SOOTHING WORDS

This is an exact, or almost exact, replica of a page in my diary I named “THE INVENTORY,” on Saturday 20, December, 2008. Here it goes:




‘Last weekend at the meetings, Tobi’s grandma, Sis. Oluwatosin asked me to tell her when I would see her during the week. I told her I’d see her during the week. I told her I’d give her a call to let her know when I’ll come visiting. I called on Wednesday and told her I’ll be there the following day. We got upstairs together and of course no electricity to power the fan, therefore my skin turned on the taps. She dropped a bottle of water (small size) and a can of coke. Her words start and I thought of the things she wanted to say but I didn’t think she would utter the couple of things she said next. She expressed her profound appreciation for the works I’ve been performing at the christian meetings. She said she’s always happy with the progress I’m making spirituality. She said a lot of things which I do not remember at this moment but they were words at the right time just when I was about getting back to my depressing state.



However, she left me with these words that I hope I never forget, “Time is never wasted.” She explained extensively that it is when you remember something that you have,to do and circumstances allow it then that is your time, because what you know now is not what you knew then. Therefore, you should understand that you must NEVER REGRET YOUR WRONG DECISIONS TO THE POINT OF DEPRESSION.’




I have often thought of this day as something special. No one has spoken to me like this before- not even my parents. For someone who I have hardly ever spent time with to understand me must have been ‘Godsent’. She may not have known what I was going through at the time or maybe she knows, but she hit the nail on the head. It has made me think that people with whom you have spent a lifetime with may not know how to handle your situation, while someone sho is new might just know the trick.




I have often been a negatively-tuned person, but on that day I saw hope. I have faced recurring depression and no one seemed to know what was wrongor how to handle it.

I would forever thank this elderly woman, Sis. Oluwatosin, and I hope anyone who reads this can learn something or a few from this.

My Blackberry Is Not Working! - The One Ronnie, Preview - BBC One

The Rebirth of Cinema in Nigeria

These days, if you pay attention to the media in Lagos, you can’t miss the influence of the cinema in Nigeria. Posters on the walls show the latest movies in town and everybody is eager to watch them. Many people are interested in seeing these movies on television sets, but what is more interesting is that Nigerians are also re-embracing a long-lost cinema culture in the cities of Nigeria. Switching off the lights, lying on the sofa, and watching movies on TV can be fun, but there is there a strange excitement when you watch movies with your friends. The excitement gets better when you are enclosed in a room full of movie enthusiasts while sipping cola from a big cup and munching from a bucket of popcorn.

I used to wonder what going to the cinema would feel like. I got my answer when I travelled back home last summer, although it was not my first time, but it the first in about fifteen years. Not only did I hang out with friends, I also felt that strange excitement of seeing films on the big screen. Was this how people felt when cinema was first invented? I would only guess so.

I believe the cinema was, is, and always will be a magical place of escape. A very good cinema has the fantastic Dolby Surround Sound that vibrates your seats and clear projection on the large screen just right in front of you to make you feel part of the action. Who would blame you for wanting more of the action and spending most of your day at the cinema? In the 60s, 70s and 80s cinema was ‘the thing’ in the Nigerian society, and today this once forgotten experience is growing once again.

Cinema culture in Nigeria dates back to the colonial days, when a few cinemas operated in Nigeria’s big cities. The distribution of these films was controlled by foreigners. In this period Nigerian audiences were also entertained by travelling Yoruba theatres; the most popular in the late 1950s were the Agbegijo and Alarinjo groups. The oil booms of 1973 and 1978 had a serious impact on cinema culture in Nigeria: foreign capital flew into the industry and foreign investors, especially Lebanese and Indians, built cinema complexes in the cities. Thanks to increased social spending, citizens could afford to go cinemas and also to buy television sets. The cinema industry boomed. A Lebanese producer and director made a film called Son of Africa, which triggered the production of the first ever Nigerian film, Wole Soyinka’s Kongi’s Harvest. The film was directed by Ossie Davies and produced by Ola Balogun, who was the only Nigerian film maker with international reputation at the time.

As time passed, Nigeria’s cinema culture weakened. Lack of funding for Nigerian filmmakers dimmed interest among Nigerians for watching Nigerian movies. Foreigners spotted the gap in the market, and soon Hong Kong films starring the late, legendary Bruce Lee thrilled Nigerian audiences, while Indian films from the 60s to 70s populated our screens with stars such as Rajesh Khanna, Dharmendra Singh Deol and Amitabh Bachchan. These movies treated Nigerians to outstanding combat, sound and special effects, cinematography and good story lines. In the meantime, the founding fathers of Nigeria’s home-grown cinema could not get a return on the money invested in their films, and as financiers became unwilling to put their money into the unpredictable film industry, production of local films declined. Cinema houses and other exhibition centers were finally shut down in the early 1980s. Nigerian film makers of the 1970s became television producers.

I’m not sure whether it was fortunate or otherwise that I was born around the time that Nigerian cinema died. As I grew up, all I could hear were the Indian songs that played on our neighbours television set. Kids would rally round the windows of houses playing Bollywood movies, tiptoed because the owners of the house wouldn’t let us in. Combat movies like these had a great impact on me and other kids. Most times we would jump around like silly little monkeys and try to poke each other by mimicking the actors we had just watched.

But in 1992, Ken Nebue produced Living In Bondage. This film introduced a new mentality and a new culture; the culture of watching Nigerian movies in our homes. The Nigerian Home Video Industry was born, and has since been named Nollywood. Nollywood grew very quickly, as movies told stories of our culture, our political and societal problems, our fashions, and almost anything else you can think of. However, absurd and formulaic plots, terrible scripts and sloppy editing gave these films a short shelf-life. The movies are so predictable that I could walk up to a poster on a wall and predict exactly what happens in the movie. The unprofessionalism of many Nollywood films was so off-putting I decided to stop watching them. Nollywood movies are very popular around the streets and homes and over 200 home videos are produced every month!

In fact, CNN recently reported that the estimated value of Nollywood was in the region of $250 million. Nevertheless, I clamoured for a time when someone would take the initiative to encourage Nollywood to make high quality movies, not just popular films. And my prayers were answered!

The establishment of the SilverBird Galleria Cinema was ecstatic. At first, just like many people, I thought it was just a flash from the past that would soon go away, but it has already lasted ten years. The Galleria has played host to thousands of movie enthusiasts through its release of the latest movies, mostly from Hollywood. And the Galleria is just one of the cinema houses we have; Nu Metro and Genesis Deluxe cinemas also toe the line of the Galleria. Before any movie can be shown at these cinemas it has to be of international standard and quality. And I must say I am very impressed by the Nigerian movie makers who have taken the opportunity to make movies of an international standard.

These cinemas have made a lot of money for movie makers. Stephanie Okereke’s Through the Glass made over $65,000 after only two weeks at the Galleria. Nigerian movies have stepped up. Because there was a place where good quality movies could go and where they could make money, Nigerian filmmakers had a reason to increase production standards and make better films. Kunle Afolayan's Irapada, Jeta Amata's The Amazing Grace and Kingsley Ogoro's Across the Niger were among the early set of Nollywood movies shown at the Galleria. More recently, other Nigerian movie makers have decided to go for the big screen rather than the straight-to- VCD/DVD approach. Tunde kelani's Arugba, Vivian Ejike's Silent scandal and Lancelot Imasuen's Home in Exile have followed the cinematic path.         

Cinema culture is back in Nigeria and I hope it’s here to stay. Cinema houses are growing in most urban parts of the country. I always wanted to know what the fuss was about when people who have visited the cinemas come home joyous. Well, I found out. The feeling is almost indescribable: it is like sipping a drink and having a party in your mouth. It is like going to a bar to watch the El Classico match rather than watching it at home. And when you watch a good movie with a pretty lady by your side, you become her hero – ready to catch her when she screams. I hope the cinema stays with us for many generations to come and that one day I can share the experience with my grandchildren.