles. Or the graceful Patience Ozokwor plays the eternal wicked mother-in-law? Even move confounding is the current industry’s popular demand, Mercy Johnson, being stereotyped. Even when she plays a different role, she manages to crawl back to her stereotyped roles. It leaves much to be desired.
Do you have any issues with Nollywood movies or their actors/actresses? Be sure to share your thoughts in the comments section below.
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